What’s black and white and summer all over?

1970s, Adrian Mann, bus stop, christopher mcdonnell, Conspiracy, George Malyard, Hans Metzen, Herbert Johnson, Inspirational Images, lee bender, Leicester Shoes, Lizzie Carr, Malyard, marrian mcdonnell, Nigel Lofthouse, Peter Knapp, polly peck, stirling cooper, Sujon, terry de havilland, Titfers, Vintage Editorials, Vogue, yves saint laurent
Left: Sizeable spot suit. Crossed small spots flared into bigger spots, bodice attached briefly to big spot baggy trousers. By Sybil Zelker at Polly Peck, £12.85, at Harrods; Edward Bates, Chatham. Black plastic chains from range of jewellery, white patent wedge sandals, here and right, £16.50, at Saint Laurent Rive Gauche. Near right: Cotton pique sun bodice, straps becoming sailor collar. By Stirling Cooper, £3.50, at Peter Robinson, London, Leeds, Norwich, Oxford. High-waisted cotton Oxford bags, £5.95, at Bus Stop. Plastic choker by Adrien Mann, £1.50, at Marshall & Snelgrove. Hats, this page, spotted muslin by Malyard, £16, at Marrian McDonnell. Opposite left: Spotty cotton halter, glazed striped cotton sailor trousers, by Christopher McDonnell, £4.25, £7.50 at Marrian McDonnell. Opposite centre: Batwing striped matelot, thin polybis knit, buttoned on one shoulder, by Hans Metzen, £4, at Harvey Nichols 21 Shop; June Daybell, Cheltenham; Ginger, Epping. Madly spotted belt with Perspex spot buckle, by Nigel Lofthouse, about £7, at Browns; James Drew. Voluminous stripe trousers, from a suit, by Sujon, £9, at Lord John, King’s Road; Butterfly, Hampstead; Pussycat, York. Scallop snake heels by Terry de Havilland, £14.99, at Leicester Shoes, Up West. Both straws, black with white crown, vice versa, £11, at Herbert Johnson. Opposite right: Cotton and Vincel knit halter all in a final bow. Checked cotton pedal pushers on shirred waist. By Lizzie Carr at Plain Clothes, about £3.95, £4.95, at Conspiracy from mid-May. Patent peeptoes, £19.50, at Saint Laurent Rive Gauche. Cotton drill halo, Titfers, £8, Liberty. All short white gloves, about 75p, by Kir. Hair by John at Leonard.


Cottons crisp, cotton knit, hats as large as saucers, trousers wide, heels high, black and white giving positive power on a summer’s day.

Photographed by Peter Knapp.

Scanned from Vogue, May 1972.

the pillbox

Browns, guy bourdin, hats, Inspirational Images, karl lagerfeld, Manuella Papatakis, Moravetz, Vogue

Here are the beginnings of a new silhouette and a new face, eyeliner, lipstick, not much mascara, a little rouge. Hair sleeked away somewhere. The hat: an uncompromising pillbox tipped over one eyebrow. Get used to it now, before anyone else.

Both hats by Karl Lagerfeld for Chloe, at Browns.

Veiling from John Lewis. Necklace, £6.75, Butler & Wilson.

Hair by Regis at Mods Hair, Paris.

Make-up by Moravetz.

Photographed by Guy Bourdin.

Scanned from Vogue, August 1972.

Black cire draped pillbox on Manuella Papatakis, daughter of Anouk Aimee.

Meet the Designer: Diane Logan

1970s, Diane Logan, Golden Hands, hats, Roger Charity

Ten years ago hats stopped being obligatory outdoor wear even for country’ matrons. A whole generation has ignored them since then, but the signs are that times are changing. A minute spent watching the crowds in any major city and one can see that hats are definitely back. Last year there were big mushroom berets. Before that there were costermonger caps and huge stetsons. All three styles were initiated by Diane Logan.

Diane Logan’s original ambition was to become a textile designer. Part of her training for this, at Camberwell Art College in London, included a week at the London College of Fashion where George Malyard, who makes hats for London’s theatreland, was visiting tutor. Diane took some of her printed felts along with her and spent the week making them up into dotty hats. She finished six fast work when the usual student output was one hat a term.

