Hair and make-up

let your hair flame curly like this

1970s, barbara daly, barry lategan, grace coddington, hair, Hair and make-up, Inspirational Images, leonard, Make-up, Screaming Mimi, Vogue

Ablaze with the colour of Leonard’s exclusive vegetable henna, imported from Persia, cold-wave permed with Wella Structurelle and set to frame the face. Palest skin smoothed by Barbara Daly with Angel Face Cameo All-in-One Make-Up, dusted with Translucent Light Fashion Compact, blushed with Soft Rose Blush & Gloss. Cutex Rosy Blinkers colours the eyes with Angel Face Sable Automatic Mascara. Lips shot with Cutex Wineberry Lipstick to match the iridescent Blueberry Schemer nails.

Silver flecked red blouse by Screaming Mimi, scarf by Woolworths.

Hair coloured by Daniel, permed by Sandra, styled by Celine, all at Leonard.

Model is Grace Coddington.

Photographed by Barry Lategan.

Scanned from Beauty in Vogue, Summer 1972.

Who knows her face better than a model?

1970s, beauty, celia birtwell, Hair and make-up, Make-up, maudie james, ossie clark, patrick hunt, Patrick Hunt, quorum, Vogue

And who better than Maudie James, demonstrating here, exactly how she shapes and colours her face:


1 Starting with shining clean skin (thanks to Pond’s Cold Cream), she dabs on Mary Quant’s Skin Drink and blends it in.


2 Max Factor’s Nouveau Beige Pan Stick goes on with a small damp sponge giving a smooth ‘finish, covering tiny blemishes.

3 Several coats of Boots No 7 Black Block Mascara intensifies but does not cake upper and lower lashes.

4 Blackened lashes are curved to sweep up and out with eyelash curlers (45p from Boots).

5 Each eyelash is separated to look natural.

6 Eyelids coloured with Caran d’Ache purple pencils (Nos 110 and 120) blended up to the brows.

7 Short feathery lines drawn with Caran d’Ache pencil (No 80) outline the cheekbones.

8 And are then blended in towards the nose to make a soft rose-pink blush.

9 Caran d’Ache pencil (No 80) outlines then fills the lips with colour.

10 Elizabeth Arden’s Eight Hour Cream glossed over lips with a brush—for protection and shine.

11 Biba’s Mascara Brush neatens the eyebrows.

12 The look: face dusted with Boots No 7 Nearly Natural compact Powder; hair: shining with Wella’s Shampoo and Lemon Creme Rinse.

Photographed by Patrick Hunt.

Scanned from Beauty in Vogue, Summer 1972.

Dress: brilliant silk chiffon by Ossie Clark for Quorum, print by Celia Birtwell, £45, from new Quorum, 52 Radnor Walk, S.W.3; Just Looking, Knightsbridge, S.W.1; Hedgehog, 135 Fulham Road, S.W.7.

Go plain crazy with Miners

19 magazine, 1970s, clowns, Hair and make-up, Make-up, Miners, Vintage Adverts
Miners want to make it plain. The right-now look is unglossy, unsparkly… unbelievable. Plain crazy make-up. Flat, matt colour for your eyes, lips and nails. New Shadomatic eye colour comes in a super dinky bottle. It’s a loose powder shadow and applicator all in one. And, like lipsticks and nail polish, you get a great line-up of unashamed, earthy colours. So stop clowning around, and go plain crazy.

Scanned from 19 Magazine, April 1976.

