Two Sixties legends for the price of one….

1960s, british boutique movement, diana rigg, emma peel, jean varon, john bates


With thanks to Senti for that title! I honestly had no idea that these photos existed, but I found them yesterday and they’ve swiftly become my favourites. Diana, of course, is a huge inspiration to me – not only as Emma Peel but that does have a lot to do with it. I always loved how natural she seemed, and of course the effortless cool. As Emma, that was helped considerably by Bates’ influence as designer. She wore his designs to perfection, and continued to wear Jean Varon garments into the Seventies. Through this, I ‘discovered’ Bates and simply fell in love with his extraordinary designs. Having now met him, I’m even more in awe than ever before – especially after he gave me a nugget of advice on how to wear his frocks. The man is a legend.

I’ve never heard her speak of him, and only contemporary comments from him about the design process. I suppose these things rarely seem so iconic and special at the time, when deadlines are tight and it’s just another job. But you can just see magic being created in these photos.

Fashion Icon of the Month: Nerys Hughes

1960s, fashion icon of the moment, nerys hughes
Nerys Hughes in The Liver Birds

One of the most darling dollybirds of the late 60s/early 70s, Nerys Hughes tottered her way into fashion icon status as Sandra Hutchinson in The Liver Birds. Week after week, the girls would fight it out over a sexy negligee; destroy each others’ feather boas and debate the merits of a maxi versus a mini.

Sandra was always the glamourpuss though. Feigning innocence with the lads, whilst wearing the shortest of minis. Batting those false eyelashes under a heavy fringe (it’s a wonder she could keep her eyes open!!) and backcombing her thick brown hair as though her life depended on it.

She was also curvy, posh and had a prickly veneer of respectability. Just my kind of girl!! The Liver Birds became a manual on 60s chic for me (before I discovered The Avengers) and I would still kill for her wardrobe. Nerys, we salute you!!

Zandra Rhodes

1970s, fulham road clothes shop, zandra rhodes

I heart Zandra Rhodes. How can you not love someone so vibrant and talented?

In honour of her wonderfulness, I’ve just listed a super duper rare example of her early work (ca. 1971) in moss crepe. I’m such a sucker for moss crepe, and Zandras in moss crepe aren’t all that common at all. Some day I’ll get around to photographing my moss crepe Fulham Road Clothes Shop trousers with the lipstick print. Heck, some day I’ll get around to wearing them. So anyhoo, this shirt dress is wonderfully simple in cut but showcasing her gorgeous Frilly Flower print in red on purple. It’s wearable, timeless and pure Zandra.

John Bates Exhibition

1960s, british boutique movement, jean varon, john bates, personal collection

*pinches self*

Is it? Is it still true? Did I really meet my all time favourite designer yesterday afternoon?? I think I did…

Wow.

Considering I was a bit of a wreck to start with, he handled me remarkably well! He was very debonair, very charming to talk to and generally didn’t disappoint me at all. It can be a bit of a let-down when one meets one’s idols and I was worried about even introducing myself for fear of appearing to be a muppet (which I’m sure I did) and that he might not be what I was expecting. I needn’t have worried!

Of course I get home and all sorts of things pop into my head, so many things I wanted to ask him and better answers about my collection. But such is life, and I’m so honoured to have met him!

V&A’s Swinging Sixties Exhibition

1960s, annacat, british boutique movement, carnaby street, cathy mcgowan, gerald mccann, jean varon, john bates, john stephen, personal collection, pussy galore, victoria and albert museum

Since I’m distinctly unimpressed with the myspace blog facility, I thought I’d repost my images from the V&A Swinging Sixties Exhibition over here. The John Bates exhibition opens on the 13th July so I shall attempt to get photos of that too.

Pussy Galore of Carnaby Street

Gerald McCann mini dress with peter pan collar

John Bates for Jean Varon White PVC mini dress

Annacat Pink Velvet Mini dress

John Stephen of Carnaby Street Psychedelic Mob Cap

Cathy McGowan’s Boutique Pink and Purple Suede shoes

Horrockses

1950s, horrockses, website listings


Permission to wax lyrical about this gorgeous gown from Horrockses, please Miss! It’s possibly one of the most beautiful 1950s evening gowns I’ve ever seen, definitely the most beautiful Horrockses thus far (but it’s a close call between some other lovelies I’ve had/have). Not only is it beautifully draped and fitted around the bodice, not only is the print reminiscent of watered silk gowns from the 18th Century, but it has the most technically brilliant drape of fabric up the back and attached to the single shoulder strap. The drape is completely integral to the fabric of the skirt which gives such a beautiful flow up and down the back of the dress.