When Diane left art college and discovered that she hated the solitude of being a freelance textile designer, this experience in hat making gave her something to fall back on.

Small beginnings

She began by making big peaked costermonger caps. The first batch shown to the boutiques in London’s King’s Road produced orders for dozens more. She and her husband turned their flat into a work room and Diane did the cutting and stitching at a big table which let down over their bed. For two and a half years they lived in this way and Diane meanwhile built up an enthusiastic clientele. Buyers from New York stores wanted her creations and in the autumn of 1970 she was able to branch out into new premises with a shop and her own work room.

The shop, just behind London’s Baker Street, is also her showroom. Enormous candy pink hat boxes are stacked waist-high along one wall. Hanging on the walls and in the window are her hats, all shapes and colours and sizes. At first sight, it looks as if everything in Diane Logan’s shop has been individually confected. In fact the reverse is true. Diane works with only a few at shapes at a time, but makes them up in an enormous variety of different fabrics.

Fabrics and trims

She is interested first and foremost in shape, often buying up old hats in jumble sales and taking them to pieces. Using rolls and rolls of old millinery materials, some of them made before the war, she puts together her hats, often accentuating the separate sections by mixing different fabrics. A beautiful example is a desert hat with the crown in six sections and a wide brim: one variation incorporated a flocked spot, dapple and leopard smudges on variously coloured grosgrain, with a stitched and colour sprayed brim.

Last year’s floppy beret which she made in poodle pile fabric and big blanket checks is still being reworked. The shape is basically the same, but the construction is altered so that the hat sits a little flatter on the head with a pom pom on the top. Diane Logan has altered the concept of the bowler hat too, by cutting the crown concentrically, enlarging the brim and making it in soft fabrics and gay colours, multi-coloured gingham, plain unbleached canvas which gives it a classic air, and ice cream sundae shades of pink, blue and yellow with an emerald brim. This shape is in her next collection too, the brim slightly enlarged and this time made in soft pigskin, velvet and fine velour.

Diane’s passion for unusual fabrics extends to trimmings. The search for new ones is constant and she quite casually mixes old and new as she does with her fabrics. On top of a stack of blocked straw shapes, waiting to go to the little old lady who does the flower trims is a sample hat, trimmed by Diane herself with exquisite faded silk anemones, at least 40 years old, and with tiny rose buds just arrived from Hong Kong. This was the pattern the outworker was to follow for trimming this style, but Diane was quite prepared to accept that, by the time the hats were finished, the lady’s own modifications would have crept in and no two hats would be alike. In this way, Diane Logan’s customers can buy hats with a distinctive look, but each with their own touch of individuality.

As an arbiter rather than a follower of fashion, Diane’s designs are widely copied: the cheeky costermonger cap was taken up by almost every wholesale manufacturer. With great delight she recounts the story of a fabric salesman who tried to sell her the very poodle cloth she used and introduced for hats, two years ago. As he was shown the door he was still protesting ‘But it’s going to be all the rage…’.

Interview by Caroline Shaw.

Photographed by Roger Charity and Chris Lewis.

Scanned from Golden Hands Monthly, November 1972.

Get Away

1960s, Gershon, Inspirational Images, Otto Lucas, Simon Ellis, vanity fair

For a Sunday by the river . . . just looking your prettiest. Snowy-white dress in broderie Anglais with a wide, square neckline, puff sleeves -a very demure air about it. By Simon Ellis, 72gns. Wide-brimmed hat in fine white straw by Otto Lucas, 88s. White organza parasol, to order from Harrods, 6 2 gns. White tights by Mary Quant, 18s : 11d. Paisley cushions and old-fashioned quilt from Cornucopia. More prettiness how-to : Almay’s range of hypo-allergenic make-up, specially formulated for difficult skins that usually don’t like any make-up at all. Soft Ivory Liquid Make-up, matching powder. Eye Shadow Aqua, Charcoal Brown Mascara; Pink Pecan Colour Moist Lipstick, And, a summertime scent, Mademoiselle Ricci by Nina Ricci.

