John Bates

1960s, avengers, avengerswear, David Gittings, diana rigg, emma peel, Inspirational Images, jean varon, john bates, norman eales, Rolf van Brandtzage, the avengers

Scanned from Woman’s Mirror October 30th 1965. Photographed by Norman Eales.

If you follow me on Instagram, you will already have read my tribute to the amazing John Bates, who died on the 5th of June aged 83. Here I have collated a few images of his work designing costumes for Diana Rigg as Emma Peel in her first season in The Avengers, and an accompanying article from Woman’s Mirror, October 1965. I have also updated an earlier post with clearer scans from Woman’s Mirror, May 1966 of a dress which wasn’t officially Avengerswear but being offered as a pattern for readers with a cover photo of Diana in the dress.

“WHEN people say, ‘Oh, she’s the new Avengers girl’ I know that’s not all I am,” says 27-year-old Diana Rigg. “I had a career in the theatre before this and I know I can always go back to it. I hate talking about The Avengers and what I’m like in it and how I differ from Honor Blackman. I would much rather people drew their own conclusions.

“I dread the prospect of all the attachments to being famous. I work here at the studios from seven in the morning until six at night and I feel that should be enough. The thought of being a public personality, opening shops, and not being able to answer the door in my curlers, horrifies me.”

But being the Avengers girl has its advantages. Not the least of them being the prospect of wearing a sizz-ling new wardrobe, designed specially for the series by John Bates of Jean Varon.

“John’s been absolutely smashing,” says Diana. “Like most actresses, I spend a lot of time studying myself for the stage, and so off-stage I tend to the casual. I really have no set ideas about clothes. First of all, John studied my figure, discovered my faults, used them, and made a virtue out of them.

“He’s emphasised my broad shoulders with cutaway necklines. He’s drawn attention to my big hips with hipsters and huge broad belts. I think that this is a far more realistic attitude than designing for some impossible ideal model figure.

“There’s a kind of swinginess about John’s clothes which really makes me move in a special kind of way. And they’re all interchangeable. In different episodes there will be different permutations of the same clothes and ideally, of course, this is just how a woman’s wardrobe should be.

In deference to the American market, which still thinks that leather is the sexiest thing out, Diana has one leather fighting suit. “Of course, leather isn’t sexy at all,” she says, “It’s far too rigid. My other fighting suit is in black, clingy jersey which is far sexier.”

Clingy jersey fighting suits are all very well, but they have to stand up to pretty stiff competition in the shape of some snazzy interchangeables.

In this week’s instalment set in a gloomy Scottish castle, Diana will wear ice-blue lace ensemble with ankle boots, hipster trousers, bare midriff, bra top and modesty jacket. For exploring dungeon and torture chambers, flesh lace catsuit under white chiffon negligee.

There’s no doubt about it. If the clothes are anything to go by, this ABC series of The Avengers is certainly living up to the boast of its associate producer . . “It’s still a kinky show.”

Scanned from John Bates: Fashion Designer by Richard Lester.

Scanned from Woman’s Mirror, 28th May 1966. Photographed by Rolf van Brandtzage.

Scanned from John Bates: Fashion Designer by Richard Lester. Photogrphed by David Gittings.

Scanned from Fashion in the 60s by Barbara Bernard.

Photographed by David Gittings. Scanned from **The Sunday Times Magazine, September 26th 1965**.

Scanned from Woman’s Mirror October 30th 1965.

Pussycat… a John Bates Sizzler

1960s, diana rigg, Donald Silverstein, jean varon, john bates, John Carter, woman's mirror

Even Diana Rigg was knocked out by this John Bates cut-out dress.

(This post was originally from 2011. I have updated it with better quality scans.)

John Bates loves short skirts, money, false eyelashes and Cilla Black. Hates English bras, big busts and any sort of foundation garment.

“Women are funny,” he says. “They heave their breasts up and out with tight padded bras and by the time they’ve finished squeezing everything in or pushing it out, they can look quite terrifying when they take their clothes off. Bras should just lightly cup the breast and tights are better than any girdle. Even the lightest suspender belt marks the skin. It’s muscles that matter – women ought to learn to use them properly.”

