Carlos Arias in the 31 Shop

1970s, Carlos Arias, Harvey Nichols, monty coles, Vintage Adverts, Vogue
From his collection for Knitting Inc. comes this fine wool smock dress with Italian quilted crepe bodice.

Photographed by Monty Coles.

Scanned from Vogue, September 15th 1971.

Sylvie Winter in Sweetheart

1970s, Boutiques, british boutique movement, mr freedom, Sweetheart, Vogue

German actress Sylvie Winters (sic) seems to be the new mood of Munich. She buys her clothes from Sweetheart, Leopoldstrasse 54, in the Schwabing/Chelsea district. Sweetheart is run by its two designers; amongst wall-sized posters and giant-sized carrot tins they sell fantasy chiffons and pop satin zip suits.

Sounds like the German version of Mr Freedom! It’s always fascinating to see how far and wide the boutique trend had spread, I just wish there were more photos of the interior.

Photographed by Pat York.

Scanned from Vogue (‘Vogue’s Own Boutique’), September 1971.

Drink to me only in pink champagne

1970s, guy bourdin, Hair and make-up, Inspirational Images, Make-up, Marcel Fenez, Vogue
Now look for evening, mood glamorous, and the colour to watch is rose. Make-up by Heidi Morawetz with Max Factor Truly Fair Whipped Creme Make-up and Natural Rose Face Powder (blended down the neck for an even skin tone); Frosted Dusky Rose Brush-On Blusher on eyelids (with Pink Pearl Shadow Creme along inner corners) and down the cheekbones; Brownish-Black Comb-On Mascara and the dazzle of new Poppy Frost Whipped Creme Lipstick. Hair curled and waved by Guillaume of Mod’s Hair, Paris. Cigar brown dress, in Hurel jersey, Roland Klein at Marcel Fenez, about £42, from Harrods; sizes, colours, other shops, see Stockists. Champagne: Moet et Chandon Dry Imperial Rose, Vintage 1966.

Photographed by Guy Bourdin.

Scanned from Vogue, September 15th 1973.

Patterns of Persian Living

1970s, Ann Turkel, Henry Clarke, Inspirational Images, interior design, interiors, Michael Szell, thea porter, Vogue
Michael Szell in the bedroom of his London flat. The rolls of fabric, his new collection of Persian prints for Thea Porter. The dress, simply one length from the range worn like a caftan.

Michael Szell is the Hungarian fabric designer who is introducing Iran to London via a new collection of designs, taken up by Thea Porter for her romantic and ravishing evening dresses. His own bedroom, opposite, is in rich emerald, turquoise and brown arabesqued linen, cool and grand by day but rich and warm by electric light, with 18th-century Eng-lish paintings and mirrors. His drawing-room, below, is turquoise with brilliant Persian prayer mats colouring the walls, 18th-century English botanical china, and a mixed forest of hyacinth and growing orchids, later bluebells and orchids. Iran runs through Michael Szell’s life like a thread. He began to visit friends and connections there while he was still a child, used every possible holiday to get there while he studied economics at Aberystwyth University, and later when he worked with Sir Nicholas Sekers. His love for Persian ceramics, buildings and woven carpets developed into a passion for early Islamic art in its formal, random, asymmetric period before it came to represent life in the 19th-century : a passion culminating in his opening his own furnishing fabric showrooms at 47 Sloane Avenue. He began selling silk signature scarves to Henri Bendel of New York in 1969 and has just produced his new Persian collection of fabrics. Thea Porter asked him to print his designs onto silk chiffon for her and made them in flowing evening dresses with yards of floating sleeve and skirt.

For the coronation of the Shahanshah and the Empress of Iran, Michael Szell designed curtains, chair-fabrics and an entire state banquet for the Golestan Palace. He has been asked again to help with the decorations for the great October celebrations—the twenty-fifth centenary of the founding of the Persian Empire. He will contribute designs for the interiors of houses and for some of the 500 tents that are planned, with their own marble bathrooms, for the royal and distinguished guests who will take part in the celebrations at Persepolis, the ruined city and ancient capital.