Then they go and top it off with a big don’t-mess-with-me bow! All this, and it’s entirely made of cotton so you can just chuck it in the washing machine when you get back from your swishy do! It feels amazing to wear pure cotton in summer, so imagine how smug and cool you’ll feel while all around you are sweltering in man-made fibres! 😉

Before World War II, Horrockses manufactured printed cottons for the thriving home dressmaking industry. In the 1950s, with a demand for affordable ready-to-wear pieces in the wake of Dior’s New Look, they started producing their own collections of daydresses, eveningwear and beachwear. In the era of rationing, cotton was cheap, durable and easy to work with. Their prints were vibrant, modern and fun!

Oh! how do I love thee, Horrockses….let me count the ways!Thank you for cheering up Britain’s post-war women with your affordable, wearable, and utterly gorgeous cotton frocks! Thank you for enabling British women to have enormous full skirts during rationing! Thank you for making them in hard-wearing cotton. We salute you!

Foale and Tuffin

1960s, barbara hulanicki, british boutique movement, carnaby street, Foale and Tuffin, gerald mccann, john bates, mary quant, personal collection, yves saint laurent

What baffles me is the inverse ratio between the rarity of Foale and Tuffin, and the prices they command. I think Marion Foale and Sally Tuffin were arguably a greater talent than Mary Quant. And they certainly knew when to call it quits and draw back gracefully from the fashion world (they both ‘retired’ in 1973 to spend more time with their families). Licensing? They wouldn’t have dreamed of it. Yes, MQ, I’m looking at you in your waterproof poncho – don’t think I can’t see you! 😉

Their early work was vibrant, youthful, fun and always exquisitely tailored. They originated trouser suits for women (yet another creative theft by Yves Saint Laurent ensured they rarely get credited for this – more rantings on him some other time…), used the ‘op art’ trend in a quirky way (rather like my other passion, John Bates) and helped build the Carnaby Street image – the driving force behind the emergence of Britain as a world leader in fashion.

They moved easily into the softer look of the late 60s and early 70s, continuing to favour Liberty prints and did all sorts of lovely frilled and flared things. In retrospect, their decision to quit in 1973 seems really rather intelligent. The mid-late 70s saw the crash and burn phenomenon of so many designers, Ossie Clark and Barbara Hulanicki at Biba being the most notable casualties. So they got out at the right time.

Their work is fairly rare. Goodness only knows why, you can hardly miss the label! They were a popular fixture in Vogue and a big part of the Youthquake British Invasion of the USA in 1965.

Two Foales from my private collection. 1963 and 1965 respectively.

However, in recent months (after loudly bemoaning the non-existence of ANY F&T pieces in my personal collection) I seem to have accumulated a nice little collection of their work. I still sit here, look at the frocks and think; “How the HECK did I manage that?”. I have my limits as to how much I will pay for pieces for my collection, it’s just that the prices have been shockingly low for what they are. Even the recent Kerry Taylor auctions sale for Sothebys sold two Foale and Tuffin frocks (early 70s) for the opening bid of £100. I recall one of the major US auction houses sold two Foales not that long ago for a similar price.

So, while I can’t complain on a personal level that the prices aren’t really reflecting the rarity and beauty of their work – it does seem utterly wrong. Mary Quant’s work is fairly cheap these days – especially considering her cultural importance. But F&T didn’t license their names to death. So in reality, they should be making a whole lot more.

Just a little rant. I feel much the same way about Gerald McCann. I guess I’ll just have to keep collecting these labels rather than selling them! *sigh*

Welcome to the Vintage-a-Peel blog from Ms. Peelpants

Uncategorized

Herein lies previews of upcoming pieces for sale on ebay and on the Vintage-a-Peel website, highlights from my personal collection and musings upon the world of vintage clothing and other cultural curiosities.

Enjoy!