Sandie Shaw Boutique

1960s, cathy mcgowan, celebrity boutiques, jeff banks, personal collection, sandie shaw, twiggy

The other day I promised to show my Sandie Shaw dress. It’s a navy wool crepe with a very nifty little double layered collar (the top layer being in white moss crepe).

I can’t promise this will be a terribly long or informative blog post, because there’s so little information out there about the label. It opened in 1967 and, needless to say, Sandie didn’t design the dresses and shoes (although she had full ‘approval’). I suspect it didn’t last very long, much like Twiggy and Cathy McGowan’s boutique labels. Perhaps there was deemed a conflict of interests when she married designer Jeff Banks in 1968?

Sandie opening her boutique in 1967


I will make Sandie one of my Fashion Icons at some point, whereupon I shall write more comprehensively (if I ever do such a thing) about her and her style. But if any of you are not familiar with our girl, I should probably tell you that her trademark was to sing barefoot. So much was made of the fact that her label was producing shoes!

The images have been taken from footage shown in the BBC’s Queens of Pop programme.



Yes Sandie, I’d be grimacing if they put me in a wig like that!


A screengrab cannot truly capture the seriously groovy Sixties dancing going on at this point.




Ouch, bunions ahoy!

Tribute to Yves Saint Laurent in Shoe Form

1970s, personal collection, platforms, shoes, yves saint laurent

By way of a little tribute, here are two of my favourite pairs of shoes….both by YSL.


Firstly the [faux I think] snakeskin peeptoes I wore to the Sex and the City film, coincidentally on the night he passed away.



Secondly, the black patent peeptoes with red platform soles and heels. Which I wore with my black and red striped Biba dress to the Scissor Sisters gig last summer.

Emmapeel… dress

1960s, alun hughes, avengers, avengerswear, diana rigg, emma peel, eye candy, john bates, personal collection, vintage fangirl squee

I alluded, in an earlier post, to having recently acquired an original Avengerswear piece. Now before you go getting too excited on my behalf (because, you know, I imagine you would…..), it’s not a John Bates one. That remains my holy grail of collecting…

Diana and Alun

In the first colour season of The Avengers, Alun Hughes took over from John Bates as costume designer. Although strictly speaking Bates was never the costume designer per se, he simply provided Mrs Peel with a fully equipped working mod-girl wardrobe. Which would be used in various ways by the designer and whoever else happened to be making such decisions. Explaining why so many fabulous outfits, in which Diana Rigg was heavily photographed for publicity, made only brief appearances – if at all.

The colour episodes had been intended to be designed in a similar ‘working wardrobe’ manner by Pierre Cardin, who was already creating Steed’s very elegant suits [Shocking! A Frenchman designing our beloved Avengers? Whatever next??], but he was unable to complete the task and Hughes was brought on board as designer instead. Unfortunately I know very little about the man himself, but it would seem he actually was a costume designer rather than a fashion designer like Bates or Cardin. With the new colour format, and the strong overseas interest in the show, Hughes had new challenges to those of Bates with the black and white. He attacked it with gusto, using vivid colours, prints and playing with new synthetic fabrics. There’s also the varied influences, reflecting the ever-changing fashion scene of the time. We still have space-age cut-outs and skin tight gear, but also feathers and psychedelic silks. The look is more way-out, and more feminine than ever. He also invented the Emmapeeler, which was a more ‘Pop’ take on the leather and pvc catsuits of the earlier series.

“Don’t diss my mustard emmapeelers!”

As with Bates, and Frederick Starke before him, an Avengerswear range of clothes was produced and licensed out to different manufacturers and shops. Unlike Bates, whose Avengerswear collection was largely complete replicas of the Mrs Peel-worn originals, Hughes’ designs were used as templates for a wider range of colours and styles. Most items were produced in different colourways to the one seen on screen, again unlike Bates who was largely working in black and white anyway, and it would also seem that some items were produced in different lengths.

This stunning moire patterned velvet dress is clearly the same design as the one she wears in Return Of The Cybernauts. Emma’s is black (or perhaps dark green, it’s difficult to tell with early colour television) and a mini. Mine is purple and a maxi length. Nevertheless, it’s my first – and possibly only piece of Hughes’ Avengerswear and I feel very honoured to now have it in my possession.

Mad About The Dress

1970s, biba, eye candy, man about the house, moss crepe, personal collection, vintage fangirl squee

The lovely Sharon Rose suggested I post more pictures of myself in some of my favourite frocks. Now in theory, that is a lovely idea. In reality, I fear cameras greatly unless I am properly prepared with a shovel-load of make-up and good lighting. Which is why so few photos of me are allowed out into the great world wide web.

However, I decided to post a photo of myself in one of my favourite Biba dresses….nay, one of my favourite dresses period. Mainly because I was completely delighted to see this dress, albeit in pale yellow rather than red moss crepe, worn by the fabulous Paula Wilcox as Chrissie in Man About The House (remade as Three’s Company in the US). I was less delighted to see she ‘fills’ it rather better than I do, but then again…..mine is so teeny tiny I couldn’t fit much more in it anyway! Small boobs can be very handy when it comes to Biba clothes…..

