CAMELOT

Props by Miss Joanna Brett.
Fashion by Susan Hone.
Photographed by Laurence Sackman.
Scanned from Petticoat, January 20th 1968.
THOROUGHLY MODERN MILLIE

BONNIE AND CLYDE

GONE WITH THE WIND

BLUE
CAMELOT

Props by Miss Joanna Brett.
Fashion by Susan Hone.
Photographed by Laurence Sackman.
Scanned from Petticoat, January 20th 1968.
THOROUGHLY MODERN MILLIE

BONNIE AND CLYDE

GONE WITH THE WIND

BLUE

If you haven’t got that special natural sweetness that makes people put a protective arm around you, don’t worry; it’s available this spring for under a fiver. Slip into these pastel pretties and discover the joys of being a choc-box dolly.
Photographed by John Carter.
Scanned from 19 Magazine, February 1973.




Ten years ago, the British woman was bound to her cardigan. Then, in a feverish review of fashion, the cardigan was shelved for the jacket. Now, it’s back in circulation, not as the rather insipid number of yesteryear, but renewed in a long wrap-around version — the sort you cuddle into when it’s cold outside, the sort you wear over dresses, jeans or even suits. Cardigans like this are the most practical knitwear created for ages and the Paris Collections, if they spell excitement to you, were full of them.
All jewellery in feature from a selection at Marie Middleton and Susan Marsh at Chelsea Antique Market. Gold-rimmed glasses from any good optician.
Modelled by Vivienne Lynn and unknown model.
Styling by Norma Moriceau.
Photographed by Ku Khanh.
Scanned from 19 Magazine, January 1973.






Long-term plan for spring dressing: slither in slim shapes, go sleek in skinny skirts and slink thin in think-slim skintight tops.
Model is Vivienne Lynn.
Styling by Marcia Brackett.
Photographed by Roger Charity.
Scanned from Petticoat, March 23th 1974



Students at the Kingston College of Art had an interesting assignment set them recently by Miss Selfridge. The store wanted young designs for young people and asked the students to make up a complete wardrobe of clothes, from undies right through to coats, keeping Miss Selfridge and its many branches in mind. The garments had to be commercial in the widest sense, suitable for sale all over the country. From the many beautiful designs sent in, Miss Selfridge chose what it thought were the best for retail. The one to make the most money will win its designer a trip to Paris. We photographed a selection in the lingerie range, all made in Dicel, to show you what’s in store.
Photographed by Peccinotti.
Scanned from 19 Magazine, February 1974.

Photographed in Ricci Burns’s drawing room. Hair by Mr Ricci of Ricci Burns.
Photographed by Mike Berkofsky.
Scanned from Honey, January 1975.



DRAINPIPE TROUSERS, PATENT STILETTOS, LUMINOUS SOCKS COME ROCKING BACK
Wonderful to see the combination of Let It Rock, Wonder Workshop and Terry de Havilland in one shoot by Roxy Music cover photographer Karl Stoecker. I’m not the biggest fan of the original Fifties look, if I’m honest, but there’s just something magical about the way this revival scene bridges the Seventies from Glam Rock to Punk and New Wave.
If anyone can identify the male models (or indeed the female ones) let me know. I think Mickey Finn might be one of them (third image, hanging out of the right hand car door), and possibly Antony Price. Which would make sense with Stoecker as photographer.
Photographed by Karl Stoecker.
Scanned from Honey, January 1974.





How you dress is an escape and an adventure in itself… never more so than the evening.
Hair by Leonard
Models are Anne Schaufuss and Jean Shrimpton.
Photographed by Clive Arrowsmith.
Scanned from Vogue, December 1970.








Another supreme example of amazingly styled and photographed late Seventies knitting patterns, further to my earlier Patricia Roberts appreciation post. I also immediately recognised those iconic Terry de Havilland zip-edged satin boots, which I’ve previously had in black and electric blue, seen photographed in pink and am now desperate to find the ice blue version!
Hair by Jane at Schumi.
Evening clothes from a selection at Ace.
Day clothes from a selection at Top Shop.
Shoes by Terry de Havilland and Sacha.
Ballet pumps and legwarmers from Anello & Davide.
Photographed by John Carter.
Not dated but I think c.1978/79.
A 19 SPECIAL PREVIEW OF AN EXCITING DESIGNER’S COLLECTION
Sheridan Barnett, pictured above, is the young designer who gave Coopers such a good look and who has now joined the Quorum label, with Ossie Clark and Alice Pollock. At twenty-six, he has established himself as the most exciting designer in London, with a fabulous first collection for Quorum that left them clapping in the aisles. Women’s Wear Daily, the fashion bible of America, devoted an entire double-page spread to his collection, previously unheard of for an English designer. He designs with his girlfriend, a ballet dancer, in mind, and ladies like Grace Coddington, model Eija and Liza Minnelli: “Girls who are individual and chic, interesting, attractive and with oomph . .” and likes them to look alluring, classy and sexy. At the moment, his clothes are expensive but we are hopeful that, later on, they will be available in the cheaper Radley range as Ossie Clark’s clothes are. Meanwhile look out for similar lines.
My slightly belated tribute to the great Sheridan Barnett, who died in November. He is one of those many British designers of the time whose work doesn’t really get the attention he deserves; as you can see here his tailoring was exquisite.
All clothes by Sheridan Barnett at Quorum.
Shoes by Zapata. Hats by Digby Howard.
Hair by Ricci Burns.
Photographed by Harri Peccinotti.
Scanned from 19 Magazine, September 1973.