Design for Avenging: Sisters Under The Skin

1960s, avengers, avengerswear, David Gittings, diana rigg, emma peel, frederick starke, honor blackman, Inspirational Images, jean varon, john bates, meriel mccooey, Meriel McCooey, Paul Blanche, Selincourt, sunday times magazine, the avengers
Diana Rigg in buckled snakeskin coat made by Paul Blanche.

On Thursday evening at 8 o’clock The Avengers comes back. Viewers in London, Scotland and the South will see it, other channels will have to wait until October 2. The new show lacks one vital element. Honor Blackman, who played Cathy Gale, that female gauleiter with a heart of gold, has left television for films and the arms of James Bond.

She is replaced by rangy, redheaded Diana Rigg, an actress already blooded for knock-about violence in shows like King Lear and The Devils with the Royal Shakespeare Company. She plays the new Avenger woman Emma Peel, who is described by A.B.C. television as “the youthful widow of an ace test pilot, daughter of a wealthy shipowner, and an internationally educated symbol of the jet-age female”.

A strong-arm widow, born with such disadvantages, couldn’t fail to be an interesting autumn draw, but the new girl will find it hard work to oust the memory of Cathy Gale from the spot she kicked out for herself in these shows. For, as Cathy Gale, Honor Blackman was mesmeric. Male viewers turned to pulp in their armchairs as she hurled opponent after opponent through plate glass windows, and their TV dinners turned to dust as she half-nelsoned men twice her size.

Women were fascinated too, but for different reasons. They sat glued to their sets wondering what it was she had, that they hadn’t. Her slightly sinister but wholly fathomable allure had little to do with her natural assets ; her toughness, the purring reassurance of her voice, her earthiness ; her blonde hair and wide mouth. Cathy Gale’s real appeal was firmly laced into the shiny black leather of her fighting suits.

The black leather fighting suits she wore, now generally referred to as ‘kinky clothes’ were designed by Frederick Starke. They proved such a success both here and in the U.S.A., where the last series was sold, that the American business men controlling the sales insisted that these clothes should be retained for the next series. This was a mistake. Fashion moves much faster than most business men, and the feeling for black leather was on the wane, long before the last episode was off the screen. But A.B.C. agreed to the American conditions, and Emma was togged up in black leather and boots, looking just like Cathy Gale in a long red wig.

Before the new series was half-way through, the planners realised that some fairly startling changes were taking place in the fashion world. Skirts were getting shorter and women appeared to be crossing their thighs, not their knees. Leather was out. All sorts of animal skins, from snakes to zebras, were in. And op and pop art were having an explosive effect on textile design.

This series is the first to be made on film instead of videotape, which means it could be running in different countries all over the world for the next five to ten years. It would be pushed to keep its con-temporary smack with a limping gimmick like black leather. At this point, with half their film in the bag, A.B.C. called in fashion co-ordinator Anne Trehearne, an ex-fashion editor of Queen magazine, and asked designer John Bates of Jean Varon to plan a new wardrobe for Emma Peel to wear during the last 14 episodes. John Bates is the man who made the now famous daisy dress which 25 red-faced debutantes wore to the same ball.

Designing a wardrobe for a preconceived image is no easy task, but he succeeded in doing this and more besides. His clothes are 100 per cent. modern. He has shortened the skirts (in spite of tough opposition in certain quarters at A.B.C.), re-designed the black leather fighting outfits into modern, one-piece jump-suits, introduced tailored snakeskin and a whole range of op art furs.

In all there are 35 garments with complementary accessories. And for the first time the whole collection will be sold in the shops. (Frederick Starke did sell some of Cathy Gale’s wardrobe, but only selected items.) Over 12 well-known manufacturers, like Edward Rayne, Paul Blanche and Kangol, are co-operating with John Bates at Jean Varon and are making the shoes, the skin coats and the berets under licence; Echo are even making the amusing ribbed sheer nylon stockings. They will all be in the shops in October.

Both the clothes and the series are now saleable properties. It will be interesting to see which proves the biggest draw to interested buyers the striking new clothes or the shiny new girl.

Photographed by David Gittings.

Story by Meriel McCooey.