John, who is 29, created fashion dynamite with his sizzling clothes for Diana Rigg in The Avengers. He believes that skirts are going to get even shorter and that everyone under 40 should be pinning up hems. He says clothes look best on slim girls, but furnishes his flat with curvaceous statues and pictures of rotund Rubenesque beauties. He makes a lot of his own clothes, thinks that hipsters suit both sexes and most sizes, and always wears them himself. He’s now designing shoes, stockings and planning his new collection as well as designing clothes for men.

“And I always design something special for my mother at Christmas. Last year she set her heart on an Avenger op art fur coat. She’s well over 60 and I said, ‘Honestly love, it won’t suit you,’ but she said, ‘What’s good enough for Diana Rigg is good enough for me.’

“Usually I don’t listen to anybody. I’ve had my years of being told what to do. Now I don’t accept advice from anybody.”

Born in Newcastle, the son of a miner, John started at the bottom. “I’m no art school protégé. I picked up pins, embroidered, did the cleaning and had every rotten job that was going flung at me. I came to London because it’s the only place to work in the rag trade. I got on the train with a Newcastle accent and when I got off at London I’d lost it. I spoke very slowly for a long time, but it’s really the only way to do it.”

John Bates and model photogrphed by John Carter.

Diana Rigg cover photographed by Don Silverstein.

Scanned from Woman’s Mirror, 28th May 1966.

And joy! The magazine’s owner never sent off for the dress (which is sad), but this means that the form is still in tact (which is rather fabulous). Now where’s that time-travelling postbox I keep requesting?

Move in, Move on

1970s, cosmopolitan, Dominique Depalle, interior design, interiors, Michael Boys

Dominique’s bath can be replumbed when she moves; a wall-hanging can be more easily removed than tiles.

You may hate to be tied down by your possessions, but naturally you get attached to them. For a more flexible life-style, learn from Dominique Depalle and choose furnishing that moves where she does.

If you’ve spent longer in France than a weekend, you’ve probably noticed that most French girls have a greater sense of style by the time they are twenty than the rest of us will ever acquire. Instead of always trying to beat those clever ladies in the style stakes—and not quite succeeding — we should swallow our English pride and learn from them. Take Parisian Dominique Depalle, for instance, who has cunningly transformed a drab studio flat—the equivalent of a big-city bedsit or rented flat in a dingy Victorian house—into a warm, feminine home that looks as though it might have cost a fortune, but didn’t, thanks to Dominique’s experience as an antique dealer. She has a sharp eye for spotting bargains in junk. Dominique recently gave up her job in advertising to turn her hobby—collecting antiques—into a full-time occupation. Like Dominique, most girls in their late teens and twenties expect to swop flats, jobs, even cities, several times. Dominique decorates on the sensible principle that if she’s going to move on, she should be able to take all her favourite possessions with her when she goes. There’s not a fitted carpet, built-in cupboard or roll of wallpaper in the place. Dominique chooses every item with infinite care because she knows that each object will last a lifetime… like the Victorian bath, which could easily be transported with the help of a friendly lorry driver, and replumbed in another flat ; the huge tiger wall-hanging, not as practical as tiles, maybe, but then you can’t start taking down the tiles every time you have an altercation with your landlord. A bundle of small objects—baskets, ornaments and framed photographs—will pack easily into a suitcase. And by keeping walls plain wherever she goes, Dominique can be certain that her intricate wall-hangings, pictures and flowery bed-coverings will blend with every setting. Dominique dreams of eventually having a proper house—with a staircase, a loft and a cellar for apples and wine. Meanwhile she longs for adventure in her life and is thinking of going to live in Africa for a few years. If you, like Dominique, get itchy feet after more than a few months in the same place—but still want somewhere pretty to come home to —remember that your possessions should be as mobile as you are.

Photographed by Michael Boys.

Scanned from Cosmopolitan, July 1977.

Favourite objects show off Dominique’s individual style.

With plain walls, flowery fabrics blend in any room.

Dominique sells antiques at work and buys them for a hobby. Evenings at home are spent restoring her miniature replicas of old furniture

Giving you a hand

19 magazine, 1970s, hand tinting, Inspirational Images, james wedge

A double whammy of surrealist collage and his trademark hand-tinting from the wonderful Mr Wedge, this image accompanied an article about hand and nail care.

