Harlequin Suit & Pierrot Collar Lust – Alison Goldfrapp

alison goldfrapp

At some point, I intend to make Alison Goldfrapp one of my website style icons and I will wax lyrical about her fabulousness in greater detail. In the meantime, may I just say that the photoshoot for Goldfrapp’s latest album, Seventh Tree, is officially my new favourite photoshoot in recent years. I knew I was going to love the new look after the distinctly Bill Gibb style tunic she wore in the A&E video, [and whoever created the dancing leaf people was a genius], but I had no idea just how much. I really hope there are even more shots from this, but for the time being I’ll just post the divine images I’ve seen so far. Yeah, yeah, it’s not exactly wearable but who cares?

I feel a sudden need to be hugged by a giant owl whilst wearing a clown tunic. Who wouldn’t?

Now where can I find me a Harlequin suit, hat and a big empty space to run around wearing it?

Ossie Clark’s Sons May Sue….

celia birtwell, Ms Peelpants' rants, ossie clark

My flatmate left this article out this morning for me, and I must admit that I punched the air a little bit. I can’t even begin to imagine how painful this all must be for them, it’s painful enough as a fan of the great man himself, to see your father’s memory being tainted and exploited by a tacky relaunch. I also read an article with Celia in the Independent where she skirted around the gross insult that this relaunch is with her trademark steely tact. Yet, in an article in the ES magazine (which oddly fell into my hands on the tube on Sunday night, and entertained me when I noticed the fallen frayed hem on one of the dresses in the background) the twosome spearheading this revival bleated on about how Celia had come around to the idea.

“Celia came along to meet Av and she was absolutely fine with it.”

Not the impression I got, that’s for sure. Especially in light of today’s news.

Anyway, to the collection itself. The snippets I have seen have proved to me that a substantial proportion of the collection is a poor remake of some of Ossie’s original designs. The yellow plunge neck which seems to be being used as the key image so far, more resembles one of his Model T Ford plunge necks with some of the neckline stitched up (you see them on ebay occasionally, courtesy of some very modest original owners). Like they designed with the big plunge in mind, but chickened out at the last minute (either that or poor cutting meant it didn’t sit properly on the body and modifications needed to be made).



Everything else? Yawn. Sorry, most of it looks like bog standard attempts at avant-garde-inspired-by-Ossie (like this puffball of a piece below). The designer is not, as some lackey who posted on my blog a while ago likes to insist, showing any independence of thought or proving to me that he is a creative and powerful new talent in the design world. He may well be, but how am I suppose to know that from all this bobbins?



Oh and that brings me to the prints. Now I know Celia couldn’t or wouldn’t be involved, and I’d have been just as aghast if they’d attempted to duplicate her work but…..seriously? Is this the best they could get? Smudgy, tie-dyed blobs in super dull and dreary colours? I don’t suppose I’d particularly notice the prints in any other collection but when it’s attempting to recreate the Ossie Clark magic, they really do draw the eye and then beat it with a big, dull stick.

I’m a cynic I know, and cynical folks out there will smirk and comment that I always set out to loathe this collection. They’d be right. But I’m also prepared to admit when I’ve been wrong. But this time, I wasn’t wrong. My instincts were all right. This wasn’t about the creation of new and beautiful works of art inspired by the legacy of Ossie. This wasn’t even the duplication-fest I thought it would be. It’s worse than that, it’s fallen between the two stools very, very hard on its bum.

Nice try, but no biscuit.

Price on request? Please! Spend your money on an original. They’ll be a lot cheaper, last a lot longer and you know what? Ossie Clark actually designed them.

Style Icons…..Bay City Rollers? Surely not?

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Last night, on the tube up to to Kings Cross, I saw something which nearly made me whip out my mobile phone to take a pic…..but, I just couldn’t do it to the poor kid. I’m sure he was on his way to a gig or something, this teenage boy (at least I’m assuming so, and what a poor fashion-victim sod who should know better if he ISN’T a teenager) got on wearing what I believe is a pure Hoxton look. Y’know, the whole Russell Brand, Noel Fielding skinny black jeans and skinny leather jacket get up (and these were, officially the skinniest jeans I ever did see). The silver winklepickers were quite a sight to behold, so shiny I’m sure he could see his face in them. But what really tickled me, thankfully not literally, was his hair.