The sleeves are my favourite bit, they’re gigantic (not the biggest though, I think my Bill Gibb takes that particular biscuit) and have a very deep buttoned cuff, which gives a delightful swag. Honestly, this has to be one of my top ten favourite dresses in my closet……

Perhaps at a later date I will post a picture of me in the Jean Varon dress her flatmate Jo is also wearing in this particular episode! Yes, I have both dresses!

Little Miss Hornby and a gap now filled

1960s, british boutique movement, celebrity boutiques, eye candy, personal collection, twiggy, vintage fangirl squee

As many of you know from reading my blog and my website, I’m quite a keen collector as well as a seller. Together with the fact that I love wearing British Boutique-era clothing as well, it’s a wonder I ever sell anything. But thankfully, for you, I do and I don’t hold back the good stuff either. But occasionally, with something magnificent and as yet unrepresented in my collection, I do decide to buy something for myself and myself alone. It’s my ambition to have a representative collection of British Boutique designers and boutiques, some designers I will always have more than others because I have more of an interest in their career. But for some, one representative piece is all I can possibly hope for (or even afford). Like Thea Porter, or Bill Gibb…….or now, Twiggy.

Twiggy’s own label started in 1966, designed by RCA graduates Pam Proctor and Paul Babb, as one of the many ways in which Twiggy and her manager/boyfriend Justin De Villeneuve could utilize her fame and bankability. Twiggy was eager to be involved in the entire process of the clothes production, as a keen home dressmaker and frustrated designer herself, and this means that it was perhaps one of the better made and most genuinely stylish celebrity boutique labels of the time. Originally the idea had been mooted by Berkertex, but when Twiggy realised they were simply wanting to put her name on an existing range of clothes with no input by her, she turned to the Taramina Textiles firm. Smaller but happy to leave the creative decisions to the Twiggy camp and the two designers.

“We made sure the dresses were really good and they were all things that I would be happy to wear. I still think it was a very good, young collection of clothes–cat-suits, print shifts gathered under the bust, Bermuda-length jump suits, shirt dresses with long pointed collars, jersey culotte dresses, a pinstripe gangster style trouser suit–and all for between six and twelve guineas.” Twiggy by Twiggy (p51)

The launch was promoted by Twiggy’s only catwalk appearance and photographs taken by the legendary Barry Lategan.

Sadly, the small British manufacturers behind the label were unable to keep up with the demand the Twiggy line had produced in both Europe and the USA and the line eventually folded by the end of the decade. This leaves the label as one of the rarest and most highly sought after boutique brands of the time, due to the iconic status of Twiggy and the brevity of its existence.

I was overjoyed to finally get me a piece of Twiggy’s range, it had been a glaring hole in my collection so far. Then a few days later, I was sorting out my image files on my computer and found these photos of Twiggy actually wearing the dress in question. Unfortunately it does show me that the sleeves have been hacked off at some point…..but honestly, I care not! I have photos of Twiggy in my dress and as any regular readers will know, I’m slightly obsessed with original photos and particularly of the designers in or with the garments in question.

Don’t mind me, I’m just doing a little happy dance here!

Katy and Crowthers

1970s, british boutique movement, doctor who, doctor who companion fashion, personal collection, vintage fangirl squee
Katy and Crowthers
Now I’ve managed to get my pesky scanner to start working again, I hope to get back on track blogging for you a lot more than I have been of late. Oh, and listing more gorgeous items too of course! But I must admit I often become absorbed by the piles and piles of magazines and photos I’ve accumulated and keep meaning to show and tell for you all.

I remembered I had finally got around to photographing a piece in my private collection (wonders will never cease!) which is a superb example of why labels aren’t always important to a collector.

I had often wondered who designed the dress I’d seen worn in a tiny publicity photo of Katy Manning (Jo Grant in Doctor Who: the companion who seemed to live and breathe the Biba Girl ideal). Eventually I saw the dress by chance on eBay one day and noted it was by the lesser known boutique Crowthers, who were in the habit of some very nifty Ossie and Biba knock-offs (but then, who wasn’t at that time?). I put it on my watch list, safe in the knowledge that no one knew what it was, it wasn’t a big name label and was unlikely to go out of my price range. Well, I was wrong. I think people just fell in love with its boutique-y gorgeousness, I’m fairly certain no one else was geeky enough to know about Katy wearing it.

Katy and Crowthers

So I sulked. For a bit. Well, maybe more than a bit. [Shhhh!! Don’t tell anyone how much of a brat Miss Peelpants can be when she’s thwarted!] But now armed with the knowledge that it was by Crowthers, I could keep looking for it and hope that lightning might strike twice. And – thank heavens – it did. Plus, courtesy of a good Doctor Who-fan-friend of mine, I was also able to nab a higher res. image of Katy wearing it. Hurrah!!