Landscape with clothes

1970s, dorothee bis, Escalade, Inspirational Images, Jacques-Henri Lartigue, paris, sonia rykiel, vidal sassoon, Vintage Editorials, yves saint laurent
Two pretty girls on the steps of the Troccadero. The sweaters and flared, spotted skirts are by Dorothee Bis and are available to order in Britain from Escalade, 183-190 Brompton Road, London S.W.1

Jacques-Henri Lartigue, now aged 81, took his first photographs in 1902, the year that his father gave him a camera which he describes in his diary as “made of polished wood with a lens extension of green cloth with accordion folds”. He took these pictures of clothes’ from the Paris Ready-to-Wear collections last month when he revisited his old haunts — the Avenue du Bois de Boulogne and the Trocadero — where years ago he took his first evocative and tender pictures of the beautiful, fashion-able, eccentric and ridiculous women who caught his eye. Wrapped in his father’s splendid checked brown-and-beige overcoat he worked with surprising speed : totally sure, extremely agile once he flung himself to the ground to capture the angle he wanted. His wife Florette worked with him — pacing, standing in for the models and carrying his few items of gear which included one small leather box in which he once kept his first camera; it’s gone now, but his wife said he likes to carry the box “for good luck”. The results make the model girls look like part of the landscape instead of self-conscious cardboard figures.

Photographed by Jacques-Henri Lartigue.

Scanned from The Sunday Times Magazine, March 18th 1973.

Black crêpe dress, decorated with butterfly bows, by Dorothée Bis.

Beauty in the Bois : spring 1973. The model is wearing Yves St Laurent’s black crepe suit with harem pants and distinctive gold jewellery. These are available here from St Laurent, Rive Gauche, 113 New Bond Street, London W.1 : so are the sandals.

Strolling along the broad, tree-lined boulevards from the Etoile : the shirts, button-through woollen sweaters, long-pleated skirts, well-cut head-scarves and matching bracelets by Chloe are available from Fortnum & Mason, Piccadilly, London, W.1.

Two black crêpe dresses, decorated with butterfly bows, by Dorothée Bis.

Mobile changing room.

Heavy wool sweater, with a new rolled sleeve, and shorts by Sonia Rykiel, whose clothes are sold here at Vidal Sassoon, 44 Sloane Street, London S.W.1

Dress by Dorothee Bis

Smocked dresses in Liberty-printed fabrics with off-the-shoulder necklines and bodices of shirred elastic. From Yves Saint
Laurent’s Rive Gauche collection. The same styled dresses, in silk or cotton, are also available with floor-length skirts.

Cosmic Collection

1970s, Clare Park, hair, Hair and make-up, james wedge, Make-up, Princess Leia, Star Wars, Vintage Adverts, Vogue, yardley

Yardley here, perfectly demonstrating the far reaching influence of Star Wars on the late Seventies with the not-so-subtle use of a Princess Leia-esque model.

Model is Clare Park.

Photographed by James Wedge.

Scanned from Vogue, December 1978.

Aloha

1970s, Adrian Mann, clive arrowsmith, Hair and make-up, Inspirational Images, Make-up, Max Factor, pat cleveland, Vogue, yves saint laurent

Gauguin got the message and in every island from Tonga to Tahiti, from Fiji to the Ile des Pins to Hawaii, his pictures come to life with beautiful girls in vivid sarongs, necks encircled with leis . . Here, Gil of Max Factor brings South Sea sun and warmth to the January ’72 face with Moisturized Nouveau Beige Whipped Creme Make-up, Honey Translucent Powder and Pinki Cake Rouge. Adds brilliance of hibiscus flowers to lips with Sunset Rose Lipstick and California Transparent Lip Gloss … and to the eyes with Clear Red Creme Rouge, lots of Transparent Lip Gloss, Grey Automatic Eye Pencil and Black Mascara Wand. Hair by John at Leonard, printed chiffon shawl by Saint Laurent Rive Gauche; earrings by Adrien Mann. Flowers by Pulbrook & Gould.

Model is Pat Cleveland.

Photographed by Clive Arrowsmith.

Scanned from Vogue, January 1972.

