This is gratuitous eye candy. Pure and simple. Petticoat, August 1970. Photos by Jeannie.
I love these dedicated boutique fashion spreads. Everything here is from Quorum, either Alice or Ossie.
Twiggy’s own label was a brief, beautiful contribution to the world of the British Boutique Movement. Click here to see my previous blog about it. The pieces are rare enough, but it can often be hard to find them online when her name has become merely a ‘keyword’ for the masses of unlabelled minis and hacked off maxis floating around in vintage land.
However, Vintage-a-Peel always seeks to bring clarity to the vintage world, so I don’t use such keywords. Except now I have an actual Twiggy dress for sale, so I can. Hurrah! Stunning striped cotton mini with blue satin buttons down the front to match the blue satin ribbon around the waistline. I love the tiny, ever-so-sweet detail of the top button though, which is covered to match the fabric of the dress. It’s even lined in cotton; a detail which would simply never occur to anyone nowadays (and is far nicer than supposedly high-end designer pieces even from the Sixties!). Wearable and so sweet, but also immensely rare and collectable.
Now listed over at Vintage-a-Peel
Incidentally, if any of my gorgeous readers/customers/friends/family aren’t already aware, Lulu’s Vintage are holding their annual vote for best vintage site. I would really appreciate your votes, but only if you feel like it and if you feel I deserve it! I might not be able to give you actual sweeties as a bribe, but I can give you very delicious images such as the one above! 😉
I’ve been to London, and Adam Ant I have seen. I knew I would probably live to regret it, but I couldn’t help wearing a big swishy top (kimono sleeved wraparound Ossie in black moss crepe with satin trim) and some very glossy patent shoes. I love the gothic, fetish imagery of his early badge and t-shirt designs.
Friday night was Adam’s big comeback gig at La Scala, so Charley and I got our hands on two very precious tickets and somehow managed to brave the nasty torrential rain. Me with curls in my hair and an Ossie Clark top upon my person. Ahhhhhhhhhhhhhhhhhhh. Why does it always rain on me when I’m heading to gigs? To paraphrase someone.
As we were walking around, trying to find a bar in which to meet the fabulous Jenny Drag from The Priscillas, we actually bumped into the man himself just arriving. I say bumped into; I did my usual polite ‘getting out of the way’ thing, while he was not looking where he was going and veering into me. Seconds later, I realised I should have been veering into him… Dang. A fair amount of brandy was going to be required to calm us down…

Anyway, once he took to the stage the night really came to life. After a slightly shaky start where he announced that ‘Adam and the Ants are no more’ and that all that stuff was behind him and the usual kind of stuff they say, and then a rather fabulous rendition of Get it On (accompanied by a very cute story I now can’t bloody remember about how he once met Marc Bolan), he finally launched into Ant Music. Ahhhhhh.
I felt a bit guilty, feeling so happy that he was playing part of his back catalogue. I’m not sure why. I guess I have a healthy respect for an artist’s right to play whatever the hell they want to play, unless something else has been advertised. But it was a guilty pleasure, for it continued into Kings of the Wild Frontier, Goody Two Shoes, Prince Charming (a drink prevented me from full arm thrusting but I was doing it in spirit) and, bizarrely, Apollo 9. Amongst others, of course. Including a very sexy rendition of Shakin’ all Over.
After an encore and lots of aggressive bopping by lots of aggressive middle aged jerks in centre front (flashbacks of Lovebox terror and Charley kept looking at me with great concern on her face) he came back out and announced he was going to read some poetry. A sad spectacle ensued where he was trying to read to those who wished to listen, whilst aforementioned sad middle aged jerks were yelling obscenities and demanding more songs. I’m sorry, but the tickets were pretty damn cheap for a gig by an actual icon and you’d already got your gig. Plus encore. If he wants to sit and read to us, then that’s his right. You can either sit and listen or bugger off.
He managed to get to the end, however, and good on him for doing so.
You may or may not remember, back in July, I lost an amazing vintage enamel Adam Ant badge at the Lovebox festival. I’m still grouchy at Nick Rhodes for that.
Darling Charley decided, once people had cleared off, to go hunting for badges and other memorabilia which he had thrown into the audience. Amazingly, she found a badge. Who the hell throws an Adam Ant badge on the floor, which he’s just thrown to them himself? People are weird. But the Gods of Rock and Roll obviously decided that I was owed a semi-replacement badge and sent Charley to deliver it. BryanGod bless her!