Photographed by James Wedge.

Scanned from 19 Magazine, April 1972.

You know how good it feels (Part 2)

19 magazine, 1970s, Austin Garritt, barbara hulanicki, Barbara Hulanicki, biba, David Anthony, Deco Inspired, Inspirational Images, interior design, interiors, Jane Goddard, janet reger, Simpson of Piccadilly

As promised, the follow up to yesterday’s post featuring a stunning image of all the prizes which were available in this competition. A satin Biba lounging outfit, Janet Reger underwear and a dozen bottles of Laurent Perrier champagne is probably still my idea of covetable luxury!

Modelled by Jane Goddard.

Photographed by David Anthony.

Scanned from 19 Magazine, July 1974.

Hong Kong

19 magazine, 1970s, Alan Rodin, alice pollock, antony price, barbara hulanicki, Barbara Hulanicki, Bata, biba, Inspirational Images, John Bishop, Jolly and Marsh, lilley and skinner, Norma Moriceau, ravel, stirling cooper, universal witness, van der fransen, Vintage Editorials, yves saint laurent

Palest green Dicel satin blouse with glass buttons, £5.25. Apple green circular skirt in silk and rayon mixture, £8.75. Both from Universal Witness. Green tights by Mary Quant, 75p. Red patent shoes from Yves Saint Laurent, £14.

The look is tarty—and where better to go for background atmosphere than Hong Kong, sinful city of the Orient, perfect setting for saucy ladies of ill-repute. In this rich, bustling East/West meeting point, with its maze of colourful streets and endless shops bursting with tax-free jade, pearls and cameras. one gets the feeling that beyond these elegant facades are hidden opium dens, James Bond intrigues, and seamy Suzie Wong bars. We took the ferry across from Kowloon to Hong Kong and travelled to Aberdeen—a small, picturesque harbour inlet filled with over eight thousand junks and sampans, ornate floating restaurants selling delicious, fresh seafood, and crowded local markets.

Styled by Norma Moriceau.

Photographed by John Bishop.

Scanned from 19 Magazine, July 1971.

The styling and clothes in this editorial (I mean, green tights and red platforms? Swoon!) are something close to flawless. Unlike the copy – which I have still posted as a historical document – and also, possibly, the use of local residents as ‘extras’. I occasionally feel the need to clarify that I don’t necessarily endorse all elements of things I post, but I also don’t think it benefits us to completely censor history – especially when one is creating an archive.

Satin print blouse, from Van Der Fransen, £2. Blue cotton skirt with white print and ruffled dipping hem, by Universal Witness, £7.35. Tights by Mary Quant, 75p. Purple leather sandals, from Bata International, £7. Satin shawl with black fringing, from Van Der Fransen, £5.

White sleeveless Dicel satin dress with large blue flower design, by Universal Witness, £14.70. Apple green mock lizard sandals, by Bally, £6-50. Bracelet from a selection at Jolly and Marsh.

Moss crepe dress by Alice Pollock at Radley, £13.50. Tight by Mary Quant, 75p. Patent wedge sandals by Yves Saint Laurent, £14. Bracelets from a selection at Jolly and Marsh.

White crepe dress with moon print and matching shorts by Antony Price at Stirling Cooper, £10. Ankle strap shoes, from Ravel, £5.99.

Cotton jersey halter-neck top and slit skirt in green and yellow floral print, by Alan Rodin, £5. Navy suede laced sandals, by Lilley and Skinner, £8.95. Bracelet from a selection at Jolly and Marsh.

Black Tricel dress with beige print has cap sleeves and sash tie, by Biba, £8.55. Navy sandals with lacings, by Lilley and Skinner, £8.95. Neckklace from a selection at Kensington Market. Rings are model’s own. Flower from Fogg and Wakefield.

A breath of green

1970s, beauty, belinda bellville, charles jourdan, david bailey, Garrard, Inspirational Images, maudie james, Vogue

The greenest scent of summer—Estee Lauder’s Alliage with hints of marigold, jasmine and muguet, to wear with green chiffon, and Estee Lauder’s new Copper and Bronze Make-up.