Just A Little Something I Ran Up Myself…

1970s, Ace, bill gibb, Clio Goldsmith, cosmopolitan, Gamba, Inspirational Images, Jane Cattlin, liberty, liberty's, manolo blahnik, Midas, Peter Golding, Russell & Bromley, Sheilagh Browne, sheridan barnett, Terence Donovan, Vintage Editorials, Wendy Dagworthy, Yuki, yvonne gold, zandra rhodes, zapata
DESIGNED BY YUKI . . . and typical of the elegant raciness that Yuki breathes into everything he creates, a sultry bloomer dress to wear if you dare and if you’ve got the shape. Make it from a 1.5 metre square of cotton jersey. Simply cut two holes for your legs in the centre, step inside and tie the corners on your shoulders. Fake lily, Novelty Imports. Jewellery, Adrien Mann. Gold leather shoes, £40, Manolo Blahnik for Zapata.

. . . with the aid of Yuki, Sheilagh Brown, Wendy Dagworthy, Sheridan Barnett, Bill Gibb, Jane Cattlin, Zandra Rhodes and Peter Golding, eight top designers who were each persuaded to whip up a creation for when you still haven’t got a thing to wear.

Hair by Harambee, 19 Avery Row, London W1.

Make-up by Yvonne Gold.

Persian carpets from Liberty.

I think one of the models is Clio Goldsmith.

Photographed by Terence Donovan.

Scanned from Cosmopolitan, January 1978.

DESIGNED BY SHEILAGH BROWN … who goes the whole way with glamour, whipping silk and lace and ribbons into deliciously pretty confections. Here she transforms a 2.25 metre length of soft lace into beautiful balloon trousers gathered twice on ribbon drawstrings. A square of silk crepe de Chine, slashed in the middle for a sliding neckline, ties at the front with wide black satin ribbon. Silver sandals, £24.95, Midas.
DESIGNED BY WENDY DAGWORTHY … the designer who makes sporty Viyella and rough tweeds look soft. Sunray-pleated cotton—hunt for the ready-pleated kind—is cut to make a piecrust collar that’s prettily tied with trailing velvet ribbon, on a poncho top belted like a tunic over a matching skirt. The skirt is one width of fabric gathered on a cord at the waist. Fringe the edges of toning check fabric to make the shawl. Boots, £44.99, Russell & Bromley.
DESIGNED BY SHERIDAN BARNETT who knows how to put together the luxury of velvet and lace in the new romantic style. Sheridan Barnett’s big cosy chasuble is made by folding in half a 2.5 metre length of velvet and cutting a straight line in the centre for the neckline. Tuck under the sides and wrap. closed at the waist with glossy black moire. Knot a fichu of black lace at your throat. Jewellery, Adrien Mann. Patent ballet pumps, £11.50, Gamba.
DESIGNED BY BILL GIBB . . . who creates like no other designer. Here’s a little numero (main picture) from Bill’s sketch-pad that’s four straight pieces of jersey and need be only as expensive as the fabric you choose. Cut four 120 X 90cm oblongs of fabric—Bill picked soft ice-cream shades in Qiana jersey. Overlock the edges and run a ribbon drawstring through one short end of each piece. Two oblongs gathered up and tied on each shoulder make the back and front of the dress. The remaining two pieces, gathered in tightly to wrists and draped over your shoulders, make a floaty jacket that can be knotted back and front. Soft gold leather straps are Bill Gibb’s newest accessory. Gold sandals, £24.95, Midas.
DESIGNED BY JANE CATTLIN Sew one short seam in an oval of silky jersey and you’ll have added a glamorous Jane Cattlin creation to your wardrobe. Jane makes it sound as simple as that, though the result looks like the ritziest evening gown in town. Jewellery, Adrien Mann. Gold leather shoes, £40, Manolo Blahnik for Zapata.
DESIGNED BY ZANDRA RHODES .. and called Conceptual Chic by Zandra. For her New Wave look, drop a sliver of shocking pink jersey on top of a plain black T-shirt dress. First cut several jagged slashes in a 105 x 114cm oblong jersey, making two of the cuts big enough for armholes. Overlock the edges and decorate with spangles and safety pins, preferably jewelled. Tie bright satin rouleaux around your neck. Stitch pearl or diamante beads on to plain safety pins or buy one of Zandra’s rolls of pins ready-jewelled from her shop at 14a Grafton Street, London W1. At £10, they’re the punk status symbol! Shoes, £40, Manolo Blahnik for Zapata.
DESIGNED BY PETER GOLDING … whose rhinestone-studded jeans, spangled T-shirts and satin waistcoats glint and gleam in his shop, Ace. If you’re star-struck but can’t afford the glittering trappings or spare the time to stitch sequins on your jeans here’s Peter Golding’s tip. Hang your Christms-tree decorations on to ponchos of sheer black lace, add a few stick-on silvery stars and moons, fasten your Lurex sotckings with silver suspenders, shake your feathers and enjoy yourself! The mirrored belt is made by pasting handbag-size mirrors on to any plain belt. Shoes, £40, Manolo Blahnik for Zapata. Lurex stockings, Mary Quant, £1.60.