It was like all the stars had aligned themselves that night, aside from the one which guards against blisters on your tootsies, and it really was an incredible experience. It was lovely to see Jenny again and her gorgeous friend Ali, and pretty surreal to be standing there watching someone I’ve adored for so long. It took a while to relax and enjoy it, if I’m honest, because of his past problems. But I stopped feeling like I was watching Bambi after a few songs, and have now utterly lost my voice from singing along.

Ok so, I totally failed to take any photos from Friday night’s Lee Bender talk at the V&A. Mr Brownwindsor also failed to take any photos. My friends Daniel and David also failed to take any photos.
Conclusion: We were all in a daze.
And don’t even get me started on the fact that Mr Brownwindsor was sitting there chatting to Sylvia Ayton and I utterly failed to ask her to sign my Boutique book, which was sitting in my bag.
Conclusion: I’m useless.
However, I did get Lee Bender to sign my copy of her new book. And she recognised my nudey lady blouse immediately. Hurrah! Geek heaven…
I’m generally a bit squeaky and shy when it comes to asking questions in front of a huge audience of people. I can talk to a much admired designer up close and where only they witness my idiocy. But, after much cajoling beforehand, I realised I simply had to ask the question I’d been dying to ask since I wrote this blog [almost exactly] three years ago.
“How do you feel about being copied yourself* these days? Particularly with the Kate Moss for Topshop…..” I think I might have trailed off at this point because a look of thunder crossed her face. I squeaked inwardly, fearing I may have offended. But it turned out that she was just registering her anger at exactly the same thing that I had been angry about. She mentioned having seen a blog about it; I exclaimed that it was my blog, my dress. “Aha! I thought you looked familiar!”.
*She had spoken about her own experiences of taking inspiration from vintage pieces.
Terrifyingly fabulous when you realise your idols actually see what you write about them. I had the same stomach flip when John Bates said he had seen my website. I often forget, and I ramble on about them in the same way I would ramble on about Ossie Clark, knowing full well I can’t offend him.
Anyway, the talk itself was great. Albeit not quite sufficient for a complete geek like me. Certain people (mainly my boyfriend) keep having to gently but firmly remind me that of course I’m not going to be satisfied with whatever book/documentary/q&a session I’m witnessing. I already know most of what they’re talking about. I’m seeking the finer details. Dates, times, people, evidence. Sadly, it’s the lot of the fashion historian.
Which is also my problem with the new Bus Stop book. On balance, I would say it’s definitely worth owning (the more I look at it, the less I see the flaws). And mine holds greater importance now it’s actually got her dedication inside. But it’s not the most gorgeously produced book in the world, the design/layout leaves a lot to be desired, and it’s a crying shame that it will probably be the only one we’ll see on Lee and her work.
The problem is limited resources. She didn’t keep anything (by her own admission – you should have heard the gasps when she mentioned donating things to charity a few years back) so mostly it is filled with her illustrations. Which are very lovely. But I’m a geek. And I need information laid out in timeline form, or at least vaguely timeline-ish, and I need dates on photos. I need better quality scans of photos. But again, I am being pernickety because quite a few of the magazine photos within are from magazines I already own and could scan myself (and clean them up a bit in photoshop).
There was limited research going on, and many things slipped under the radar. Par exemple…
Oh yes. If books were produced by Miss Peelpants, they’d probably be the geekiest books in the world. But I’m not even being THAT geeky really. There are photos of Joan Collins and Barbara Bach in Bus Stop gear, presumably because those were the only ones they thought they had evidence of.
Also, there are so many Bus Stop fanatics and collectors out there; any of us would have been happy to have had our garments photographed professionally I’m sure.
My favourite part of the evening, weirdly, was the slight hint of anti-Bibaness. Which might surprise you, because I really do love Biba and Barbara Hulanicki and clearly am never afraid to express this through my blog and website. But I’m not unaware of her flaws. And I’m also starting to get a bit bored with the Biba dominance in coverage of the era.
As Lee herself, and others I chatted to afterwards, pointed out; Bus Stop clothes were made for women. Women with boobs and a bum. Barbara was designing for women with legs up to their armpits and no boobs. I don’t have the most generous bosom in the world, but Biba squishes me out in all directions sometimes. I appreciate the boldness of that as a design decision (the flagrant “if you’re not this shape, tough, you’ll wear the clothes and hope they make you look that shape” attitude) but it doesn’t always work when you need your clothes to work. Which is why I’m always wittering on about Lee Bender making wearable gear; she just WAS.
