This is what eyebrows used to look like, kids!
Hair by John at Leonard. Make-up by Richard Sharah.
Photographed by Eric Boman.
Scanned from Vogue, April 15th 1975.
While the hat is – unusually for Vogue – uncredited, the image is taken from this otherwise black and white editorial from the previous month so is probably by Malcolm Raines.
Hair by Oliver at Leonard.
Photographed by Barry Lategan.
Scanned from Vogue, April 1971
Modelled by Cathee Dahmen.
Hair by John at Leonard. Make-up by Barbara Daly.
Photographed by Barry Lategan.
Scanned from Vogue, January 1973.
Naturally mouse hair is usually limp so it needs extra life, extra lift, extra bounce. All this can be achieved by very, very fine highlighting. Keep away from obvious streaks, let your hair look instead as if it’s just come out of the sun. An expert will know exactly which colours to choose for you, exactly the right depth and contrast of highlighting. You can have water-rinse streaks or permanent; you can have your own hair coloured, or your hairpiece. The subtly streaked hair, left, is controlled at the top, combed into waves, then frizzed into a soft cloud at the shoulders. The make-up has the same romantic, pre-Raphaelite look with Orlane’s Satilane beige no. 4 with brush-on rouge no. 3. Eyes: cream pearl shadow in Bleu Perle, Bleu Marine roll-on mascara. Lipstick: beige-pink Paprika. Necklace: an eagle from the Purple Shop, Chelsea Antique Market. Hair colour, here, and in the picture, above, by Daniel, styling by Leonard, both from the House of Leonard.
Modelled by Charlotte Martin.
Photographed by Barry Lategan.
Scanned from Beauty in Vogue, 1969.
Photographed by Barry Lategan.
Scanned from Vogue, February 1971.
Make-up by Elizabeth Arden. Hair by Oliver at Leonard.
Print silk dress by Zandra Rhodes at Piero de Monzi.
Photographed by David Bailey.
Scanned from Vogue, 15th September 1971.
If it’s blue hair and pink eye make-up, it must be Zandra Rhodes. And if it’s a diamante studded chiffon kerchief, it must be Zandra’s Christmas present idea. Inscribed ‘Zandra Rhodes for X’, it costs from £12.50, witchball blue satin shirt, £40, at Zandra Rhodes. Blue quiff on a black wig coloured by Daniel, cut by John, at Leonard. Golden arrow pin by Mick Milligan for Zandra Rhodes. Make-up by Richard Sharah using Mary Quant.
Photographed by Barry Lategan
Scanned from Vogue, December 1975.
This feathered headdress by Pablo & Delia is exclusive to Leonards.
Get your hair all dressed up for Spring! Beauty girl Ann Morrow brings you the newest ideas for many a yer on the hair accessories scene. But no need to stop there all you want is a mop of hair and a little imagination to get a lot of head-turning effect.
Photographed by John Carter.
Scanned by Miss Peelpants from Petticoat, May 1971.
Severe little buns and topknots look good with a snood added. This one came from Fenwick, and we added a bunch of cherries by Mr Freedom.
With this painted slide by Pablo and Delia, John at Leonard gave model Chrissie an oriental look. Her hair is drawn back tightly to show off the coloured streak attached to the slide.
These coloured streaks look like a bird of paradise – mail order them each from Annie Russel, 398 Kings Road.
A slide with a feather from Miss Selfridge. Match your eyes to your slide.
Play about with different slides. We found these in Miss Selfridge – apples that look good enough to eat.
Evening hair goes all glittery with a headband from Fenwick and a Fortes-style slide with a sparkle from Boots.
Flowered print are big news, so put some in your hair too This lovely spring bunch comes ready attached to a comb from Miss Selfridge.
Guy Nicolet, Revlon’s international director: he finds inspiration in a film or a record, a girl he sees in the street or at the theatre, translates the mood into colour and from then on thinks about the bone structure, “the most important feature of a woman’s face”. He has a great sense of fashion, lives a very fashionable life between his gothic Roman house and bishop’s palace in the country, and for him “fashion changes at the same moment for the designer and the visagiste”. His favourite colour is blue, a thousand different blues. Here, opposite, eyes of the water blue reflected from the ceilings of his house on Lake Bracciano. The pastel skin, Perfect Beige Perfect Make-Up dusted with Perfect Powder, from the Ultima II Collection. Eyes shaped with Plum Rose and Orchidaceous Eye Couture ’70 Make-Up, with Sable Plum Lash Make-Up Automatique. New Orange Jade lipstick from the Private Label Collection. Painted leather and bead chokers, by Pablo & Delia at The Shop, Vidal Sassoon, Sloane St. Hair by Oliver at Leonard.
Photographed by Clive Arrowsmith.
Scanned by Miss Peelpants from Beauty in Vogue, 1970/71
Beautiful Tree with the mysterious Mexican Datura lily, right. Black panne velvet suit with great gathered Edwardian sleeves, a cowl and long panelled skirt; to order from Ossie Clark at Quorum.
Cecil Beaton took pictures of Penelope Tree wearing new Ossie Clarks in his Wiltshire winter garden and David Bailey filmed them both, below. Double take—like a scene from the film with Cecil Beaton as the star that David Bailey is making and everyone can see in colour on ATV early next year. When I Die I Want to Go to Vogue was Bailey’s idea of a title: nobody agreed with this. For one thing it would only reflect one aspect of the Beaton legend writer, of more than twenty books; painter, with at least five major exhibitions; designer, of just about everything—opera, ballet, theatre, film—and one-man commentator, whose eye has always focused unerringly, and wittily, on the moment—this moment.
“An epic with a cast of thousands,” says Bailey about the film. There’s Mick Jagger, Jean Shrimpton, Lord David Cecil, Nureyev, Twiggy and many, including Sir Frederick Ashton, Dr Roy Strong, Sir George and Lady Weidenfeld, David Hockney, Patrick Procktor, Ossie Clark, Celia Birtwell, Mrs Anne Fleming, Lord and Lady Harewood, Lady Antonia Fraser and Edna O’Brien, who came to the now famous party that Cecil Beaton gave, and David Bailey filmed, in his London house. “I told everyone beforehand that there would be cameras and told them not to come if they minded. Nobody did mind.” “The worst moments,” says a guest, were when you knew the cameras were not on you.” And Beaton added, It was a mixture of people all looking very interesting in their new autumn clothes. Many looked beautiful.” Beautiful Tree with the mysterious Mexican Datura lily, right. Black panne velvet suit with great gathered Edwardian sleeves, a cowl and long panelled skirt; to order. Black crepe dress, side-buttoning collar, then split, long split skirt with pleated panel, 17 gns. Both at Quorum. Victorian silver choker, Sarah Dwyer and Tony Giorgi, The Chelsea Antique Market. Hair by Celine of Leonard.
Above photographed by Cecil Beaton. Below photographed by David Bailey.
Scanned by Miss Peelpants from Vogue, December 1970.
Black crepe dress, side-buttoning collar, then split, long split skirt with pleated panel, 17 gns. Ossie Clark at Quorum.
