Hats on both models by Kangol. Sequins stuck on by hand. Knitted silver lurex halterneck top by Erica Budd. Fox fur cape from Essences at Antiquarius. Black leather gloves by F. G. Shave. Knitted silver lurex wrap over cardigan by Erica Budd. Fox muffler as before. Black leather gloves from Moss Bros. Black and glass beaded pendant necklace from a selection at Marie Middleton at Chelsea Antique Market.
Black and silver are this year’s popular Christmas colours. Sweaters are in silver lurex striped in black, black wool flecked with silver and endless other combinations. Shapes are halter-necks, dolmans, or little wrap-over cardigans – almost any shape will do. Accessories are bright and glittery. Add touches, like sticking sequins on your hats, and shoes, and you’re all set to outshine the fairylights.
Photographed by Christian Laroque.
Scanned from 19 Magazine, December 1972.
What a year. It’s hard to summon up a great deal of enthusiasm for the Christmas we’re about to have, but I’m looking backwards to look forwards, as I often do. I still seem to find joy and solace in art and aesthetics and I hope my posts have given you the odd moment of enjoyment and inspiration this year. Thank you for your support and to everyone who has bought vintage from me or liked/shared/commented on my blog and Instagram posts. Sending you my love and best wishes for a better year ahead.
Hats on both models by Kangol. Sequins stuck on by hand. Wool halterneck sweater with thin silver lurex stripes by John Craig. Black satin skirt from Bus Stop. Fox fur muffler from a seletion at Essences at Antiquarius. Black leather gloves by F. G. Shave. Silver lurex sweater with thin black stripes by Marshall London. Fox fur muffler as before. Black leather gloves from Moss Bros. Christmas decorations from Woolworths.
Hats on both models by Kangol. Sequins stuck on by hand. Lurex cardigan with long sleeves from Biba. Long black satin skirt from Bus Stop. Fox fur muffler from a seletion at Essences at Antiquarius. Black leather gloves by F. G. Shave. Black and silver lurex striped sweater from Biba. Black satin Oxford bags by Richard Green. Black suede shoes with silver snakeskin trim by Leicester shoes. Fox muffler as before. Black leather gloves from Moss Bros. Necklace from a selection at Marie Middleton at Chelsea Antique Market.
Hats on both models by Kangol. Sequins stuck on by hand. Green wool lurex flecked sweater from Universal Witness. Black satin skirt by Mushroom. Black suede shoes with silver snakeskin trim by Leicester shoes. Black leather gloves from Moss Bros. Glass and amber dress clip from a selection at Marie Middleton at Chelsea Antique Market. Charcoal grey lurex sweater with heart-shaped neck and lurex trims by John Craig. Black satin skirt from Bus Stop. Fox fur muffler from a seletion at Essences at Antiquarius. Black leather gloves by F. G. Shave.
Hats on both models by Kangol. Sequins stuck on by hand. Black, gold and silver striped lurex sweater by Crochetta. Black satin skirt by Mushroom. Black suede shoes with silver snakeskin trim by Leicester shoes. Long yellow chiffon scarf from a selection at Essences. Black leather gloves by F. G. Shave. Necklace from a selection at Marie Middleton at Chelsea Antique Market. Black angora halterneck sweater, striped with silver lurex, by Crochetta. Black sequin jacket from Essences at Antiquarius. Black satin skirt from Bus Stop. Gold shoes from Sacha. Black leather gloves from Moss Bros.