I’m sure he was going for the Noel Fielding bouffant shaggy backcombed coif…..comme ci

But somehow wound up looking more like Dusty from the Bay City Rollers…..comme ça

I’m sure it wasn’t the intention, but I thought he’d have actually looked more ‘individual’ and edgy if he’d gone for the cropped flares and platforms instead of the skinny jeans and winklepickers. Ridiculous, yes…..but he looked ridiculous anyway. At least he’d have been ridiculous in a way I could admire, because I certainly can’t laugh at people in platforms. You should see how many I have in my wardrobe…..

Marit Allen RIP

1960s, Foale and Tuffin, john bates, marit allen, mary quant, ossie clark, Vogue

I can’t find any information online about it, but a friend has told me that the wonderful Marit Allen has passed away. The name might be meaningless to most of you, but she was instrumental in the careers of people like John Bates and Ossie Clark.

She worked as the ‘Young Ideas’ editor at Vogue in the mid-Sixties and her youthful approach to the clothes, styling and photographs ensured that the designs popular out on the street became widely appreciated through exposure in Vogue. She championed the young Bates, thus enabling him to continue creating the designs he had been struggling to get noticed with. Young Ideas also featured Ossie Clark’s work in the same summer that he graduated from the RCA and started working for Quorum, so Marit was certainly a visionary and true talent-spotter!

She accumulated a vast archive of pieces from the British Boutique Movement, including her wedding suit which was a Bates design, and this collection filled many gaps in the V&A’s Sixties Exhibition last year. I was ridiculously proud that my handful of pieces were being exhibited alongside hers.

She later developed a career in costume design, being designer for films like Brokeback Mountain and Thunderbirds (amongst many others).

I also had the very, VERY great pleasure of meeting her in January at a study day linked with the Sixties exhibition at the V&A. In retrospect, she was possibly the person I was the most excited about hearing speak and then meeting. And bearing in mind that Barbara Hulanicki and Foale & Tuffin were also in attendance, well that’s saying something about my respect for Marit.

It was so lovely to hear her talk about her experiences and views on the era, with photographs and thoughts on the designers. I had begun to think that the day would pass by with no mention of John Bates’ contribution to British fashion but, as in the Boutique book by Marnie Fogg, Marit sought to emphasize his talent and defend his forgotten claim to have been the first designer to really ‘do’ the mini skirt. And with Mary Quant herself in attendance, it was a brave move. The talk was only too brief, most frustrating that it was curtailed to keep the timing of the day and give Mary Quant more time to witter on about her make-up range and how she ‘invented’ the duvet cover (I kid ye not). I wanted to listen to Marit forever, and to see all her photos and hear all her experiences.

Thankfully I summoned up the courage to speak with her afterwards. I somehow found myself turning around to face her, and realised this was my big chance. We chatted a little about Bates, I told her about my collection and how grateful I was that she had mentioned him (we agreed he was a very underrated talent) and about how unlikely it was that such a boom time in British fashion would ever happen again. Mainly due to the cost of clothing production and shop rental in London.

Now, even more than before, I’m so glad I had those brief few moments speaking with her. I am so in awe of her talent and vision and, in a week where we’ve also lost the wondrous TV producer Verity Lambert, the world is a much gloomier place without these pioneering women.

Above and Right: Two photos from Marit’s Young Ideas section of Vogue. John Bates designs from 1965 above and Twiggy in Foale and Tuffin from 1967 on the right.

Eye Candy: Ossie Clark in Vogue

1960s, british boutique movement, celia birtwell, eye candy, Inspirational Images, ossie clark, Vogue


A little visual fondant fancy to take away the bad taste left by news of the tacky Ossie Clark label relaunch, here are some originals and proof that the magic will never be recreated (not least because Celia’s prints are contracted to Topshop these days). Save your hard earned money and buy an original, who knows which fabulous Sixties beauty might have once worn it?