The Twelve Days of Christmas

19 magazine, 1970s, barbara daly, barbara hulanicki, Barbara Hulanicki, hair, Hair and make-up, Inspirational Images, John Bishop, Linda Dagenais, Make-up, nostalgia
On the first day of Christmas, my true love sent to me — a partridge in a pear tree . To open our Christmas story, a golden brown soft look, with hair dressed on one side with real partridge feathers. Feathers in the hair were applied either with eyelash glue around the temple and ear area or just by fixing them actually into the hair with the quills like slides and lacquered to set into place.

The Twelve Days of Christmas… inspired us to create for you an exciting and dazzling face for each one of the 12 days in the hope that your ‘True Love’ will shower you with gifts, ancient and modern.

Make-up by Barbara Daly.

Photographed by John Bishop.

Scanned from 19 Magazine, December 1973

On the second day of Christmas, my true love sent to me —two turtle doves… Dovesevoke romantic images and, in keeping with this theme, we created a delicate and totally feminine look.
On the third day of Christmas, my true love sent to me — three French hens… Here the look is bright, speckly and lots of fun —rather like something out of the French ‘Naughty ‘Nineties’, and very Christmasy… to set the whole look off, we tied a bright pink chiffon scarf into a French bow at the neck. Hair was set in tight curls and fluffed out.
On the fourth day of Christmas, my true love sent to me — four colly birds .. . Colly birds are blackbirds, for those who don’t know, so we created this glittery Christmas face for dark birds, with the help of Estee Lauder make-up. Clothes from a selection at Nostalgia. Necklace from a selection by Adrien Mann.
On the fifth day of Christmas, my true love sent to me — five gold rings . . . What better time of the year than Christmas is there to really experiment? With this in mind, we created our gold face. Hair was tightly curled with wooden perm rollers, brushed out into curls at the front, while the back was wrapped into a glamorous turban of gold lurex.
On the sixth day of Christmas, my true love sent to me — six geese a-laying .. . There are many species.of geese, but we were thinking of the browny, speckled variety when we created this look. The theme is brown and gold. Hair was set in tight little curls. We then brushed it out and ran fingers through it for a natural looking mop. Jacket from a selection by Samm.
On the seventh day of Christmas, my true love sent to me —seven swans a-swimming .. . Here we created the look of a swan—fluffy white feathers surrounding a delicately made-up face—perfect for all blondes. We swirled the hair back in a classic ballerina bun, and added a small false plait. Maribou feathers from a selection at John Lewis.
On the eighth day of Christmas, my true love sent to me — eight maids a-milking .. . To create a real Christmas milkmaid, begin by setting hair on wooden permanent-wave rods (tiny rollers will do) and then fluff out with fingers. Then take velvet ribbons and plait into two rosettes and secure with pins.
On the ninth day of Christmas, my true love sent to me — nine drummers drumming… In the old days drummers wore your colours and we thought that if we’d had colours, then, surely, silver, gold, pink and black would have been among them. Hair was drawn back into a classic knot at the nape of the neck and decorated with a single sequined strand over the forehead. Sequined top from Nostalgia.
On the tenth day of Christmas, my true love sent to me —ten pipers piping… We piped the neck with a multi-coloured bead necklace from Biba to set off this Christmas look. The semi-shingle hair was first dressed into a side parting. Then we pin curled into large snail curls pointing towards the face. Set the back by means of tape or tissue to keep it flat. Comb sides forward.
On the eleventh day of Christmas, my true love sent to me — eleven ladies dancing… Christmas is a time for parties, so here is a super party-time look. Our model’s hair was set in loose curls to gently frame the face and we set it off with a gold sequined Juliet cap from an antique market stall.
On the twelfth day of Christmas, my true love sent to me —twelve lords a-leaping .. . We interpreted this last Christmas gift by giving our face masses of movement and colour. Focal point is the eyes where the theme is different shadow shades dabbed on like patchwork. Hair was dressed with a side parting with the thicker side pin curled to sit towards the face. Flatten the other side when setting with tape so that it lies smooth, and then jazz it up with coloured tinsel.

