. . . 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.
One thing that designer Antony Price really understands is pattern cutting : “I can think of a shape and create an optical illusion — people’s figures don’t change, clothes make figures.” Price, who designed all these clothes, wants women now to start looking artificially female, but “in a sumptuous way — this time it’s bosoms, hips and tiny waists”. He admits to being influenced by the Fifties and his ex-showgirl sister who lives in Miami and looks like his idol Jayne Mansfield. “The Fifties were less extreme, taste was incorporated into everything.” He wants shoes tall and dangerous like his own cowboy boots, but insists that his clothes (available direct or mail order from Che Guevara, 23 Kensington High St, W8) are comfortable. “What’s more comfortable than swimming costume tops?”
So, so good. Model, designer and photographer are the most perfect combination. It even has Manolo Blahnik shoes for good measure.
Model is Gala Mitchell.
Story by Valerie Wade.
Photographed by Karl Stoecker
Scanned from The Sunday Times Magazine, February 13th 1972.
OSSIE CLARK, twenty-nine, designs clothes that would be right up the street for the woman whose profession is the oldest in the world. There’s nothing Woman’s Lib. here, thank you. His twelfth collection is outlandishly, gloriously and candidly tarty. But tarty in the ’40s and early ’50s sense of dressing: brazen, glamorous, passion-ately female. The cut of the clothes is masterful. The old black magic is there. Jazzy sequins. Star insets. High wedge heels. Ankle straps. Bias cut crepe. Oodles of pleats. Blowsy tulips and full-blown poppy prints. Plus black, and lots of it. You name it—it’s there, superbly executed.
Fabrics include new prints on marocain by Ossie’s wife, Celia Birtwell. Hairdos evoke memories of Rita Hayworth & Co. And contours are as they should be: breasts (bra-less), waists, hips and bottoms are all back in their rightful place — and proud of it. Ossie’s new clothes are as scarlet womanish as they are beautiful and witty. When you wear them you automatically adopt a Monroe wiggle.
Top price for a frock from his collection is £150, but around a fiver will buy you a printed crepe shirt. You may not be able to take this look seriously — but it will probably influence the way you dress next season. For Ossie’s secret as a designer is that his tarty vamps keep chic and never look cheap, jaded, or just plain common.
Photographed here are a selection of Ossie’s new clothes.
All enquiries for stockists and prices to Quorum Wholesale, 6 Burnsall Street, SW3.
Modelled by Kari-Ann Muller.
Hair by Richard at Maximillian.
Shoes by Manolo Blahnik for Zapata, 49 Old Church Street, SW3, from £17.75.
Photographed by Peter Rand.
Scanned from Flair, August 1971.
Clothes available from Sheridan Barnett and Sheilagh Brown.
Shoes available from Zapata.
Jewellery available from The Purple Shop.
Model is Gael McKay.
Make-up and styling by Yvonne Gold.
Photographed by Neil Kirk.
Scanned from Ritz, no.15 1978.
more of it, less of it, what there is of it, frilled.
Preview of new white shapes you’ll be seeing when the sun’s hot: all cut out, cropped or split, beginning with flamenco frills piped in with red.
Well, it may not be May any more but this editorial feels perfect for the current weather. And those Manolo Blahnik for Zapata shoes? Pass the smelling salts…
Hair by John at Leonard.
Photographed at the Serpentine Gallery, Kensington Gardens
Photographed by Peter Knapp.
Scanned from Vogue, May 1972.
A 19 SPECIAL PREVIEW OF AN EXCITING DESIGNER’S COLLECTION
Sheridan Barnett, pictured above, is the young designer who gave Coopers such a good look and who has now joined the Quorum label, with Ossie Clark and Alice Pollock. At twenty-six, he has established himself as the most exciting designer in London, with a fabulous first collection for Quorum that left them clapping in the aisles. Women’s Wear Daily, the fashion bible of America, devoted an entire double-page spread to his collection, previously unheard of for an English designer. He designs with his girlfriend, a ballet dancer, in mind, and ladies like Grace Coddington, model Eija and Liza Minnelli: “Girls who are individual and chic, interesting, attractive and with oomph . .” and likes them to look alluring, classy and sexy. At the moment, his clothes are expensive but we are hopeful that, later on, they will be available in the cheaper Radley range as Ossie Clark’s clothes are. Meanwhile look out for similar lines.
My slightly belated tribute to the great Sheridan Barnett, who died in November. He is one of those many British designers of the time whose work doesn’t really get the attention he deserves; as you can see here his tailoring was exquisite.
All clothes by Sheridan Barnett at Quorum.
Shoes by Zapata. Hats by Digby Howard.
Hair by Ricci Burns.
Photographed by Harri Peccinotti.
Scanned from 19 Magazine, September 1973.
That’s what you’ll be in the latest Fifties-style suits and dresses.
Photographed by Peccinotti.
Scanned from 19 Magazine, September 1973.
Patricia Roberts designs exclusive hand knits worn by the famous and sold in the most prestigious fashion boutiques in Europe and America.
In 1976 she opened a knitting shop at 60 Kinnerton Street, London S.W.1., selling her own brand of hand knitting wools called “Woollybear Yarns”.
Such was the success of these pure natural yarns dyed in beautiful flattering colours, that buyers from prestige storesthroughout the country were quick to include them in their ranges.
1978 sees the first of Patricia’s magazines to be published independently. All the designs are knitted in Patricia’s “Woollybear Yarns”.
For the first time knitters will have the opportunity to knit these patterns in the luxurious and inexpensive yarns, for which Patricia’s designs are intended.
Happy Knitting!
Possibly some of the loveliest photographs I have ever seen in a knitting pattern booklet, but perhaps unsurprising given the designer is Patricia Roberts and the photographer Rolph Gobits.
Art Direction by Desmond Serjeant.
Hair by Smile.
Make-up by Mary Vango.
Models: Joanna Jacobs, Kelly, Jane Rochelle, Kevin Hand, Helmut.
Photographed by Rolph Gobits.
Scanned from Patricia Roberts Knitting Patterns, 1978.
The incredible swagger is back. We all know you’ve seen it before, hidden away in mother’s wardrobe, but forget the mothball version and look out for bold stripes, zig-zags and checks in bright primary colours. The difference is that these coats have neat tight-fitting shoulders and wide swirling skirts which swing when you walk-surprisingly flattering and easy to wear. So let the wind blow, all you need is a flash of panache and a splash of colour.
Photographed by Denis Peel.
Scanned from Honey, October 1971.
Liz Eggleston 