Mr Szell has also been asked to provide the fabrics for all the palace sets in the new Universal film Mary, Queen of Scots, starring Vanessa Redgrave as Mary and Glenda Jackson as Elizabeth. He has an unrealised ambition to produce an absolutely modern collection of very cheap fabrics “from chair covers to plastic shower curtains”.

Model is Ann Turkel.

Photographed by Henry Clarke.

Scanned from Vogue, July 1971.

Midnight blue Persian curlicues on azure silk chiffon. Sleeves dipping to the ground and gathered at the wrists, the bodice fitted, skirt soft and gathered. £78, at Thea Porter, 8 Greek St. Persian necklaces, both pages, from Michael Szell’s own collection.

Kathleen Tynan by Norman Parkinson

barbara daly, Hair and make-up, Kathleen Tynan, norman parkinson, thea porter, Vogue
With her vivid dark blonde hair, shining hazel eyes and pale skin, Mrs Tynan looks marvellous in white: here it’s her Thea Porter dress of white voile embroiderpd in green and bronze. She wears Balenciaga scent Le Dix; the Eau de Toilette during the day, and the scent at night. Some time ago Mr Tynan had made for her a copy of the dress that Garbo wore in As You Desire Me”; a delicious compliment. “I use Hydriane by Dr Payot, powder, mascara and a bit of green eye shadow. Eyeliner in the evening. I’m skinny and I’d like to be fatter, but no one can tell me how. I sometimes exercise at Lotte Berk, but more often don’t, and I like swimming in warm waters.” She loves roses and cornflowers, her favourite restaurant is L’Etoile “for sentimental reasons and because it has the best food in London.” Here, her hair by David of Michaeljohn, her make-up by Barbara Daly.

Kathleen and Kenneth Tynan live in Kensington with their children, Roxana, 5, and Matthew, 2, when they’re not abroad: they’re often either just off or just back – now it’s just back from four weeks in a cottage in Wales. Kathleen Tynan is an excellent journalist, specialising in arts features and interviews, and is working on her first book.

Photographed by Norman Parkinson.

Scanned from Beauty in Vogue, 1973.

What turns summer nights into midsummer evenings?

1970s, anne schaufuss, belinda bellville, Browns, chelsea cobbler, david bailey, Emmanuelle Khanh, Herbert Johnson, Inspirational Images, medusa, pablo and delia, Simone Mirman, Vintage Editorials, Vogue, yves saint laurent
Dress by Medusa. Hat from Herbert Johnson.

This is the moment for evening clothes that feel as delicious as they look… they’re soft voile or fine jersey or crushed muslin, they’re cut out over suntanned backs and arms, they’re crisp cotton printed with cottage curtain flowers, they’re as easy to wear as nightdresses: and some of them are.

Photographed at Lake Windermere and the Beech Hill Hotel, Cartmel Fell.

Photographed by David Bailey.

Scanned from Vogue, July 1972.

Dress to order at Browns. Hat from Simone Mirman. Choker from Arabesque.
Dress by Pablo and Delia at Browns. Hat by Herbert Johnson. Sandals by Richard Smith at The Chelsea Cobbler.
Clothes by Emmanuelle Khanh. Hat by Saint Laurent Rive Gauche.
Dress by Bellville Sassoon.

Hair Now

1970s, Ara Gallant, avedon, hair, Hair and make-up, Halston, Inspirational Images, Make-up, Susan Forrestal, Vogue

Hair by Ara Gallant, featuring an innovative ‘long-short’ haircut, styled here in a centre-parted frame of soft waves and tendrils.

Model is Susan Forrestal. Make-up by Ultima 11.

Over-sized shirt by Halston. Earrings by Bulgari-Danaos.

Photographed by Avedon.

Scanned from Beauty in Vogue, 1973.

