
Accompanying an article on keeping cool in a heatwave. As I’m scheduling this post a few days in advance, I apologise if it drops in the middle of a cold snap…
Photographed by John Carter.
Scanned from Petticoat, August 7th 1971.

Accompanying an article on keeping cool in a heatwave. As I’m scheduling this post a few days in advance, I apologise if it drops in the middle of a cold snap…
Photographed by John Carter.
Scanned from Petticoat, August 7th 1971.

It is now my life’s ambition to find all of these! See more here. I’m particularly enjoying the ostrich feather and vaseline-smeared lens scenario of this one.
Scanned from Cosmopolitan, August 1974.

Summer sundresses can go a long way. They’re so versatile – you can wear them for work and then dress them up for the evening with hats, scarves and jewellery. Here are some of our ideas.
Photographed by David Anthony.
Scanned from 19 Magazine, August 1975.




That could probably be my motto where my website/instagram feed is concerned. It helps cheer me up a little bit, especially right now, and I hope it does the same for you all too.
Illustration by Leslie Chapman.
Scanned from Petticoat, August 7th 1971.

The clothes of the Thirties were capricious, narcissistic and extravagant — the jazz of the Twenties turning soft, like swing – but with the wartime Forties they necessarily became austere and functional.
To compensate, the details kept their extravagance – shirred waists, sweetheart necks, floppy sleeves, Veronica Lake hair.
On this and the following pages we have a minor Forties revival – minor because these clothes are strictly 1968, when women want to dress both practically and frivolously.
I do not endorse this copy, because I would not agree about the clothes of the Thirties being ‘narcissistic’, but I do endorse the photos and the clothes.
Photographed by Helmut Newton.
Scanned from Queen, July 31st 1968.






August on the steps of the Albert Memorial…
And shoes for the coming season..
Plum and conker coloured with a hint of sobering black for the first days of autumn.
I know nobody likes to hear THAT word in August, but it seems appropriate on a day when I’ve been forced back into brogues by the miserable weather.
Photographed by Kenneth Griffiths.
Scanned from Harpers and Queen, August 1974.


Advert for Bonds of New Bond Street. Hair by Daniel at Neville Daniel.
Clothes by Thea Porter.
Photographed by Eric Boman.
Scanned from Vogue, June 1978.

Romantic in concept and evocative of another age, the embroidered clothes illustrated on these pages were designed and made by Angela Salmon, while a design student at London’s St Martin’s School of Art, for her final diploma exhibition. Although painstaking embroideryis not commercially viable in the ready-made clothing industry, it is comforting to know that students of design continue to produce exquisite work such as this, adapting traditional techniques to modern design concepts. The lilac silk and black velvet dress, worn with pantaloons, has flowers and leaves of machine embroidered organza applied to the bodice with realistic-looking plastic blackberries to complete the motif. The caped coat-dress, made of olive-coloured chiffon, is worn over a strawberry printed chiffon dress. Strawberry flowers, leaves and fruit motifs, made of matt satin and machine embroidered organza, are applied with some of the edges lying free of the background fabric. The blue and white ensemble consists of a blue organza apron worn over a full-sleeved chiffon dress. The designer has chosen field flowers for her inspiration—poppies, buttercups, speedwell and wheat heads—embroidered and applied to the background fabric. Surface embroidery has been added to enrich the design.
Photographed by G Murrell.
Scanned from Golden Hands Magazine, Part 58 Vol 4. (1972)



Chester Jones is design director of Colefax & Fowler. He makes furniture of extraordinary craftsmanship, all dependent on handmade techniques, reminiscent of thirties’ decorative skill. Here, with his wife, Sandy, his chest-professionally sprayed silver, bolted together, stencilled in patterns of pinks and blues. Neon cloud scuplture. Gentle pattern carpet made by V’soske. Walls stippled beige on white by hand, stencilled simply, oil paint through heavy paper. Ceiling in silver gilt rubbed by hand. Sandy’s dress is by Zandra Rhodes.
Photographed by Ruan O’Lochlainn.
Scanned from Vogue, July 1970.

Hairdressers are laying down their scissors saying: “We want to feel hair again – short hair is out”. If you’re growing your hair, you’re in ‘cos long hair is romantic and flattering. These styles show you what we mean.
Photographed by Chris Holland.
Scanned from Petticoat, 9th May 1970