Katy and Crowthers

Jean Varon frocks turn up in the funniest places…..

1960s, british boutique movement, eye candy, john bates, personal collection, vintage fangirl squee

 
Well, admittedly it’s mainly on Seventies sitcoms and light entertainment shows (John Bates really was dressing the masses at one point in the early Seventies) which are only funny places in that….well, they’re funny ‘ha ha’ rather than funny weird.
But I was amused to find one of my favourite Sixties Varons in a bra advert of all places. Demonstrating how this bra was perfect for low cut dresses such as this one.
Well no amount of industrial boob-hoicking and padding could give me the kind of cleavage they’re promising (trust me, I’ve tried on this dress many times and realised I just don’t have John Bates’ ideal boobs….much like Diana Rigg apparently!) but it’s still nice to see it being worn, albeit in a very revealing way!
P.S Please excuse the terrible photo of the dress on the left….it’s about time I overhauled my collection photographs!

John Bates Exhibition

1960s, british boutique movement, jean varon, john bates, personal collection

*pinches self*

Is it? Is it still true? Did I really meet my all time favourite designer yesterday afternoon?? I think I did…

Wow.

Considering I was a bit of a wreck to start with, he handled me remarkably well! He was
very debonair, very charming to talk to and generally didn’t disappoint me at all. It can be a bit of a let-down when one meets one’s idols and I was worried about even introducing myself for fear of appearing to be a muppet (which I’m sure I did) and that he might not be what I was expecting. I needn’t have worried!

Of course I get home and all sorts of things pop into my head, so many things I wanted to ask him and better answers about my collection. But such is life, and I’m so honoured to have met him!

V&A’s Swinging Sixties Exhibition

1960s, annacat, british boutique movement, carnaby street, cathy mcgowan, gerald mccann, jean varon, john bates, john stephen, personal collection, pussy galore, victoria and albert museum

Since I’m distinctly unimpressed with the myspace blog facility, I thought I’d repost my images from the V&A Swinging Sixties Exhibition over here. The John Bates exhibition opens on the 13th July so I shall attempt to get photos of that too.

Pussy Galore of Carnaby Street

Gerald McCann mini dress with peter pan collar

John Bates for Jean Varon White PVC mini dress

Annacat Pink Velvet Mini dress

John Stephen of Carnaby Street Psychedelic Mob Cap

Cathy McGowan’s Boutique Pink and Purple Suede shoes

Foale and Tuffin

1960s, barbara hulanicki, british boutique movement, carnaby street, Foale and Tuffin, gerald mccann, john bates, mary quant, personal collection, yves saint laurent

What baffles me is the inverse ratio between the rarity of Foale and Tuffin, and the prices they command. I think Marion Foale and Sally Tuffin were arguably a greater talent than Mary Quant. And they certainly knew when to call it quits and draw back gracefully from the fashion world (they both ‘retired’ in 1973 to spend more time with their families). Licensing? They wouldn’t have dreamed of it. Yes, MQ, I’m looking at you in your waterproof poncho – don’t think I can’t see you! 😉

Their early work was vibrant, youthful, fun and always exquisitely tailored. They originated trouser suits for women (yet another creative theft by Yves Saint Laurent ensured they rarely get credited for this – more rantings on him some other time…), used the ‘op art’ trend in a quirky way (rather like my other passion, John Bates) and helped build the Carnaby Street image – the driving force behind the emergence of Britain as a world leader in fashion.

They moved easily into the softer look of the late 60s and early 70s, continuing to favour Liberty prints and did all sorts of lovely frilled and flared things. In retrospect, their decision to quit in 1973 seems really rather intelligent. The mid-late 70s saw the crash and burn phenomenon of so many designers, Ossie Clark and Barbara Hulanicki at Biba being the most notable casualties. So they got out at the right time.

Their work is fairly rare. Goodness only knows why, you can hardly miss the label! They were a popular fixture in Vogue and a big part of the Youthquake British Invasion of the USA in 1965.

Two Foales from my private collection. 1963 and 1965 respectively.

However, in recent months (after loudly bemoaning the non-existence of ANY F&T pieces in my personal collection) I seem to have accumulated a nice little collection of their work. I still sit here, look at the frocks and think; “How the HECK did I manage that?”. I have my limits as to how much I will pay for pieces for my collection, it’s just that the prices have been shockingly low for what they are. Even the recent Kerry Taylor auctions sale for Sothebys sold two Foale and Tuffin frocks (early 70s) for the opening bid of £100. I recall one of the major US auction houses sold two Foales not that long ago for a similar price.

So, while I can’t complain on a personal level that the prices aren’t really reflecting the rarity and beauty of their work – it does seem utterly wrong. Mary Quant’s work is fairly cheap these days – especially considering her cultural importance. But F&T didn’t license their names to death. So in reality, they should be making a whole lot more.

Just a little rant. I feel much the same way about Gerald McCann. I guess I’ll just have to keep collecting these labels rather than selling them! *sigh*