Tissavel-lined Galaxy coat by Beged’Or approx. £50; cotton blouse by Mexicana, £13; fur fabric jeans by Newmans, 12 gns; hairy slipper boots at Russell & Bromley, £6 19s; velour hat by Bermona, £3 11s; hatband made from an Estonian tie at the Russian Shop, 7s 6d; fur bag at The Souk, £3 5s; wool gloves at Dickins & Jones, 10s:
Leather and fur get more expensive every year. It’s not only the taxes and rising costs of production. It’s just that there aren’t enough good animal skins for leather around to meet the consumer demand. Furs are there in quantity for the fabulously rich. Luckily a good substitute has been found – the nylon-spun, man-made sort. Some, especially in the leather field, are so like the real thing the only way you can tell the difference is by the smell. Take the white coat on pages 46 and 47. It’s fake and costs about £50. It has a double in real fur and leather for £270. Made by the same people who have duplicated most of their collection this way and it takes an eagle eye and nose to tell the difference. Others are just furry, woolly fabrics, obviously not imitating some four-legged friend, which is one of the nicest things about them. This fur fabric is now getting the treatment it deserves. Nairn Williamson (more famous for their Vinyl floor and wall coverings) were the first to see its potential and got six designers to use their Velmar fur fabric in their winter collections. Jane Whiteside for Stirling Cooper (new label getting famous fast for their beautiful jersey co-ordinates) was the cleverest of them all. She used the best sludgy colours, mixed it with needlecord to make a group of jackets and coats to go with trousers, skirts and blouses. Borg (American originated and the pioneers in England of this deep pile fabric) has been around for a long time, mostly on the inside of duffle and raincoats but it’s on the outside as a normal fabric that it looks its best. Next winter there will be a lot more of it around, now that designers are getting less snobby about plastics. Not only is it as warm as fur, it is, of course, much cheaper and you don’t smell like a wet dog when you come in from the rain, either. So you can wear it herding sheep on lost weekends, or in town queuing for the cinema without any guilt feelings about ruining your assets.
Insert obligatory ‘I don’t agree with the thrust of the argument for fake furs as just a financial consideration here’ caveat from me, your content provider. Don’t shout at me, basically. But it’s an interesting insight into the mindset of 1970, and the proliferation of fake furs and skins at that time. It’s also a breathtakingly styled and photographed work of art from Caroline Baker and Jonvelle.
Fashion by Caroline Baker.
Photographed by Jonvelle.
Scanned from Nova, January 1970.
Mediaeval velvet applique dress by Laura Jamieson at The Sweetshop, 20 gns; Tissavel and Galaxy waistcoat by Beged’Or, £22.
Velmar jacket and needlecord trousers by Stirling Cooper, £8 10s., £5 1Gs; leggings by Chelsea Cobbler, to order, 10 gns; cotton shirt from selection at Dada, Kensington Antique Market from 2 gns.
Acrilan jacket by Lizzie Carr approx. 24 gns; suede trousers by Morel, 17 gns, tied with leather strips from John Lewis Haberdashery Dept, 1s 10d per yard; wellingtons at Russell and Bromley, £3 19s; woven sash wrapped around neck at Herbert Johnson, 25s; velour hat by Bermona, £3 11s; wool gloves at Selfridges, &s 11d
Velmar and Courtelle trousers by Martha Hill, approx. 8 gns; poncho at Peter Robinson, £7; wool shirt by Stirling Cooper, £4 5s; studded wristlet by Knees at Kensington Antique Market, 1 gn; suede moccasin boots by Anello & Davide, £8 15s; velour hat by Bermona, £3 11s; sheepskin rug from The Souk from £3 19s 6d to £6; flask from Kensington Antique Market.
Velmar fur fabric floor length coat trimmed with canvas by Mog, £20, over long cotton nightgown by Laura Ashley, £5; knitted wool socks at Feathers, £1 1s 6d
Velmar coat with needlecord and zipper trims (top left) by Stirling Cooper, 18 gns; pale suede and leather lace-up boots by Kurt Geiger, 35 gns; wool gloves at Selfridges, 8s 11d; leather belt by The Wild Mustang Manufacturing Co., approx. £3 12s 6d; fur shepherdess hat, bag and drinking flask from a selection at Kensington Antique Market
Velmar jacket and needlecord trousers (top right) by Stirling Cooper, £12 19s 6d, £5 10s; big polo-neck ribbed Shetland wool sweater at Aquascutum, £6 15s; corrugated leather lace-up boots at Russell and Bromley, £29 19s; knitted Aran mitts at Selfridges, 16s 11d; velour hat by Bermona, £3 11s, furry bag from a selection at Kensington Antique Market.