The actual rivalry with Biba was touched on, she told a brief story about both her and Barbara ending up in the same Kensington restaurant one night and being kept well apart by their companions, but this just made me even more sad. Biba gets two or three books, glossily and hard-backedly dedicated to the high altar of art deco fabulousness. Bus Stop will probably only ever get this one, making it look like the ‘also-ran’ it never was. But I’m immensely glad it even exists, quite frankly.
Someone (preferably not Topshop, although they owe her big time) needs to give Lee Bender the opportunity to design a new range of clothes. Hulanicki’s range for Topshop was such a crushing disappointment; I would dearly love to see someone who REALLY wants to do it, and isn’t just ‘phoning it in’, making a huge success with fresh, wearable designs and an understanding of women’s bodies.
Vive la Marie France! Stunning bamboo printed jersey goddess dress by the mysterious Marie France, who once designed under the Quorum banner. Deeply plunging and deeply gorgeous….
Edited to add a link to a pic of the fabulous WendyB in a very similar Marie France dress she bought from me (I think!!) ages ago. I knew I remembered having a similar one and thought it might have been on Wendy’s blog, so many, many thanks for jogging my memory! Doesn’t she look GORGEOUS? You could look just as gorgeous as WendyB in the bamboo version…
One of my favourite quotes (“If you have style, you have to have it right down to your knickers”) comes from this article, also in the May 1969 Petticoat, so I thought I would share the entire piece with you all. It teams a quiz about whether you have style with a rare Alice Pollock interview. Delish!
Wearing a loose-fitting black trouser suit, Alice Pollock curled up on a black leather sofa in a black-walled room, over her Chelsea boutique Quorum and grinned elf-like through her black lipstick.
She was so obviously stylish that it was almost embarrassing to ask her to define the word “style”. It was like asking her to explain away her entire personality.
Looking very serious, she said: “You know that old saying about wearing nice underwear in case you get involved in a road accident? Well, to me, that is a very stylish cliche. If you have style, you have to have it right down to your knickers. And to be really stylish, you have to have a clean, healthy body and clean hair to go with all your smart clothes.”
She clasped her long, brown hands behind her undoubtedly clean, short hair and added thoughtfully: “Clothes alone don’t make a person stylish–but they do help. I think that if you’ve got style and you’re really together, you couldn’t walk around looking like a complete un-thought about mess. The two things go hand in hand. A stylish person uses clothes to express their style–but it’s just as important that they have clean hands and nails and tidy handbag.”
Warming to the subject she added: “Of course, the whole style thing goes a lot deeper than this. It is accepting yourself, and before you can do that, you have to find out what you are and this is one of the most difficult things in the world to do. Finding out what you are is using your experiences (and this means the band ones as well as the good ones) and trying to apply the lessons you learn from them to the next thing you do.
“For example, if you find that at the end of something, you have made twenty new enemies and lost ten friends, you have to decide firstly, whether you were positively right and honest in the action you took and secondly, whether it is better for your personal and professional satisfaction to have twenty enemies, or whether it was better before when you had ten friends. In other words, learn something from it. This is the way to find out about yourself and develop a style.”
Alice said she thoguht there were a few lucky people born with style, but that most of us had to work at it:
“To work out a style for yourself is very difficult as you must be very careful that it is natural and not acquired as a facade. It’s got to be what you really want–what you really dig–and it’s got to end up by being what you feel. When you have sorted out your style, it is a good idea to involve as many of the right people as possible, so that the whole thing ends up as one enormous style. We live in a society and what we do must reflect society to be of any value.
“A thing which doesn’t reflect society may be very beautiful but have no style.”
She thought for a moment and came up with an example:
“There’s a beautiful, enormous building at the end of Oxford Street and although it is lovely, it is just not practical because it was designed without calculation as to what might happen to the environment if it ever filled up. If that building was ever put to full use, there wouldn’t be any room for the workers to park their cars; there wouldn’t be enough buses or tube trains to bring them to work and there would be no room in the nearby restaurants during the lunch hours. Something like that which doesn’t work has no style.
“When I design clothes, I am very aware of the utility side of it. I know that a garment that feels uncomfortable can cramp style. As a designer, this is something which I can concern myself with but what I have no control over, is where and on what occasions the customers who buy our clothes, will wear them. This is very important because style is very much concerned with doing the right thing in the right place. If you go to a race meeting in your high heel shoes or out to the grocers in your chiffon dress, you probably won’t look very stylish. You have to adapt your style–and this means in every way, not just clothes. I mean, it’s no good putting on your Jimi Hendrix record and playing it to some business man who just wouldn’t appreciate it.”