Model is Maudie James.

Photographed by David Bailey.

Scanned from Vogue, June 1973.

Daisy lawn chiffon caped over bandeau bra with shoulder straps, blowing into a herbaceous hem. By Bellville Sassoon. Daisy brooch of diamonds and peridot on one ear, £4,400, at Collingwood. Snake bracelets, diamonds and garnet, £3,205, diamonds and emerald, £850, at Garrard. Emerald and gold ring by Arthur King, £1,360, at Blooms. Carved emerald ring surrounded by two rows of diamonds, £1,250 at Michael Fishberg. Round pin in the hair, left, diamonds and sapphires, emeralds and rubies, £950, Cameo Corner. Pale yellow tights, Mary Quant, 40p, Selfridges. Dior sandals, £24, Charles Jourdan

Liberty on the tiles

1970s, bill gibb, Elle, interior design, interiors, James Mortimer, liberty, liberty's, Sarah Campbell, Susan Collier, Vogue

The Countess Emma de Bendern’s dining-room and kitchen, left: Terrace wall and floor tiles to match cotton union curtains, green as green. Paint, Carson’s Grassy green no 7Q. Emma’s dress, a Liberty print Bill Gibb, to order from Elle, her hair cut by Karin of Derek Roe.

Liberty has covered another few indoor acres with flowers and trellis and the acres are acres of tiles made by Fired Earth. Refreshingly pretty as might be expected, with fabrics to match exactly or very nearly. The _project was initiated by the late Blair Pride, co-ordinated by Susan Collier, Liberty’s design consultant, who with Sarah Campbell produced the designs. Here they are in situ.

Photographed by James Mortimer.

Scanned from Vogue, May 1974.

Designer’s Liberty, above. Susan Collier’s Primrose tiled kitchen, the table set for an Easter tea party on matching Primrose Cloud cotton cloth. As her daughter Sophie said : “The kitchen’s so lovely I’m almost jealous of myself.”

The Collier house is Queen Anne, the oldest in Clapham, but the corner room, right, is a Victorian addition, with Kazak tiles, Karabag blind and cushions of luscious Mercury satin from Susan Collier’s Summer Dance Collection. All tiles in Liberty pattern by Fired Earth, 6 or 8 ins square, from £16.50 a sq metre four days delivery, from 102 Portland Rd, W.11. Fabrics from £2.45 a yd, 48 in wide, at Liberty.

City Slickers

19 magazine, 1970s, Antiquarius, Baggage and General, biba, bus stop, clobber, Deco Inspired, Elgee, erica budd, Feathers, gladrags, hollywood clothes shop, Inspirational Images, Jasper, Jean Charles Brosseau, jeff banks, lee bender, Michael Berkofsky, Norma Moriceau, ravel, Shubette, Simon Ellis, Sue Baloo, Sunarama, The Purple Shop, universal witness, van der fransen, Vintage Editorials, wallis

Felt hat. by Jean-Charles Brosseau from Feathers, £5.75 (£5 15s.). Crêpe shirt. by Jeff Banks. £6.30 (6gns.). Natural calico blazer has yellow braid edging and matching shorts, by Wallis, £7.95 (£7 19s.). Tights, by Mary Quant, 75p. (15s.). Artificial flowers from a selection at John Lewis. Photographed at the Purple Shop, Antiquarius, 153 Kings Road, London, S.W.3.

Yves St. Laurent’s ‘Blast From The Past’ award is taken by the blazer. Fashioned a la Dietrich, casual but smart, it looks especially good with shorts, hot-coloured tights and long knee-socks, or pleated skirts. The best choice is plain white, black or red; or hot checks and stripes.

A superb editorial, giving us an insight into the short-lived but legendary Hollywood Clothes Shop and The Purple Shop in Antiquarius (which I feel like I’m regularly crediting in other posts on here) and also designer David Mellor’s shop. It also has the unusual element of every price being given in new and old money – with decimalisation having been introduced in February of the same year. I’m surprised I don’t see this a lot more in editorials from 1971.

Modelled by Sue Baloo

Styled by Norma Moriceau.

Photographed by Michael Berkofsky.

Scanned from 19 Magazine, May 1971.