Peasant-style dress in a multi-coloured patchwork print has a gathered elasticised waistline and short full sleeves, by Marlborough, £9.
It looks as if England has lost Jane Birkin forever … she is firmly entrenched in Paris with baby Kate, nanny and the lovely Serge Gainsbourg, living in sombre luxury in their newly acquired house. The interior is stark and dramatic, every room is decorated in black and white, with white doors and black marble floors or carpet. The furniture is also black and white—there’s a big black shiny piano in the lounge, and a black mink cover adorns the bed which is raised off the floor on a black perspex dais. Weekends are usually spent at a quiet retreat in the country, making a sharp contrast to the busy social life that they lead during the week. Since Jane landed in France she has never stopped working. Film after film has been completed and the success of the record she made with Serge, which was also written and composed by him, Je T’Aime … Moi Non Plus, has led to an LP also written by Serge. Her life is chaotic and busy, it seems as if the telephone never stops ringing. People phone her every day with offers of interviews and films, the next of which is still a closely guarded secret. It was whilst she was making her first film in France, Slogan, that she met and fell in lovewith Serge, an event which seems to have altered her life but through it all she remains the same—a waif of a girl, tall and lanky, in pullover and jeans, serving tea out of her treasured English teapot. Her wardrobe is noticeably small, consisting mainly of casual clothes like pullovers, T-shirts and jeans; with the occasional gipsy-type dress reserved for the evening and worn with gold chains, loop earrings and gipsy belts. She acquires most of her clothes by chance buying, rarely by intentionally setting out on a spending spree. Usually she just spots something she likes in a shop window and ends up by going in and buying it. In London she shops mainly at Countdown, Foale and Tuffin, and Quorum. She buys her jewellery from the Chelsea Antique Market. In Paris she favours the more trendy designers like Mia and Vicky or Jean Bourquin. Jane is perfectly happy spending hours hunting about in antique shops for interesting little knick-knacks, like the 18th-century doll’s house which she gave to her Serge for Christmas.
Photographed by Michael Berkofsky.
Scanned from 19 Magazine, May 1970.
Yellow ochre and beige printed full skirt has matching shawl and a crêpe bolero top, by Marlborough, £9 10s.
Ankle-length dress in brown and white printed cotton has a shirred bodice and sleeves gathered into a cuff, by Laura Ashley, approx. £5.
Long brown and white printed cotton voile skirt is prettily trimmed with white satin ribbon and has a matching bolero top, by Sujon, 11 gns.
Sheer rayon chiffon midi-length dress in a lovely muted purple has a bloused top and a flesh-coloured half slip, by Jinty, £8 15s.
Long creamy cotton dress by Foale and Tuffin. Blue cotton paisley blouse and skirt by Foale and Tuffin. Embroidered woollen belt around head by Rosie Nice in Kensington Market.
Sunny Spain conjured up visions of hot summer days in picturesque surroundings, ideal settings for 19’s summer fashions. And we had a fantastic oppotunity when 4S Travel arranged a trip to Malaga and Torremolinos. We flew BUA Super Jet to stay at the Hotel Al Andalus, within easy reach of the mountains overlooking the Costa del Sol. Here we discovered quaint villages, sun-drenched and white-washed, their customs and dress crystallised in the past. No cars to be seen, only mules and donkeys. Our clothes echoed the feel of these places – colours stark black and white, brightened with touches of gayer hues, clean hot printed cottons, soft peasant blouses, sandals, light fishnet shawls, casual sun hats. The garments are easy to take care of, and enhance a tan – midi skirts that button to above the knee and give alluring glimpses of brown thigh, and large brightly printed squares of fabric which can be used as shawls, or skirts tied at the side.