She waved her arm at a rack full of Quorum clothes.
“Wear those to a really straight business lunch and no one will dig them. You’ll be wasting your time. Style is a matter of coming to the right decision. For instance, if you’re going out and you wonder whether you ought to put on a lot of make-up or a little. Confidence is very important. If you feel confident about your looks, you’ll be all right. Better to wear something you like and feel good in that something you think the latest fashion.”
Tucking up her knees, she pointed to her feet: “For instance, I love these old brown boots, although some people might say that they don’t go with what I am wearing. If you really love something, and you trust your own judgment; wear it.
“If you don’t trust your own judgment however, try copying the style of someone you admire. Combine the parts of her look which you like with what you look good in.”
I asked Alice whom she thought of, as having style and she came with the Burtons, Grace Coddington, Zsa Zsa Gabor, Twiggy, and her partner, Ossie Clark. For people with no style, Savundra and John Bloom.
“There’s nothing less stylish than making a big public goof involving hundreds of ordinary people. To have style, you must have faith in what you do. You must put your heart into it for it to come out saying ‘style’. It must be what you really, really believe in.”

I must say that while, for the most part, she does talk a lot of sense, I’m not quite sure I agree with her statement about not wearing a chiffon dress to the grocers. I think those kinds of big, bizarre statements can often indicate a very stylish person. Thinking for yourself and going against the grain of expectation and convention.
It’s certainly a vastly different outlook from the ones usually spouted by male designers (like Ossie himself or the fabulous John Bates), coming from the perspective of being a woman. But I think she sounds rather curiously conservative, actually, and I prefer a balance between her ideas and the more extravagant ‘wear what you want, surprise people!’ mentality of the male designer.
I’d be very interested to hear what you all think. Ultimately though, ‘style’ is totally indefinable and to ‘be stylish’ in most people’s eyes often seems rather dull to me.
Here’s a delightful (but a delightful pain-in-the-arse to scan) photoshoot with my favourite dance troupe, Pan’s People, from Petticoat Magazine (May 1969). I suppose trousers for women were still something of a novelty in 1969, but there’s no excuse for usage of the word ‘pants’ for trousers in a British magazine.
She wears top and trousers by Rosalind Yehuda (shoes by Sacha). He wears suit and shirt by Blades (shoes by Chelsea Cobbler).
Well we all need help with that. Sadly, this just means in terms of temperature. Although it is very much on my wavelength about such things. I just don’t see the need to instantly strip off as soon as there is a hint of sunlight.
Still wearing a moderate weight vintage coat, I was being blown along the seafront last weekend and frowning at people walking along in shorts. Do they just have a different inner thermostat to me? Or did they, as I suspect, look out of the window, see the sunshine and feel a steely determination to wear as few clothes as possible and get down to the beach? Chillblains or no chillblains…
Even when it genuinely is rather balmy, I still don’t see any great need to strip off…I like clothes too much.
Anyway, enough of my rambling and on with this superb spread from The Observer Magazine, 3 August 1969. Not only do I love the clothes (both his and hers), but I love the settings and overall feel of the photos by Clive Arrowsmith.
Hot days in sticky cities can be miserable. But there’s no need to take to a beach dress or wear your tie draped round your nabel. Keep morale up, temperature down with cover-up clothes in lightweight fabrics styled simply in cool, clear colours.
Dress by Foale and Tuffin. He wears Cerruti.
She wears Marrian McDonnell (shoes by Shoosissima). He wears suit by Cecil Gee, shirt and tie by Turnbull and Asser.
She wears ensemble by Foale and Tuffin (shoes by Biba). He wears suit by Fex Brothers, tie and shirt by Turnbull and Asser.
She wears dress by Lee Cecil for Jetsetters (shoes by Sacha). Silk scarf by Tony de Celis (the man in these pictures). He wears Gordon Deighton at Trend.
She wears Ossie Clark (boots by Chelsea Cobbler). He wears top and trousers from Feathers.
…a delicious Doctor. Albeit one channelling Ringo. Stop that this instant!!
Oh I love this dress. I hope it’s vintage, but deep down I suspect not. She’s really been looking stunning at promotional events lately, and I really envy that hair colour. I like to think it would suit me [being just as pale – possibly paler – and with ginger running in my family] but I suspect it would not. Boohiss.