Photographed by Gershon

Scanned from Vanity Fair, July 1968.

Love Forty

1960s, Berkertex, Daniel Hechter, Foale and Tuffin, George Malyard, Graham Smith, helmut newton, Inspirational Images, Ken Lane, Malyard, Marlborough, mary quant, Queen magazine, Rayne, Vintage Editorials
White crepe dress by Berkertex. Jewelled snood by Graham Smith.

The clothes of the Thirties were capricious, narcissistic and extravagant — the jazz of the Twenties turning soft, like swing – but with the wartime Forties they necessarily became austere and functional.

To compensate, the details kept their extravagance – shirred waists, sweetheart necks, floppy sleeves, Veronica Lake hair.

On this and the following pages we have a minor Forties revival – minor because these clothes are strictly 1968, when women want to dress both practically and frivolously.

I do not endorse this copy, because I would not agree about the clothes of the Thirties being ‘narcissistic’, but I do endorse the photos and the clothes.

Photographed by Helmut Newton.

Scanned from Queen, July 31st 1968.

Red crepe dress by Foale and Tuffin. Hat by Malyard.
Red wool crepe dress by Foale and Tuffin. Gilt snake bracelets by Ken Lane.
Black crepe dress by Daniel Hechter for Bagatel. Beret by Malyard. Shoes by Rayne.
Grey crepe dress by Harriet.
Black checked beige crepe dress with bloused sleeveless top, by Marlborough. Black beret by Mary Quant for Kangol.

Heads you win

1970s, alkasura, Andreas George, Bermona, Feathers, hans feurer, hats, Inspirational Images, Jean Charles Brosseau, jean shrimpton, liberty, liberty's, mr freedom, quorum, ritva, sunday times magazine, Vintage Editorials
One of a selection of hats designed by Andreas George that are decorated with anything from fake flowers, ribbons, plastic fruit to tiny furry animals. £7 from Alkasura, 304 King’s Road, SW3

Suddenly this summer the shops are selling masses of hats that before would have only been dug up for garden parties, weddings, sports days or camping it up. For years magazines and designers have shown their clothes with hats, but they don’t usually turn up in the street. Fashion editors often feature ‘picture hats’ like those on the previous page posed in some romantic setting or framing an immaculate new make-up, but one never actually sees them on a number 19 bus. Now hats have gone the way of all clothes; there are no rules; you can wear anything with anything. Any hat, whether it’s wide-brimmed and floppy with half a haberdashery department stuck over it, or a small crocheted cloche pinned with a bunch of plastic fruit, i fine with either nostalgic Forties’ dresses or a dirty old pair of jeans. And you can still wear it to a wedding if you want to.

Modelled by Jean Shrimpton.

Photographed by Hans Feurer.

Scanned from The Sunday Times Magazine, June 20th 1971.

Smooth straw hat with fake anemones, by Bermona, £2.85 from Dickins and Jones.
Cotton cloche pinned back with a bunch of cherries if you like, £4.50 from Quorum. Check and spot crepe shirt £4.20 from Mr Freedom, 20 Kensington Church Street. White cotton shorts by Ritva £7.88 from Countdown, 137 King’s Road.
Pink felt hat with bright harlequin pattern under the brim by Jean Charles Brosseau, £7 from Feathers, 43 Kensington High Street.
Plain wide-brimmed panama hat, £2.85 from Liberty’s.

Where It’s At

1970s, anji, autumn, Bermona, biba, Browns, Etam, harold ingram, hats, Honey Magazine, Hope and Eleanor, Inspirational Images, John Craig, kadix, Make-up, mr freedom, ravel, roger stowell, Russell & Bromley, Saxone, shoes, stirling cooper, Sujon, Tommy Roberts, Vintage Editorials, Wild Mustang Co.

Where it's at - Roger Stowell - Honey Oct 70 h

Plum spotted baker boy hat by Mr Freedom.