Christmas Box

19 magazine, 1970s, 20th Century Box, Adrian Mann, Brighten Belts, cornucopia, Derber, Hazel Gomes, Illustrations, Make-up, mary quant, Russell & Bromley, Swanky Modes, terry de havilland

Yardley Multi Lash Mascara, 69p. / Double rich whipped creme nail colour in Enamel Red by Max Factor, 58p. / Kohl eye pencil, by Mary Quant, 75p. / Black beaded hat with black net and red spots from Cornucopia, from £15. / Stick shadow, by Outdoor Girl, 19p. / Rimmel roll on creamy blusher, 36p. / A colour range from Mary Quant Soft Machine Crayons, 60p each, and Pearl Crayons, sold in sets of five, £1.40. / See through pink elephant brooch by 20th Century Box, £1.50. Pink mother of pearl painted necklace from Swanky Modes, from £2. / Red and pink strappy shoes by Russell and Bromley, £19.99. / Purple sequin earrings by Swanky Modes, from 75p. / Lyle’s Golden Syrup belt, by Brighten Belts, £1.75. / Red suede shoes with pompoms, by Terry de Havilland at Derber, £19.99. / Pink plastic bangle, by Adrien Mann, from £1. / Sparkly red heart earrings from £1. Silver fingerless gloves, £3. Both by Brumus.

I would love those Terry de Havilland shoes in my stocking, please!

Illustration by Hazel Gomes.

Scanned from 19 Magazine, December 1975.

Christmas Packaging

1970s, Hair and make-up, Honey Magazine, Inspirational Images, Make-up, Marianne Desnaux, Richard Sharah, Schumi

The whole point of gift-wrapping for Christmas is to make your presents look even more exciting, festive and beautiful than they actually are. Exactly the same principle applies to your face ; it should be packaged carefully for Christmas, in order that it may make a suitably scintillating impression at the festivities at which it is going to be found. And just as packaging for presents grows ever more ambitious year by year, so does it for faces ; no longer will a quick dollop of gold eyeshadow transform you into the belle of the ball. Your own personal Christmas packaging should be like the ones here, a dazzling combination of colour and shine…

Make-up was worked out by Richard Sharah, who’s a genius. “Get the foundation on smoothly,” he says, “and the rest’s easy.” Not totally true, but you know what he means. Hair was by Graham Breakwell from Schumi. He set what was basically a straight bob, with perm curlers, and made the model sleep in them. The result was a totally manageable mop of curls that lasted for days and could apparently be moulded into any shape at all. And the model was Marianne Desnaux, new to the game, and every bit of 15 years old. Her skin’s like a dream, and her recipe for keeping it so is alarmingly simple. “I go to bed early and wash it with soap and water.” But she also said she only wore make-up when she had to. There’s a moral there somewhere. Anyway, happy party going.

Photographed by Graham Hughes.

Scanned from Honey, December 1974.