Photographed by Barry Lategan.
Scanned from Vogue, December 1974.
Reassess these assets—lips, cheeks, nails—strike a whole new balance, have a Red Letter Day … Here, with Estee Lauder’s new make-up.
Hair coloured by Daniel, arranged by Oliver, both at Leonard.
Make-up by Barbara Daly.
Photographed by Norman Parkinson.
Scanned from Vogue, September 1st 1974.
Model is Moyra Swan.
Scanned from Vogue, 15th March 1978.
Softest summer face, swanlike, by Barbara Hulanicki of Biba, with new China Dll Foundation No 2 and No 1 around the eyes and nose, Peach Translucent Loose Powder and Peach Contour Powder blushing the cheeks. On the eyes: Peach Powder Tint, Honey Water Colour as an eyeliner and on the brows, and Brown Roll-On Mascara. On the lips: Peach Lip Colour. In the air: Biba Cologne. Cosmetics at Biba and Dorothy Perkins. Peach maribou jacket, crepe turban, both by Biba; hair tucked away by John of Leonard.
Photographed by Sarah Moon.
Scanned from Beauty in Vogue, Summer 1972.
Barbara Daly for Revlon: inspired by Revlon’s Seaglass colours, she changed the shape of this summer’s face – bringing the focus between the brows with Sky Violet Shiny Eye Shadow in a Jar and Plum Shine Eye Gleamer; Charcoal Plum Brush-on Mascara on the lashes. Colour carried on to the cheeks with Luminesque Plum Cream Blusher, the rest of the skin paled with Creamy Ivory Touch & Glow Face Powder. On the lips: Seaglass Copper and Seaglass Topaz. The scent? Intimate of course, to match the pure silk satin bed jacket from The White House, New Bond St. Silver grey skull-cap by Titfers; hair hidden by John of Leonard.
Model is Susan Moncur.
Photographed by Barry Lategan.
Scanned from Beauty in Vogue, Summer 1972.
“Art mystification is finished. We don’t like artists’ categories. We are painters, and we have chosen fashion because it is a very, very lively manifestation, and we want to make free things, to create all the possibilities, in the language of fashion.” Pablo and Delia, looking like creatures of Bavarian fantasy, made to live in Mad Ludwig’s castles, come, in fact, all smiles, irrepressible, from Argentina. “But what we do is not necessary there,” so they have wandered through Paris, New York and now London, with their vision of a splendoured exotic world, inhabited by “caricature people”. They make belts and bags of imaginary land-scapes, rainbow-coloured shoes and leathers. They met at art school in Buenos Aires, and were doing environments, which Laurence Alloway praised, of craters and clouds, stars and flowers and girl astronauts. They started an underground fashion magazine, which must have been very much the first of its kind, and plan to do the same here in London. They are craftsmen, “If you can’t make with your hands what you want, you must be an industrial manufacturer, and that’s bad for your face —you lose it.” They are, as they say in Spanish, very “yiyish”. “That means,” says Pablo with a smile, “very groovy.”
Model is Grace Coddington.
Illustration by Delia and Pablo.
Photographed by Barry Lategan.
Scanned from Vogue, April 1st 1970.
Hit looks from Bill Gibb: fashion on the drawing-room stage starring net and ribbons and flowers.
Photographed by Barry Lategan.
Scanned from Vogue, March 15th 1977.
Photographed by Guy Bourdin for Charles Jourdan.
Scanned from Vogue, 15th March 1978.
If you have never felt silk next to your skin, Berlei recreates that sensuous feel with a new range of bras called Light Touch. They are made in a luxurious material, Qiana. Silkier than silk, Light Touch gives you that ’30’s feeling; soft, saucy and sure. Price’s candles echo that mood beautifully, with their subtle, caressing light shimmering around you.
A stunner of an advertorial, sadly with no photographer credit, for Berlei bras with a stunning Seventies-does-Deco aesthetic. Which, in turn, signposts something rather more familiar from later Seventies into Eighties imagery. Whoever this photographer was, I think they were very ahead of the curve (if you’ll pardon the pun!).
Scanned from Vogue, October 1st 1973.
Mickey Mouse is an obsession of Michael Chow, figuring five times, in cast iron, in Chinese rug work, in china, in tin, and even in abstract—Oldenberg’s sculpture in front of the desk. Michael, who runs five restaurants and one club in London, and is opening a restaurant in Los Angeles, is a compulsive collector. His office in a studio flat in Knightsbridge contains a splendid Art Deco desk on a platform, an Art Nouveau rug, two Richard Smiths, and a Robyn Denny, all bathed in Mozart and Bach, with windows opening on to a flower-filled verandah. “It’s a thinking office more than a working office. I sit at the desk and toss a coin for where I’ll go to lunch.” Michael and Tina Lutz were married recently. Tina is wearing an orchid pink mushroom pleat Fortuny bought at a Christie’s sale.
“It’s a photograph dress, not a wearing dress,” says Michael Chow. “And that reminds me of a story. This man sold a thousand tins of sardines, and the buyer rang him up and said, ‘I’ve just eaten one of your sardines. It was disgusting,’ and this man said, `You fool, they weren’t eating sardines, they were buying and selling sardines.’ “
Photographed by Barry Lategan.
Scanned from Vogue, October 15th 1973.
Liz Eggleston 