
Joanna Lumley giving me the New Avengers and Celia Birtwell-print Ossie Clark crossover I didn’t know I needed. I would dearly love to know what this smelled like, if anyone can remember please let me know!
Scanned from Vogue, January 1978.

Joanna Lumley giving me the New Avengers and Celia Birtwell-print Ossie Clark crossover I didn’t know I needed. I would dearly love to know what this smelled like, if anyone can remember please let me know!
Scanned from Vogue, January 1978.

Games That Lovers Play (1970) is one of my favourite types of period films, where the hybrid of period detail in its setting is completely meshed and mangled with the incidental period detail of the year in which it was made. These films must be at least forty years old for me to not rant and rave about the inaccuracies, of course, otherwise I will let rip for eternity. But, much like The Boyfriend, Games That Lovers Play is an homage to the Twenties – with some very Seventies sensibilities. Except it’s even looser than The Boyfriend. And I mean loose in both senses of the word.
It is also a classic example of a film currently held in very low regard, which I maintain would be feted if it was French or Italian. It is kitsch, camp and aesthetically fascinating, even if it is rather a failure as a coherently plotted or acted film. The plot revolves around two rival Madams, who each wager that their ‘best’ girl is the best by challenging them to seduce unseduceable men.
The costumes are, naturally, my main interest. They play extremely fast and loose with the Twenties look, creating a slight difference between the more Edwardian domain of Lady Chatterley (yes, I know) and the more modern Deco feel of Fanny Hill’s residence. (Yes, Fanny Hill…) The costumes are credited as being from Bermans and the ‘Wardrobe’ to one Ray Beck. They are a glorious, glorious mishmash of Edwardian, Twenties, Thirties and definitely plenty of 1970. My particular favourite is Lady Chatterley’s Edwardian wrap dress (possibly house coat), exquisitely embroidered and trimmed with ostrich feathers. She strips it off, puts it back on and generally flounces around the grounds like something out of my wildest sartorial dream. In fact I adore this dress so much that I turned it into a gif.

But it also needs to be seen from all angles, so here are some more:


It even has a butterfly on the bum for goodness sake! I really hope this piece still exists somewhere out there. In fact, I might have to make it my life’s work to recreate it.
Fanny Hill’s wardrobe is rather more Twenties/Thirties in style and with rich colours:

Oh, did I not mention that Fanny Hill is played by Joanna Lumley? To be honest, from what I’ve read I think she’d rather it never saw the light of day but I reckon it’s one of the most interesting things she ever did. She also co-stars with her future husband, Jeremy Lloyd. Incidentally, Lady Chatterley is played by Penny Brahms, and I can’t help but wonder if she was the inspiration behind ‘Miss Brahms’ in Jeremy Lloyd’s Are You Being Served.
Lloyd plays her first seduction target: a gay drag artist, which leads Fanny Hill to pose as a man dressed as a woman – in full Georgian regalia. This party scene is also populated with genuine drag artists of the time and has an incredibly authentic feel. The credits read The “Queens” : Played by Themselves!, and I would dearly love to know who these people were because it must be incredibly ahead of its time in depicting this scene.

Lady Chatterley’s target is a Bishop, and she starts to look a little more Thirties-does-Seventies at this point.


From here on I won’t ruin the plot for you, such as it is, so will just post some more of my favourite outfits and hope that I have whetted your appetite. I appreciate that I have a very high tolerance for weird films, but I did really enjoy it.












For some years now the London fashion designers have had the edge on their Paris rivals for ideas and innovations. Tomorrow evening a film on this subject will be shown on BBC1. Today we photograph the key London designers with their favourite clothes. What do they think of the London fashion scene? Where do we go from here?
Photographed by Terence Donovan. Fashion by Cherry Twiss.
Scanned from The Telegraph Magazine, May 25th 1973.






In the Fifties a trip to the hairdresser’s was a daunting ordeal – for you and for each hair on your head. Vidal Sassoon changed all that in 1964, and substituted the welcome breeziness of the blow-drying second-generation stylists. Who are the other top hairdresses, and who goes to them?
There are no credits for the clothes, but I think Marianne’s glorious ensemble must be a Bill Gibb, and Sian Phillips’s elegant coat looks like a John Bates to me. Such a glorious array of celebs, I think Michaeljohn win on numbers (but Ricci Burns really ought to win, purely because of the way his ladies are dressed!).
Photographed by Geg Germany.
Scanned by Miss Peelpants from The Telegraph Magazine, September 19th 1975

At Ricci Burns: Marianne Faithfull, Fenella Fielding, Ricci Burns, Sian Phillips, Brenda Arnaud. Ricci started in hairdressing at the age of 15, worked for Vidal Sassoon for ten years and opened his own salon in the King’s Road five years ago. Now has a second salon in George Street, and did have one in Marrakesh “until the coup, darling”.

At Vidal Sassoon: Lady Russell (back), Mary Quant, Vidal Sassoon and Kate Nelligan (centre). Shirley (Mrs Ken) Russell, Beverly Sassoon.

At Michaeljohn: Back row, from left: Jean Muir, Britt Ekland, Joanna Lumley, Joan Collins and her daughter Sasha, Tom Gilbey, Gina Fratini and Diane Logan. Front: John Isaacs and Michael Rasser (one time colleagues at Leonard), who started Michaeljohn in 1967.
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…
I have just listed some stunning new pieces over at Vintage-a-Peel, but the real star of the show has got to be this incredible Lee Bender for Bus Stop skirt and halter top set. For it is identical to the one worn by Joanna Lumley in a photocall for The New Avengers in 1976. Deliciously bright and saucy, and the one thing which might distract the world from your pudding-bowl haircut!


It’s of the greatest frustration to me that nobody has yet bought this beautiful skirt by Catherine Buckley. Made from antique fabrics, patchworked into a maxi skirt, it is a key piece of this designer’s work and a beautiful garment to behold.
I knew she had designed clothes for Joanna Lumley as Purdey in The New Avengers, but it had been so long since I watched the episodes, I didn’t remember many individual outfits. Even so, it was highly unlikely that the super-active Purdey would have been wearing a patchwork maxi skirt. Or so I thought. Seems Ms Buckley designed a split midi version for the episode ‘House of Cards’ which Joanna wears to perfection in an action sequence.
Here are some stills, and here is a link to the skirt. Buckley’s work is rare enough, and these patchwork pieces even rarer.