Scanned from The Sunday Times Magazine, September 26th 1965.

In short snakeskin blazer made by Paul Blanche and ribbed sheer nylon stockings.
Leather jumpsuit with clasps made by Paul Blanche.
Black and white bunny coat made by Selincourt. All designed by John Bates.

Rigg Outs

1960s, alun hughes, avengers, avengerswear, Bata, Dannimac, diana rigg, Don Silverstein, edward mann, emma peel, old england, Selincourt, Sirela, the avengers, Thomas of Mayfair, Vintage Editorials, Woman's Own
Cotton pique raincoat in cream with top seaming by Dannimac, £8 19s. 6d. Matching barrow boy cap by Edward Mann, who make all hats for the series. Exotic watch on wide patent strap, by Old England about £5. Beige stretch stockings with single stripe by Echo 9s. 11d.

Where do I begin? You don’t need another rundown of her incredible career and life. You don’t need to be told what a breathtaking actor she was. I think I just need to express what she meant to me, except I’m not even sure I can do that adequately.

Her strength and confidence was, and continues to be, instructive to me as a woman in search of strength and confidence. I think it’s safe to say that I wouldn’t be the person I am today if Diana Rigg hadn’t been the person she was and portrayed women in the way she did. I quite literally wouldn’t be where I am because she piqued my interest in John Bates and his work. I wrote my degree dissertation on Emma Peel and began my love affair with British boutique clothing, which in turn started my business and gave me my ridiculous eBay username. I first met my partner at the launch of Richard Lester’s monograph on John Bates, twelve years ago next month.

I was fortunate enough to see her in Mother Courage and Her Children and Who’s Afraid of Virginia Woolf, thanks to an adventurous Theatre Studies A-level teacher, and later in Suddenly Last Summer and All About My Mother. I travelled up to Sheffield for the former, and briefly met her afterwards. I couldn’t really have translated all that she meant to me into anything coherent, so I just got her autograph and told her I thought she was amazing or something (I don’t remember). She smiled kindly and said thank you. I don’t know, I probably hoped she might adopt me. But she didn’t.

There is profound sadness in her no longer being in the world but always joy in her body of work. Which I shall enjoy revisiting. And I shall make an effort to rescan a lot of my archive for the new era in my life. Thanks to her, as always. Because I always come back to, what would Emma Peel do? And without Diana, there’s no Emma.

Today is a feature on the Avengerswear range designed by Alun Hughes (who took over from John Bates for the colour episodes). Tomorrow will be John Bates Avengerswear. Enjoy!

The Avengers are back! And the fashion world’s buzzing with the great news of Diana Rigg’s new wardrobe. Here’s the low-down: ABC Television have seen to it that all Diana’s clothes can be bought, budget-priced, from big stores up and down the country. And you’re the first to see them in their true colours. Suzanne Grey has picked these five top-sellers, photographed exclusively for Woman’s Own readers.

Photographed by Don Silverstein.

Scanned from Woman’s Own, January 14th 1967.

Designed by 25-year-old theatrical designer Alun Hughes, an action dress in Celon jersey; sizes 10-16, also in natural/yellow/orange stripes, about 9gns. by Thomas of Mayfair. Hair by Allan McKeown of Here and There. Bata are making Diana’s Avenger shoes.
Fighting catsuit, with stretch an movement in navy crimplene with mustard side-stripes Echo are making these up-not only for fighters, more for apres-skiers- for 8gns. Selincourt are making Avenger furs; suede and leather togs come from Sirela.
“I love this,” says Diana Rigg. “It’s the kind of thing I wear in ‘real life’. All the new Avenger things are.” Stunningly simple crepe dress and jacket by Alun Hughes for Thomas of Mayfair, sizes 10-16, about 12gns. Larger-than-life watch by Old England, about £5.
‘Litting-nothing’ dress, epitomizing the new Avenger fashion thinking. “No gimmicks,” says Alun Hughes, “just elegant, modern clothes to counter-balance an Emma Peel-type life. Girls on the move can’t be bothered with bits and pieces..” By Thomas of Mayfair, about 8gns.

Avengerswear, elsewhere.