Eye Candy: Luxe Hippy or Bourgeois Bohemian

1960s, british boutique movement, eye candy, Gina Fratini, susan small, thea porter, Vogue


I was a misunderstood teenager. When I was fourteen my long dark hair, pale skin and propensity to don long jingly jangly skirts, boots and big jumpers was perceived as gothic. I actually resented being called a Goth, I knew I was really a hippy. I’ve been through plenty of styles since then but it usually comes back to the same thing, no matter how much the likes of Sienna Miller may kill the look through over-exposure.

I still burn incense, I still have long wavy (normally fairly unstyled) hair and I still favour chiffons and appliques and beads…oh my. But now I’m a grown up (!) I prefer the luxurious look, I take inspiration from the designs of Thea Porter, Janice Wainwright (in the Poland Street era) and of course from Ossie Clark.

I have worn my flares with pride throughout this whole skinny jean phenomenon (although I’m not averse to them either, I only wear them Jo Grant style – tucked into my Seventies boots) and my burgundy velour Louis Caring frock coat with the too-short sleeves has suddenly started to garner compliments from strangers. Despite the fact I’ve been wearing it to death these past four years.

Flicking through my Vogues once more for inspiration, both for my listings, my personal style and in an attempt to update this blog more regularly, I was entranced by two fashion spreads in a July 1969 Vogue. The first I will post now, the second I will post tomorrow I hope (too much eye candy rots your teeth!).

Photographed in Wales by Norman Parkinson, clothes by Gina Fratini, Thea Porter and Susan Small (who’da thunk it??) in the most astonishing surroundings. This is luxe hippy at its finest, like a dressing up box of styles, fabrics and moods…..


Ms. Peelpants and The Art of Lounge

1970s, biba, british boutique movement, cathy mcgowan, kate bush, mr freedom, ossie clark, zandra rhodes

Lazy
I want to be lazy
I want to be out in the sun
With no work to be done
Under that awning
They call the sky
Stretching and yawning
And let the world go drifting by

I want to peep
Through the deep
Tangled wildwood
Counting sheep
til I sleep
Like a child would
With a great big valise full
Of books to read
where its peaceful
While I’m
Killing time
Being lazy

Well, truth be told Mr Berlin, I get lazy in autumn rather than summer. Don’t get me wrong, I long to go out and kick up some crispy fallen leaves with my newly-pulled-out-of-storage favourite patent knee highs and snuggled up in my cinnamon coloured chenille coat. Who doesn’t? But mmmm…….bed is a very inviting place in the Autumn. When the temperature is just the right side of downright nippy…..but you still let out a little moan and snuggle back under the duvet.

Suddenly autumn is the time you start looking at new cushions and bedspreads and get all excited about those delicious cinnamon, claret and chocolate shades. Actually…excuse me while I go stock up on all those delicious things. And while I’m at it, I may have to buy a whole load of cushions, fabric and set to work creating my own little Biba boudoir retreat.

Trouble is, we’ve lost the art of lounge. Back in the Seventies they catered brilliantly for this delicious indulgence. Like a nouveau Rococco period, where negligees and beautiful slippers were made just the right side of dressy so you never needed to emerge from that dreamy morning state….right through til your dinner party. Check out the Petticoat fashion spread I’ve scanned in, all about how to dress for lounging. Now that’s a clothing lifestyle I can really get on board with. And I’ve also included a picture of the untouchably awesome Kate Bush – just check out the colour of that divine original Thirties dress!

Laziness doesn’t necessarily mean slobbishness, so I say reclaim your weekend!!! Learn how to lounge!! Screw minimalism, create a luscious boudoir and lock the door on the world. You’ll need the clothes too, but really most vintage will do the trick for this. Put on that Ossie or Biba you’ve not had the guts to wear out yet. Same goes for the platforms, you’ve not had a chance to wear them outside yet so you can wear them in bed. Their time will come, but don’t keep them in a box until it does!!

Pour a glass of wine, break off a large piece of chocolate…..okay, maybe two large pieces…..oh what the hell, have the whole pack! And just indulge your senses……

In case you still need some clothes to lounge in, try these beauties…..

