Remember those Joan Crawford, Bette Davis, Hollywood weepies where men were heroes and women were fluttery, feminine creatures who stayed at home, controlling the tremble in their lower lips when the boys went off to war? Well, the best of the Joan Crawford era has finally hit town, and few designers have caught on to the ‘Forties look as successfully as Sheridan Barnett of Tony Berkeley. A talented twenty-three-year-old, he is one of the newest designers to emerge in London. He obviously likes women to be women as his clothes are beautifully cut and styled and are entirely feminine. He has a keen eye for line and simple detail which he carries through in his choice of fabric. All the dresses photographed (available from the Way In at Harrods) are in Tricel and show how important shape has become again. The clothes are seductive with the emphasis on simplicity and style …
Following Gaudi’s thought “to be original, return to the origin”, following it down to Lacock Abbey in Wiltshire where William Fox Talbot invented the camera, Norman Parkinson photographed eight dresses conjured from pure air and gauze.
This is like an album where every song is a certified banger. From the model, to the frocks, to the photographer, to the photographer he’s referencing, everything is flawless. Except that I don’t own all these dresses.
Spring is a story of air spun with flowers – voile light as veils – with veil upon voile. Lyrical layers of patterns together. Bewitching play of light and limb – a gentle illusion to see through – or not – the legs veiled in trousers quite sheer, skirts long and then suddenly short at one side, a flurry of leg through the frills and the flowers. Mary Quant played Pied Piper to the young in the sixties, now she designs to the heart of the new mood with her prettiest collection in years.
The look created by Gil, Max Factor’s magician, was inspired by a dress called Smoke by Gerard Pipart for Nina Ricci. A sinuous wisp of gunmetal satin, a series of bias cut panels sweeping to the floor. The nightshade eyes, shining, heavy lidded in a face pale as moonglow, and startled by a rich, dark mouth.
Modeled by Ingrid Boulting
Photographed by David Bailey.
Scanned by Miss Peelpants from Vogue, September 1970.
Think of the simple little suit, the kind that’s made up of swing skirt, sporty jacket, silk shirt, and you think of Emcar. Colours are fresh, always of the moment, fabrics the nicest to wear – flannels, smooth worsteds, good tweeds, crisp cottons. Each piece of each look is well cut, simply detailed. The total effect relaxed and happy, all together but naturally so. This is Emcar’s famous versatile coordinating idea – mix and match looks that you buy as a whole or collect piece by piece. Now they’ve added a new dimension to their collection – pretty and feminine special occasion dresses designed by their young new designer Kathy Welch. Her ides range from creamy lace dresses with matching trousers, to Liberty print part looks like the one here, from satin kimono jackets with bra top an baggy trousers to beautifully sleeved dresses – some smooth lined and silky with bouffant sleeves, others gathered and off the shoulder in Liberty prints, with puff sleeve and swirling deep hems.
Marion Foale (left) and Sally Tuffin in their boutique.
Foale and Tuffin Ltd
1 Marlborough Court W1
Marion Foale and Sally Tuffin spent three years designing clothes under their own label before opening the Foale and Tuffin boutique in 1965. Their designs, often based on history, are still sold to other stores and boutiques in Britain and they export to the U.S. and Europe as well. They design for a relaxed way of life and make clothes they or their friends could wear.
The Daily Telegraph Magazine, July 17th 1970
Photos by Duffy.
Chiffon blouse, £7, and three matching skirts, £7 each.
Printed cotton dress, £12 10s. Hair by Vidal Sassoon.