Making me yearn for a proper holiday. The closest I’ll get is looking at this editorial whilst sitting on the balcony, trying to avoid all humans for the time being. I hope it brightens your day as well…
Blonde model is Willy van Rooy.
Photographed by John Bishop.
Scanned from 19 Magazine, July 1970.
Black velour towelling dress by Lee Bender for Bus Stop. Shawl by J. C. Brosseau from Feathers. Green and red snakeskin shoes by Terry de Havilland from Jolly Boy in Kensington Market. Belt bought locally.
Black and white cototn printed skirt and top by Tony Berkeley. Shawl from J. C. Brosseau. Shoes by Sacha.
White cotton skirt, blouse and bolero all by Annie for Rosie Nice in Kensington Market. Bright red and green dress by Foale and Tuffin. Black fishnet shawls by J. C. Brosseau from Feathers.
White towelling hat by Bermona. Dress by Sujon. Shoes from Ravel.
Dress by Tony Berkeley. White patent shoes by Sacha.
Dusty pink skirt and blouse by Ian Batten. Brown felt hat by J. C. Brosseau from Feathers.
Both outfits by Tony Berkeley. Both pairs of shoes by Ravel.
Dress by Foale and Tuffin. Snakeskin shoes by Terry de Havilland at Jolly Boy. Belt bought locally.
White midi skirt by Lee Bender for Bus Stop. Red and white silk rayon blouse by Annie for Rosie Nice. Mock snakeskin shoes by Dolcis.
In this age of mass-production, finding clothes that have an individual look is becoming more and more difficult. But a few enterprising minds in London have got round the problem by buying old clothes, in beautiful prints that one doesn’t see these days, and remaking them in today’s styles. Though the styles are repeated, the materials are different and each garment is quite unique. If you don’t live in London, don’t despair. Look around for a clever seamstress who can copy the styles for you. Then, it’s a matter of combing jumble sales, or looking among granny’s cast-offs, for unusual prints. Don’t, however, cut up clothes in good condition. You’ll get a good price for these in London markets. And if you do come to London, go round the markets instead of the stores and boutiques – there’s a lot to be picked up!
An extraordinarily styled and photographed editorial featuring Van der Fransen, Emmerton and Lambert and Essences, all of whom were trailblazers in the world of vintage and recycled fashion.
This shoot also manages to answer two of my most frequently asked questions: what is your favourite editorial and what do you think the future of fashion will be. The former is probably a moveable feast, although this one is definitely up there with my other favourite, but the latter is still something I believe strongly. Especially in a post-pandemic landscape, I am not sure (and definitely hopeful) that we will ever see the same levels of mass production post-2020. Not for want of desire by the high street shops, but because people have maybe recognised that, actually, they don’t need armfuls of cheap synthetic, single-use garments. Perhaps the aesthetics and principles of these recyclers of the Sixties and Seventies will finally be adopted as our default? We could stop producing new clothes and fabrics right now and probably never reach the end of the piles of recyclable materials. And that’s not even taking wearable vintage garments into account. Do you feel your shopping habits have changed permanently?
Red wig by Robert at Ricci Burns.
Photographed by Christian Larroque.
Scanned from 19 Magazine, July 1972.
Beautiful old sun dress in rayon crepe and silk from Van der Fransen. Tights and shoes from Biba.
Navy and white smock in various prints of rayon crepe and skirt both by Van der Fransen. Tights and shoes by Biba.
Intricate patchwork dress and long skirt from Emmerton and Lambert. Green tights and mauve shoes from Biba.
Jenny Kee of Emmerton and Lambert at Chelsea Antique Market, wearing a Chinese kimono and trousers from a selection at Emmerton and Lambert. Model wears a blouse made up of old scarves in satin and silk from a selection at Emmerton and Lambert. Gingham shoes from Biba. Photographed at The Terrace Cafe, Chelsea Antique Market.
Slinky cross cut dress in various printed crepes and crepes de Chine from Essences. Blue tights and mauve shoes both from Biba. Scarf from Essences.
