Screen printed satin suit by Biba. Brooch, cigarette case and lighter all from Jolly and Marsh at Kensington Market.
Crepe halter midi dress by Clobber.
Grand affairs call for grand clothes, and provide a welcome opportunity to get out of our peasant blouses and jeans and dress accordingly. The nicest thing about fashion at the moment is that everyone is so confused as to what they should be wearing, that you can wear exactly what you like. We opt for the romantic Garbo fashion, tarted up in the ’71 style, because girls are beginning to look like girls again and, although we sympathise with Women’s Lib., we don’t believe you have to look like a fella to get equal rights!
Possibly the most perfect encapsulation of the Seventies-does-Thirties aesthetic, this homage to Art Deco features some of the most lust-worthy clothes from my favourite designers and boutiques. Including Biba, Ossie Clark and some rare Antony Price for Stirling Cooper!
Photographed in the home of interior designer Graeme Gibson rather than in a studio, the authenticity is heightened by the location and the props, and then finished with the sweet illustrated photoframes.
Photographed by David Tack.
Scanned by Miss Peelpants from 19 Magazine, January 1971.
Crepe dress by Antony Price for Stirling Cooper. T-strap shoes from Sacha.
Aegean print pinafore dress by Sidgreen.
Crepe dress by Antony Price for Stirling Cooper. Shoes from Sacha.
Moss crepe dress by Ossie Clark for Radley.
Black crepe dress with white print by Radley.
Grey wool cardigan, oatmeal overchecked, pale grey silk shirt, both at James Drew. Grey felt hat by Edward Mann.
Meet the new fashion collector. She will be about for a long time. Her lipstick is red. She wears only navy, ivory and grey, but so cleverly that there’s no limit to the flattering effects she can compute. Her clothes are so simple and beautiful. It all looks easy. She spends more money on her clothes than most woman, but, when they’re searching around for something to wear, she’s already perfectly dressed. When their clothes are beginning to look wrong, hers are right. So in the end, she probably spends no more than they. Here’s how she does it…
Illustrated by Eric Boman.
Scanned by Miss Peelpants from Vogue, February 1974.
Left: Muffler, long cardigan with scroll embroidery, sleeveless putty crepe de chine gilet, skirt loosely pleated in front at Annacat. Hat by Jacoll. Right: Ivory crepe de chine open-work dress, couldn’t be simpler, tied at the waist by Salvador. Straw hat by Bermona.