Breathing the Scent of Sandalwood

1970s, barry lategan, Hair and make-up, Inspirational Images, Make-up, Vogue

The most beautiful, painterly composition and harmony between model, background, accessories and make-up. Sadly there’s no credit given for the beautiful choker or chiffon cape.

Edited to add model is Chandrika Angadi.

Hair by Oliver at Leonard.

Photographed by Barry Lategan.

Scanned from Beauty in Vogue, 1970/71.

Back to the Drawing Board

1970s, Antonio, Bellini, bill gibb, countdown, Frances Vaughan, Illustrations, Kaffe Fassett, Lady Fingers, Vogue
Man’s smoke-grey kimono knitted in oriental patterns, rivers and islands fading up sleeves and hem, black to charcoal, ginger to peach. Stripe sash. 30 gns. Child’s plum red tunic in diamond design, purple and pale blue all over, violet and khaki, rose pink and blue on the edge. 5 gns. Woman’s long black kimono with a sky of blue and ginger stars, giant satellites of black, dark brown, plum red and violet circling. Black and grey stripe sash. 30 gns. All by Kaffe Fassett at Beatrice Bellini, 11 West Halkin St.

Fashion constantly starts afresh and now it has travelled far back into the imagination, retuned to the basics of craft and design. Grass roots is the mood for this summer and the look is handwoven, hand painted, handknitted, handstitched. Here is how appliqué was recreated and a shepherd’s smock came in from the fields. How lace came to be painted with butterflies and sewn onto tartan, how knitting grew into something remarkably new.

Illustrations by Antonio

Scanned from Vogue, July 1970.

Peach and green tartan tweed. all set about and frilled with cotton lace tie dyed in the same summer pastels. A long and willowy suit with a long and willowy knife-pleated skirt. By Bill Gibb at Baccarat.
Long peach and golden tie dyed smock of lace, one beautiful big butterfly handpainted on the yoke. And a dress of natural linen billowing yard upon yard. threads drawn out by hand, panels of lace sewn in. All by Bill Gibb at Baccarat. Cotton lace tied and dyed by Valerie Irving. Apron and cap crocheted in string by Kaffe Fassett.
Natural linen shepherd’s smock and trousers. No boyangs but all traditional stuff with thick embroidery, smocking stitch, lazy daisies and paisleys almost everywhere. By Lady Fingers, 50 gns, to order, Countdown
Long grassy gingham dress and a long white cotton apron, pretty as a picture, sewn with birds and hedgerows, greens, pinks, deep dark blues. About 12 gns, 7 gns, to order, Frances Vaughan, 3 Munroe Terrace, S.W.10.

Jeanz Meanz

1970s, Boston-151, caroline arber, Electric Fittings, Emmerton and Lambert, Inspirational Images, Jigsaw, Kansai Yamamoto, Landlubber, margit brandt, mary quant, mr freedom, South Sea Bubble, The Westerner, Vintage Editorials, Vogue, Wild Mustang Co.
Properly faded blue jeans at Emmerton and Lambert. Bright red braces at Mr Freedom. T-shirt by Kansai Yamamoto at Boston-151. Cowboy boots at The Westerner.

Jeanz Meanz summertime, anytime, new blues, faded blues, long legs, a look that’s sexy, tough, goes with workshirt or Saint Laurent blazer, a bright old idea that began with the Gold Rush and just keeps on looking great…

Photographed by Caroline Arber.

Scanned from Vogue, July 1971.

Blue jeans and cotton battle shirt by Jigsaw. Blue cotton singlet, Boston-151. Brown suede boots by Mary Quant.
Mid blue cotton jeans by South Sea Bubble. Stripe vest, Margit Brandt for Scorpio. / Thick brushed denim jeans from Wild Mustang at Take Six. Tartan shirt by Electric Fittings.
Denim blue jeans by Landlubber. Plaid shirt by Electric Fittings. Leather boots from Mr Freedom.