1960s, avengers, avengerswear, diana rigg, emma peel, jean varon, john bates, the avengers

Watching Circus of Fear, a very enjoyable B-movie from 1966 with Christopher Lee and Leo Genn, I noted that the luscious Margaret Lee was briefly seen wearing a piece of John Bates-designed Avengerswear.

Margaret Lee with Maurice Kauffman who, funnily enough, was Honor Blackman’s husband.

This black and white crepe catsuit was worn by Diana Rigg in The Avengers and modelled by Jean Shrimpton (with stunt man Ray Austin) for Vogue in 1965. It was, like all the Avengerswear, available to buy from the shops but these pieces are so rare and I have yet to find this catsuit in all my years of searching.

Dangerous black and white crepe fighting suit by Jean Varon Avengers Collection. Made by Simon Ellis, 13gns. Photographed by David Bailey. Vogue, October 1965.

I am now extremely curious to know whether this was something from Ms Lee’s own wardrobe which she bought herself, or whether the wardrobe supervisor (Charles Guerin) found it – oblivious to the fact that it was already a costume tie-in, or simply hoping that no one would notice. Or an even wilder theory is that it was the actual costume worn by Diana Rigg and already in circulation as a hireable costume. I suppose we may never know, but I thought it worth preserving for posterity.

Avengers collection promo, c. 1965. Scanned from John Bates: British Fashion Designer: The Sensational Years, 1963-1968

Inspirational Images: Diana Rigg

1960s, diana rigg, emma peel, Inspirational Images, the avengers

Photograph by John Kelly

Scanned by Miss Peelpants as a clipping from an unknown issue of Bravo magazine, late Sixties.

Voici les pépées du nouveau James Bond

1960s, angela scoular, Catherine Schell, Ciné Revue, diana rigg, Films, George Lazenby, Ingrit Back, James Bond, Jenny Hanley, joanna lumley, Julie Ege, Mona Chong

Ciné Revue, 23 Janvier 1969.

I am going to roughly translate that as Phwoar!! Check out the new James Bond’s bevvy of dollybirds*, to use contemporary British terminology.

I realise that Mr Lazenby really isn’t much cop as an actor, but a) he isn’t Sean Connery (who brings me out in hives) and b) On Her Majesty’s Secret Service has the glorious Ms Rigg in it, so no criticism is allowed chez Vintage-a-Peel. A great spread from Ciné Revue featuring all the key Bond girls in OHMSS (special mention for Angela Scoular), but weirdly omitting Joanna Lumley. Ah well, enjoy!

* I do realise this isn’t entirely accurate, but a literal translation seemed so boring…

In praise of [slightly] older women

1960s, 1970s, 1980s, brigitte bardot, charlotte rampling, diana rigg, Françoise Hardy, grace coddington, Inspirational Images, jacqueline bisset, jane birkin, jean shrimpton, picture spam, twiggy, veruschka, yasmin le bon

Diana Rigg in the early Seventies (in her mid-thirties)

They were all beautiful in their twenties, and they remain beautiful to this day, but I have come to the conclusion that many of my favourite women looked their very, very best in their thirties and early forties. Which may or may not be somewhat biased by my own entering of my thirties. Ok, so I entered them three years ago but still… I think it is an important thing to notice, when all around are becoming consumed by vanity and their faces destroyed by undesirable injectables.

The puppy fat has fallen away, the features now more defined and enhanced by laughter lines and emerging cheekbones. They look relaxed; as if the pressure of ‘looking good’, which so restrains a teen or twenty-something, has lifted with the knowledge that none of it really matters a great deal. Maybe they’ve had a baby, maybe they don’t want to, maybe they’re still waiting for the right moment (Diana Rigg was 39 when she had Rachael). They know any man worth his salt won’t mind seeing them without make-up, and that he doesn’t really care about the size of their breasts or backsides. They know how swiftly life is passing, how much has been missed already, and how relatively little retains its importance ten or twenty years later. They don’t try to make up for their age by ignoring it or trying to behave like teenagers, they simply embrace the things which are worth embracing. They still make mistakes, but can handle them with good grace.