L-R: Cathy McGowan claret maxi dress, Biba red velveteen maxi dress, Zandra Rhodes print loungewear gown, Mr Freedom sateen maxi dress, Wallis moss crepe maxi skirt and coat set.


Power to the People: The True Meaning of Vintage

Ms Peelpants' rants, topshop

Vintage clothing is the ultimate expression of individuality. Vintage sellers are those who have fallen in love with vintage and want to work with vintage (as well as eat, drink, sleep it….well, some of us…). Vintage shouldn’t be about big business.

Unfortunately, big business always seems to want a piece of vintage. Displayed clinically, major flaws unmentioned and with designer information taken wholesale from places like the Vintage Fashion Guild label resource with no credit and no genuine research, big business doesn’t see the soul of a dress. It doesn’t feel the bizarre, beautiful touch of moss crepe or the sensuality of draping satin. It doesn’t appreciate the time machine element of an Ossie, instantly transporting you back into the heady days of Marianne, Mick and Anita. It can never understand how a Biba dress will make you skip down the road or how a pair of perfect patent shoes can transfix you for hours.

Perhaps I’m too emotionally involved in vintage for my own good, perhaps I’m an old romantic and a daydreaming thorn in the side of the cynical world of fashion. But that’s why I do what I do, and it’s why all independent vintage sellers do what they do.

Why does a multi-million pound fashion empire like Topshop start selling vintage? Why do they crush the spirit of small business by invading our world? I certainly can’t think of a good reason.

But then why do they also duplicate original vintage clothes and make money out of designers who always put creativity before profit?

(oh the irony that they’re now selling vintage Lee Bender pieces, bearing in mind they shamelessly copied her work for the appalling Kate Moss collection)

I’m resigned to it, I’m far too much a small fish against the mighty shark of big business. But I feel my opinion is valid, and I hope some of you fellow lovers of vintage will agree with me.

Emmapeelpants: The original, you might say.

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You may or may not have noticed a few other sellers have taken a heavy dose of inspiration from my photos and layouts, and while this is very flattering (as they say imitation should be) I would just like to reassure my customers that I am me. So if it isn’t Emmapeelpants or Vintage-a-Peel, it isn’t me.

Viva originality! After all, isn’t that the point of vintage?


And while I am here, I might as well let you all know of a few new goodies just added to the website…and some of the coming attractions! Just listed are a superb dress by Roxy Music stylist Antony Price, a sultry Horrockses print halter neck dress (which had me contemplating the removal of a few ribs so I could keep it for myself!), a summer of love mini dress by boutique favourites Miss Impact and an adorable pink empire line Sixties John Bates for Jean Varon dress.

Coming soon are some new separates by Radley (a vivid knitted halter neck top and a mixed print – one being a Celia Birtwell print no less – puffed sleeve jacket) and a super sweet little puffy print cropped peasant top by Polly Peck.



And this is just the start of it!

Oh, and p.s…check out the scrumptious Ossie Clark I listed over on ebay!

Fashion Icon: Servalan

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Maximum glamour, maximum impracticality, maximum camp, maximum power! Servalan is possibly the most stylish villainess in the galaxy. It’s hard to imagine Blakes 7 without the divinely evil Ms. S, but her role was never originally conceived to be a long-running one and she doesn’t even appear in the first few episodes of the legendary Sci-Fi series. But the character endured, and her incredibly individual style has made her an icon ever since.

The first few series showed Servalan at her iciest. Exquisitely draped jerseys, furs, feathers, high collars, crystals … this überbitch was always in white. As the character established herself as an icon over the four series, the clothes became progressively campier and more consciously sexy. The plunging red sequined halter and net collar were possibly the most memorable, but the final series was also notable with her new identity of ‘Sleer’ and a new wardrobe filled with vampier creations than ever – this time in wholly more appropriate black. Whether it was running up and down sandbanks in silver platforms, torturing one of the heroes with no bra on or escaping from certain death in a skirt she could barely move her legs in, she always survived in style. Servalan, you’re evil but we still salute you!

“There is something you should realise. There are no women like me. I am unique. That makes me rather dangerous.” – Servalan

To get that Servalan style, why not try this stunning late 70s piece by Tiktiner just listed over at Vintage-a-Peel…