Sinuous straps, wedgy heels and an all-time comeback for soft summer suede in any number of wide-eye summer shades. Shoes that daren’t be just practical — not now there’s so much happening in the clothes line above! With the sort of prices shown here, any girl can take out enough insurance to make sure her footwear not only keeps pace with the rest of her wardrobe, but even makes it that much more special as well!
Illustrations by Leslie Chapman.
Scanned from Petticoat, 20th March 1971.
Bright girls use their grey matter and use flannel as a platform for colour
Photographed at St. Pancras Station, London. Hair by Gerald at Evansky.
Photographed by Frank Murphy.
Scanned from Flair, September 1972.
Slip a shawl over summer and dream the days away in a land of your imagination. There couldn’t be a more beautiful way of letting a long sticky heatwave slip by than with these gentle colours made by a bleaching sun and these homespun clothes in soft country shapes. Whether you make it all the way to a shady plantation or just as far as the nearest cornfield, the scenery around any home this summer should look pretty good. Build up layers of cotton checs, sand suede overslips and warm rainbow knit waistcoats because even the sun can havee tantrums sometimes. Pack a pair of laced sandals and one huge-brimed straw hat.
Fashion by Sue Hone.
Photographed by John Carter.
Scanned from Petticoat, 22nd May 1971.
Summer’s peasant clothes come in brightly frilled cotton or in soft layers of cheesecloth with a bazaar of sunny straws and beads.
Fashion by Sue Hone.
Photographed by Roger Charity.
Scanned from Petticoat, 6th June 1972.
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.
After the explosion of hot pants and vulgar satin knickers, shorts are still with us, but they’ve emerged neater and brighter – put together with layered vests and skimpy sweaters, legs that go on forever and bright vampy shoes or clogs. It’s the only way to be cool this summer.
Photographed by Richard Selby.
Scanned from Honey, June 1971
Rich renaissance colours in velvet, lace and crepe reflect the mood for Christmas. Emphasis is on the shape of the body – necklines plunge, backs are bared, and skirts are slit in a demure, but wanton, fashion.
Photographed by John Bishop.
Scanned from 19 Magazine, December 1970.
Floppy Treebark crepe trouser suit with wide straight trousers, waist sash and large frilled collar, by Foale and Tuffin.
Run barefoot through the grass or dance under the stars. Shades of Isadora Duncan* and free, flowing movement. Long, lithe limbs leaping through loose chiffon. Wild intensity in dramatic falls of fabric. The romance of long dresses, of floating frills in transparent fabrics is yours for the asking. Come, do a moonlight flit with us…. *Isadora Duncan. who moved in high society, and whose dancing shook Edwardian England, initiated free dance movement clad in clothes which emphasised her point. We can still thank her for the romantic-looking, drifting dresses inspired by the film revival of her life story — on release in the Autumn, starring Vanessa Redgrave.
Photographed by Al Vandenburg. Hairstyles by Derek Roe.
Scanned from 19 Magazine, August 1968.
Dress in yellow embroidered voile by Biba.
Transparent black and white spotted dress from Biba. Shoes by Ronald Keith.
Tight waist-skimming jacket and knee length skirt in yellow crepe by Foale and Tuffin. Orange shoes by Elliotts.
Flocked yellow full-skirted Dacron dress by Shelana.
Romantic white lawn dress by Gina Fratini. Silver shoes by Dolcis.
Flower print skirt and top by Sujon. Crochet shawl by Mrs Cresswell. Shoes by Sacha.
Dusky dark dresses for the days when you’d rather take things cooler, in feminine earthy patterns galore, with more than their fair share of low key price tags…
Photographed by Steve Hiett.
Scanned by Miss Peelpants from Petticoat, February 1971.
Both outfits by Mary Quant’s Ginger Group. Inset below right, both dresses by Dranella.
Midi dress by Marielle. Rosie Nice satin shawl.
Liberty print tiered dress by Miss T. Shawl by Mrs Cresswell. Cream boots by Ravel.
Multiprint dress, left, by Alan Rodin. Belt from Elliott. Sacha boots. Button front Liberty print dress, right, by Miss T. Suede beaded shawl by Elliott. Choker by Buckle Under.
Long Liberty print dress by Wallis. Bag and choker by Elliotts. Shoes by Anello & Davide.
Black gabardine raincoat by Foale and Tuffin. Black suede double strapped boots from Russell & Bromley. Rainbow striped sweater by Stirling Cooper.
Reasons why Vanity Fair is one of the best fashion magazines ever #29847: A fashion editorial inspired by a fighting couple, photographed by Saul Leiter…
Scanned by Miss Peelpants from Vanity Fair, January 1971.
Maroon jersey coat and plaid skirt by Stirling Cooper. Sweater by Sonia Rykiel for Browns. Boots by Elliott’s.
Brown beige and orange flecked wool gauchos worn with thick brown shetland sweater, leather studded belt and appliqued bag all from Feathers. Cap from Way In.
Brown and beige tweed suit with Borg trims by Mansfield. Floppy woolly hat from Browns. Brown suede shoes by Pedro Garcia for Jack Hinton.
Midi skirt and matching muffler by Maxwell Croft. Brown polo necked sweater by Sonia Rykiel from Browns. Dark brown leather boots by Chelsea Cobbler.
Liz Eggleston 