Patchwork dress of old printed fabrics from a selection at Emmerton and Lambert. Tights and gingham shoes from Biba. Plastic dragonfly at neck from Susan Marsh.
Spotted two piece from Essences. Tights from Biba. Shoes from Sacha. Lovely old shawl from Essences.
Navy blue and white print smock with contrasting sleeves by MEE Designs. Jeans from Browns. Clogs by Sacha. Photographed at MEE Designs at Antiquarius.
White satin Twenties style dress by MEE Designs at Antiquarius. Tights and shoes from Biba.
Nik Nik cotton shorts. Cotton top with ribbed waist and cuffs by Nik Nik. Biba belt. Shoes by Chelsea Cobbler at Che Guevara. / Nik Nik shirt. Canvas cut off pants by Nik Nik. See through Derber shoes. All Nik Nik clothes are exclusive to Way In, Harrods.
When you think you’ve seen all there is to see about separates, spring turns around and finds a whole new way of doing things! What’s on now? Cotton and cord going to any lengths with pants… soft lawn with tiny prints for shirting and some of the very newest skirts. And we’re giving you ideas about what spring’s all about!
Always lovely to see the West Pier here in Brighton, in all its glory two years before its closure in 1975. For those not familiar with it, the West Pier has had a very sad and protracted demise since then and only the skeleton remains, stranded out at sea. Thankfully, its prettier heyday was well-documented on film and in shoots like this.
Photographed by Tony Norris.
Scanned from Petticoat, 10th March 1973.
Cotton shirt by Nik Nik. Cord boy-scout shorts by Gordon King. Biba scarf. Biba shoes. / Cheesecloth shirt by Nik Nik. Cotton drainpipe pants by Sally Tuffin. Shoes at Che Guevara.
Cape-sleeved rever shirt by Margit Brandt at Carr Jones. Cotton cut-off pants by Nik Nik. Scarf by Van der Fransen. Paul Stephens bracelet. Elliott lace-up shoes. / Left Bank cotton top at Garb. Gordon King pants. Biba bracelet and brooch. Derber shoes.
Cotton smock by Tabu. Canvas pants by Nik Nik. Derber shoes. / Liberty print shirt and Sally Tuffin pants at Browns. Patent slingbacks by Chelsea Cobbler at Che Guevara.
Margit Brandt at Carr Jones shirt. Paul Stephens bangle / Skirt and jersey shirt by Nik Nik. Van der Fransen earrings.
Cheesecloth shirt with zip front by Nik Nik. Pencil skirt by Gordon King. Biba hairslie. High heels with piping by Chelsea Cobbler at Che Guevara. / Cotton smock by Tabu. Check wool plus fours by Gordon King. Scarf by Van der Fransen. Two-tone court shoes by Chelsea Cobbler at Che Guevara.
Two of summer’s new romantics, long, loose and floating in Sanghaneri Jaipur voile. Both by Colin Glascoe.
Bunches of summer flowers; delicate patterns and prints; and myriad beautiful shades are the ingredients. Mixed to perfection, they make up this – the prettiest mélange of summer dresses.
Photographed by Jeany.
Hair styles by Susi at Violet Adair.
Scanned from Woman’s Journal, July 1971.
Left: Scoop neck dress of Liberty printed cotton Right: Skirt and long sleeved blouse in Liberty printed cotton, worn with long reversible turncoat. All from Foale and Tuffin.
:eft: Exclusive Rajistani Jaipur hand printed dress on cotton voile from the Peter Saunders Catalogue. Right: Flowered cotton dress by Kati at Laura Phillips.
Long midi skirt and bolero of smoothest cotton velvet provide the perfect setting of this exquisite hand embroidered tapestry designed exclusively for Woman’s Journal. Available from the Art and Needlework Department at Harrods. Full sleeved organza blouse with deep buttoned cuffs by Mr Fish.