I realise I am making the cardinal mistake of putting words into people’s mouths and making sweeping generalisations, but I wanted to express how looking at these women makes me feel. And how it reminds me of why it is ok for me to have changed, to have matured and to have grown into my appearance. We all have moments when we wish we still had all that youth on our side, but a few quick glances at things I wrote, men I dated or photographs of myself ten years ago – soon remind me that I didn’t know anything, had very poor taste in men and was quite chubby in the face. All things I am glad to have [hopefully] grown out of.

So whether you are here (there) already, or have it yet to come, I hope you can remember these incredible women and weep for the stupidity of the likes of Lindsey Lohan, Lara Flynn Boyle or Carla Bruni. Plus, don’t forget to check back in with me in ten years time and see if I’ve started saying that ‘actually they looked better in their fifties…’.

Apologies for vague dating of some pictures, the tumblr effect means that very few are dated for me and I’ve had to do a certain amount of guesswork… Also, certain people I think looked lovely in their thirties have gone on to have pretty lousy work done to their faces and have, consequently, not been featured here. That’ll teach ’em!

Jane Birkin, 1982 (aged 36)

Brigitte Bardot in 1972, aged 38

Jean Shrimpton in the mid Seventies, in her early thirties

Charlotte Rampling in 1984 (aged 38)

Jacqueline Bisset in 1977 (aged 33)

Veruschka in 1972 (aged 33)

Françoise Hardy in the early Eighties (in her late thirties)

Grace Coddington in 1974 (aged 33)

Brigitte Bardot in the late Sixties (in her mid thirties)

Jacqueline Bisset in 1984 (aged 40)

Diana Rigg c.1974 (aged 36)

Charlotte Rampling in 1977 (aged 31)

Twiggy in 1983 (aged 34)

Françoise Hardy in the late Seventies (in her mid thirties)

Jean Shrimpton in 1979 (aged 37)

And in case you needed any more evidence, please see Duran Duran’s now infamous supermodel-stuffed video for Girl Panic!. Personally I believe they all look far, far better than they did in their modelling heyday.

Party Time: Which ten would you pick?

anne nightingale, diana rigg, frank zappa, george harrison, Honey Magazine, kenny everett, marianne faithfull, terence stamp

Scanned from Cosmopolitan, June 1974

Which ten would I pick for my dinner party? Diana Rigg and George Harrison for beauty, wit and talent. Frank Zappa and Kenny Everett, to see what on earth would go on between the two of them and to see whether they could crack a smile from Terence Stamp. Una Stubbs seems like she’d be awfully good fun, and Marjorie Proops could probably help dear Marianne Faithfull quite a bit. Anne Nightingale could ensure the music selection was perfect, and finally I’d have Engelbert Humperdink there – purely for washing-up and general dogsbody purposes.

Happy St BryanGod Day

amanda lear, brigitte bardot, bryan ferry, celia birtwell, david bailey, david bowie, diana rigg, Foale and Tuffin, kahn and bell, oliver reed, ossie clark, penelope tree, Serge Gainsbourg

Yes, it’s that time of year again. St BryanGod Day. Never heard of it? Pah.

To celebrate, here are some favourite couplings. Some romantic, some creative, some fictitious…

Vintage Adverts: Very Diana Rigg, very Sanderson

1970s, diana rigg, sanderson, Vintage Adverts

From 1973

There are elements that I like here, but I can’t decide whether I prefer Diana’s pad or Britt’s groovier Sanderson-decked dining room. Someone’s just going to have to donate a large house to me, so I can decorate each room in a different style and make up my mind…

 

Larking around with Diana Rigg

1960s, alun hughes, avengerswear, diana rigg, the avengers

Diana and costume designer Alun Hughes

I came across this series of photos ages ago, and there’s something about the sheer volume of them which entertains me greatly. She looks like she’s having a jolly good time, larking around with the random chaps she has been thrown together with in the studio. I think they were mainly promotional photos for her outfits so, other than costume designer Alun Hughes, I guess the guys were just there for slightly unhinged, eccentric, Avengerland good measure…

Diana with British boxer Billy Walker

Diana with Avengers stunt coordinator Ray Austin (left)

Diana with jockey Josh Gifford

Plus rogue bottom-spanking photo with unidentified gentleman…