Looks: Eyes, hair, lips, the way they are now.

Clothes: Pink and purple and plum – the length is midi of course

Props: The right accessories make the look come right

Mood: How to wear your feelings on your face

Basically, this editorial is everything I wish for from my autumn wardrobe, colours and textures and shapes, complete with a mouthful of chocolate…

Photographed by Roger Stowell.

Scanned by Miss Peelpants from Honey, October 1970.

Where it's at - Roger Stowell - Honey Oct 70 j

Choker from Browns.

Where it's at - Roger Stowell - Honey Oct 70 f

Left: Lavender shirt with matching midi skirt by Sujon. Canvas boots by Biba. Centre: Parma violet dress by Stirling Cooper. Leather butterfly choker from Browns. Shoes by Saxone. Right: Rose and lilac sweater by Harold Ingram. Jersey midi skirt by Etam. Crochet cloche by Browns. Shoes by Saxone.

Where it's at - Roger Stowell - Honey Oct 70 g

1. Crochet flower cloche by Browns. 2. Plum leather satchel by Wild Mustang. Brooches from Mr Freedom. 3. Conker brown bag by Fenwicks. Leather belt by Wild Mustang. 4. Purple suede shoes by Ravel. 5. Belts from Browns, Wild Mustang and Adrien Mann. 6. Maroon suede boots by Russell and Bromley.

Where it's at - Roger Stowell - Honey Oct 70 a

Crushed velvet cloche by Bermona

Where it's at - Roger Stowell - Honey Oct 70 b

Cloche and dress by Anji. Badge by Mr Freedom.

Where it's at - Roger Stowell - Honey Oct 70 c

Floor sweeping crepe dress by Kadix. Choker from Hope and Eleanor.

Where it's at - Roger Stowell - Honey Oct 70 d

Sweater by John Craig.

Where it's at - Roger Stowell - Honey Oct 70 e

Peasant shirt and midi skirt by Sujon.

Très red

1970s, Adolfo, avedon, Bill Blass, hats, Inspirational Images, Make-up, Uncategorized, Vogue

avedon vogue nov 71

“Zingy with a torchy note. Lively, dramatic sure-fire on lips and nails…”

Wrap coat by Bill Blass. Hat by Adolfo.

Photographed by Avedon.

Scanned by Miss Peelpants from Vogue, November 1971.

Catch on to Kangol

19 magazine, 1960s, hats, Illustrations, kangol, Vintage Adverts


Sandra and Di-Di have got bouncy berets. Ginny’s got a crazy bobble beret. Tasmin has a pull-on push-about willy woolly and Carol-Anne a kiddy cap. They’ve all got the Kangol Craze! Daffy dizzy colours. Gorgeous shapes. Soft super feel. Wonderfully wind and winter-proof. Don’t get left in the cold. Catch on to Kangol… and go!

Scanned by Miss Peelpants from 19 Magazine, November 1968.

Guy Day: Colin Firth, 1984

1980s, Colin Firth, Demob, Dexter Wong, Hamish Bowles, Hyper Hyper, katharine hamnett, Mensday, menswear, Robert Erdman, The Face

Crushed white silk shirt Katharine Hamnett. Silk toga as flag Katharine Hamnett. Navy herringbone trousers at Demob. Ghillie shoes at Scotch House

Crushed white silk shirt Katharine Hamnett. Silk toga as flag Katharine Hamnett. Navy herringbone trousers at Demob. Ghillie shoes at Scotch House

A young Colin Firth in a white shirt? You’re welcome…

Styled by Hamish Bowles. Photographed by Robert Erdman.

Scanned by Miss Peelpants from The Face, October 1984

Black wool coat by Body Map. Red cotton jersey shirt by Tim Hall at Demob. Black fur pile shapka by Dexter Wong at Post, Hyper Hyper. Badges from Covent Garden and Berwick Street Markets.

Black wool coat by Body Map. Red cotton jersey shirt by Tim Hall at Demob. Black fur pile shapka by Dexter Wong at Post, Hyper Hyper. Badges from Covent Garden and Berwick Street Markets.