Put aside everything you’ve ever been taught about make-up. Look at colour afresh, not as a consumer of cosmetics but as a painter might.
Oatmeal cotton smock by Ally Capellino, from all branches of Whistles. Straw hat by Extras from Hobbs. Palette and brushes from a selection at George Rowney.
Make-up by Ariane using colours from Yves Saint Laurent’s L’Eté Bleu collection.
Hair by Leonard.
Modelled by Sophie Ward.
Photographed by Sandra Lousada.
Scanned from Harpers and Queen, June 1983.
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
