Scanned from Petticoat, 1st May 1971.
Scanned from Petticoat, 1st May 1971.
At last we’ve reached the bottom – the latest erogenous zone to be limelighted by shiny shorts, skin-tight jumpsuits and all kinds of sexy bum-huggers.
Interesting to note the dual pricing as the UK adjusted to decimalisation, and also that the Radley outfit in the photo below is actually an Ossie Clark design (I’ve seen it pop up with the Ossie for Radley label) but wasn’t properly credited as such.
Photographed by Guy Cross.
Scanned from Honey, March 1971.
The fabrics, the hand embroideries, the ornate but cheap jewels and the colourful clothes which seem so exotic in Western eyes are accepted as ordinary and everyday in Afghanistan; but it takes sophisticated know-how to appreciate and capitalise on the exquisite workmanship involved. Their shaggy coats, sold over here by the thousand, are bargains, especially when you consider how much warm cloth coats cost nowadays, and even though the Afghans have still to perfect a way of treating the skins to stop them smelling. They undersell their goods, having little idea of what they are fetching overseas, and they have no set sizing system. In other words, to make their fashion industry commercially viable it needs organisation and expertise. Margaret Kimber, an English girl who recently spent 18 months in Kabul, proved in a small way that this can be done. She turned her home into a workshop, bought bales of fabric, employed local labour to make up her designs and returned with the clothes shown on these pages. We photographed them in Paris on Shakira Caine, a flawless Indian beauty from Guyana, a former Miss World contestant now married to actor Michael Caine. A model before her marriage, she was the sexy girl in the television coffee-bean ad. A selection of these dresses, all different, ranging in price from £28 to £40, as well as jewellery (examples of these are shown on the cover), are available from Stock, 236 Fulham Road, London SW10, and at 131 High Holborn, WC1. Some of them are shown on these pages. The cushions and wall-hangings are from Mohanjeet, 21 Rue Saint-Sulpice, Paris 6.
By Meriel McCooey.
Photographed by Eva Sereny.
Scanned from The Sunday Times Magazine, 17th March 1974.
Light, bright, plain or pleated, it’s the new way to put colour back into your home and fun into furnishing.
Photographed by Roger Stowell.
Scanned from Over 21 Magazine, April 1979.
It is not often that they auction old knickers at Christies, but earlier this year the celebrated wardrobe of Heather Firbank went under the hammer, and an integral part of the collection was her exquisite underwear. Heather Firbank, sister of the novelist Ronald Firbank, was famous for her unique, occasionally eccentric clothes, and though most of them now belong to the Victoria and Albert Museum, the highest bid for the underclothes came from the lingerie manufacturer Janet Reger and her husband Peter. They made copies of the pieces they bought, and tomorrow they will be on sale from Bottom Drawer, 33 Southwick Street, London W.2, and by mail order. They are expensive, certainly, but unfortunately the luxury of Twenties underwear no longer comes at Twenties prices. All accessories are from Maria Cavallo‘s shop Dignetts, at Antiquarius, King’s Road, London S.W.3.
Model is Linda Dagenais.
Words and styling by Meriel McCooey.
Photographed by Sarah Moon.
Scanned from Sunday Times Magazine, November 17th 1974.
Another in my irregular series of random Ossie Clark sightings in adverts. This time a wrap around Cuddly dress, made from a crinkle pleated crepe with satin trim.
I think the model is Barbara Miller.
Scanned from Cosmopolitan, March 1975.
Showing your colours: Sonia Rykiel for France goes for all the pinks.
Photographed by Francois Lamy.
Scanned from Harpers and Queen, February 1975.
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.
. . . 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.
If fashion revivals keep accelerating at the current rate, last year’s hot-pants are going to be a cult by the end of the decade. Who would have dreamed that a Fifties teenager’s wardrobe would be back in fashion by his late twenties? In 1958 Teddy Boys were practically extinct now crowds of Teds and Rockers cram the Fishmongers Arms at Wood Green to hear rock groups like Screaming Lord Sutch and the Houseshakers (above). There are now an estimated 20,000 revivalist Teddy Boys in England, and the drainpipe-trouser trade is booming. These pictures show some of the clothes that you’ve only just managed to forget.
A new and influential shop in the King’s Road is run by an original Ted called Malcolm McLaren. Walking into Let It Rock is like walking into a flashback from the Fifties. James Dean and Elvis posters line the walls; period showcases are filled with hair-cream, plastic combs and sweetheart lockets; the juke-box belts out some of the best rock ever recorded, and the clothes on sale would be a credit to Gene Vincent, Presley, Eddie Cochran or anyone else who made the recordings. Boxes of 45s and old fan magazines litter the floor next to genuine valve radios with a three-month guarantee.
Designers like Stirling Cooper and Mr Freedom have been manufacturing Fifties-inspired clothes for some time, but Let It Rock is the only shop selling the real thing. This particular revival is so premature that there is still a large amount of the original stock around; dirndl skirts, stiletto-heeled winkle-pickers, cotton sweaters and plastic jewellery, not to mention 12in. drainpipe trousers and jeans, bootlace ties, luminous socks and blue suede shoes. This is the only place where Teds can buy off-the-peg ‘drapes’ — their mid-thigh Edwardian velvet-trimmed jackets. The phenomenon of Let It Rock is that it is situated in the heart of Chelsea, which Teds regard as ‘enemy territory’; now they’re selling to the newly converted ‘natives’.
The clothes in Let It Rock are inspired by two groups, the Teddy Boys (and girls) and Rockers (and birds). According to McLaren, Teds like the updated rock styles, whereas the Rockers, especially the girls, prefer ‘strong’ ideas like the characteristic shaggy mohair sweater-dresses and winklepicker boots. ‘Chelsea people’ go more for the authentic stuff . . . if you endorse a revival, you might as well get the real thing Fashion can thank the Fifties for some of the most unglamorous and unflattering clothes we ever knew. That is what makes their unmodified rebirth so difficult to understand.
I’m not sure I can say much more about Vivienne Westwood’s body of work which hasn’t already been said. I always think the best quality in a designer is idiosyncrasy, and Westwood had that by the truckload. Her work didn’t stagnate, but it often referenced her own past and continued to translate the wider cultural past into her own language – and yet never tried to be anybody else. Given my magazine collection covers mainly the Sixties and Seventies, I thought it best to celebrate her by doing what I do best, which is trying to go back and show you the starting point for the things we just take for granted decades later. The origins of what she’s best known for are ultimately in the Teddy Boy revival of the early Seventies and her work for ‘Let It Rock’ with Malcolm McLaren, and this captures that early spark – despite the fact that they don’t mention her at all.
I’ve also been meaning to scan this for a while so, now seemed like a good time. I mean, Pat Cleveland and Screaming Lord Sutch photographed by Hans Feurer? What more could you ask for?
Report by Valerie Wade.
Photographed by Hans Feurer.
Scanned from The Sunday Times Magazine, May 14th 1972.