Sharply tailored suiy in grey and white Jacquard. The blouse, soft and full, with gathered sleeves and neckline, pours from beneath the jacket into delicate ruffles. By Baccarat.
Left: Spotted pinafore dress of silk over soft, white blouse with full sleeves, by Caroline Charles. Right: Close-fitting midi in sheer cotton voile by Mary Quant Ginger Group.
Originality being one of the spices of life, isn’t it about time you did a bit of gentle artwork on some of your plainer clothes? We appliquéd satin designs on unadorned cotton T-shirts, but if you haven’t the patience to appliqué clouds with silver linings, how about tie dye instead?
Hoping this gives some inspiration to keep yourself occupied and looking groovy over the next weeks and months of isolation! In all seriousness, I hope all my dear readers are safe and well. Since my Vintage business is on ice for a little while, I have brought magazines home to scan and hope to keep you entertained and offer some escapism (plus there are years of archives to get through!). There will probably be extra stuff over on my Instagram as well so do go and follow me there.
(Instructions on how to copy these designs are at the bottom of the post.)
Set and designs by Nike Williams.
Photographs by Roger Stowell.
Drawings by H. Abbo.
Scanned from Honey, August 1970.
Rising sunset appliquéd onto a plain white jersey vest by Syndica. Shiny satin trousers by Second Skin. Red wet-look boots by Sacha.
Riot of hearts appliquéd on to a long plain black vest dress, Syndica. Beaded leather thonged armband from Bus Stop
White cotton jersey long vest dress by Syndica, tie-dyed yellow with large white circles. Patchwork belt by Fifth Avenue. Beaded thonged rope by Bus Stop. Silk scarf from Kensington Market.
Satin appliquéd steamboat on a plain scarlet cotton jersey tunic, Syndica. Patchwork leather belt from Fifth Avenue. Canvas sunhat by Herbert Johnson. Satin trousers by Second Skin.
Pink cotton jersey tunic, Syndica, tie-dyed plum with a pink border print. Stretchy webbing belt from Fenwicks. Green perspex sunshade from Lillywhites.
Pink button-up vest, Chester Martin, tie-dyed red with pink leaf pattern. Red cotton scarf from Littlewoods. White plastic sunshade from Lillywhites.
‘Next to nothing’ nylon bra by Twilfit. Black lycra pntie girdle by Dorothy Perkins. Sheer smoky stockings by Mary Quant. / Black and white nylon stretch boxer briefs from Marks and Spencer.
We know a girl… who can’t last the day without lashings of spray. We know a girl… who gets quite high on a bucket of tide. We know a girl… who gets no elation from dusty dehydration. We know a girl… who gets all her kicks from aquatic dips. We know a girl… who can’t get enough of that H20 stuff. We know a girl… who’s got pneumonia.
Stunning editorial shot by Hans Feurer in two parts, half waterproof outerwear and half delicious underwear. Waterproofs next time…
Photographed by Hans Feurer in the Canary Islands.
Scanned from Honey, February 1970.
Light white cut out nylon mini slip from Dorothy Perkins. / Coin spotted camisole bra with matching tricot and lycra porthole-design pantie girdle, both by Lovable. Stockings by Sunarama.
Soft Celon criss cross plunge line bra by Gossard. Pantie girdle by Kayser. Stockings by Sunarama.
Transparent nylon and lycra bra and pantie girdle both from Marks and Spencer. Copper stockings from Sunarama. Pearls from Kensington Market.
Chestnut and cream flared mini slip with see through midriff by Kayser. / Shiny wet look bra slip by Dorothy Perkins.
White cobweb nylon and cotton lace chemise slip by Biba. Pearls from Kensington Market.
Snia Viscosa jumped right in at the deep end in Venice, invited twenty eccentric different and talented designers to do their own thing with their threads. The result was a spectacular Magliamoda at the Palazzo Grassi on the Grand Canal, and this is what Alice Pollock, Kenzo of Jap and Karl Lagerfeld did with it. What a show!
Liz Eggleston 