Friday, 20 March 2020

A Day in the Life of Cathy McGowan | Ready Steady Go! (1965)


Friday's always begin on Thursday night for me. I'm not strong-minded enough to be an early-riser, so organising make-up, shoes, spare nylons, a substitute outfit―in case the one I've planned to wear develops a hitch!―and one hundred and one other things must all be done the night before. Sounds highly organised, doesn't it? But it never is. By the time i've found some missing eye-shadow, answered a dozen phone calls and collected my wits it's usually hitting midnight! Friday morning Mum wakes me with a cup of tea―I always drink gallons of the stuff on Fridays―and with a bit of luck, and a dozen more calls from Mum, I'm downstairs. After a quick breakfast of toast and more tea, and a quick chat with Mum, I make tracks for the hairdressers. This is the one time during the day I can put my feet up and relax while my hair is drying.

Ready Steady Go! Cathy's Friday by Cathy McGowan (1965).

By 11 o' clock I'm winging my way across to Kensington and my dressmaker to pick up my gear for the show. An hour and two cups of tea later I head for the studios to meet the cast for a chat over sandwiches and coffee―tea for me. If Sandie's on the bill, no one gets a look in conversationally. We practically talk ourselves hoarse! One o' clock and I'm in my dressing room. I always lay everything out before rehearsals―so that at 5.30 when rehearsals finish, I can just hop into my clothes and put on my make-up. Rehearsals begins at 1.30. Everyone's always terribly friendly and the whole thing is very informal.

 Cathy McGowan winging her way across Kensington to pick up her gear for the show from her dressmaker, 1965.

At the hairdressers - Cathy McGowan (1965).

In between my interviews I chat to journalists, usually about fashion, have pictures taken and get hauled off to admire for instance, The Moody Blues' new stage suits. During one of the breaks the Director always tells me I'm blinking too much again on camera. I never realise I'm doing it, but it's only because I'm nervous. My boss usually has a chat with me and advises me on my interviews. All the time the Ready Steady Go! team is dashing about―''Keep talking, Cathy''. ''Can't find Sandie. Help!'' 

Cathy McGowan gets ready to host the Friday night show, 1965.

At 5.30 everyone is getting a bit keyed-up―30 minutes in which to change, make-up and be back in the studio! I always rush away saying ''I'll never do it―I won't!'' But I always do! 6.08 and we're away. I'm always worried if I'll fluff anything. Then honestly, it hardly seems the show has started before we're winding it up again for another week. Back in the dressing room, Phyllis, our wardrobe lady, is waiting with cups of tea and everyone relaxes. Sometimes I go to the Ad Lib club afterwards, or out to dinner with a couple of friends, but more often than not it's straight home to Mum for a chat―and another cup of tea

Cathy McGowan with Ready Steady Go! Producer Francis Hitching, 1965.

Cathy McGowan chatting with Ready Steady Go! Producer Vicki Wickham, 1965. 

Showtime! Cathy McGowan on the set of Ready Steady Go, 1965.

Cathy McGowan on the cover of Ready Steady Go (TV Publications Limited) 1965. 

All images scanned by Sweet Jane from the Ready Steady Go! book (1965), original Cathy's Friday feature written by Cathy McGowan, Published by TV Publications Limited, Television House, W.C.2., Photographer uncredited. View one of my previous posts about Cathy McGowan: Ready Steady Go! Cathy McGowan Raves about Barbara Hulanicki Rave Magazine (1964). Listen to Eyewitness to History Vicki Wickham's 60s: A first hand account of the Swinging 60s from Vicki Wickham, who edited the cult television programme Ready Steady Go! and, later, managed Dusty Springfield. Ready Steady Goes Live! No more miming as Ready Steady Go moves from Television House to Wembley in 1965. Ready Steady Goes The last ‘Ready, Steady, Go!’ is transmitted on December 23rd 1966, Here Francis Hitching, who has worked on it throughout, sums up. And finally, Generation X are in love with Cathy McGowan. 

Sunday, 8 March 2020

Jackie | Your long-read paper to brighten winter days! | Jackie Magazine (1970)



Marijke Koger and the late Simon Posthuma (1939 - 2020), founding members of The Fool Design Collective. Cover photograph by Frank Bez. Jackie Magazine, issue No. 318, February 1970.

John Lennon – Jackie Magazine poster, from Issue No. 318, February 7th, 1970. The photograph is one of the many taken during the Beatles final photo session around the grounds of John and Yoko's home at Tittenhurst Park, Berkshire, on the 22nd of August 1969 by photographers Monte Fresco and Ethan Russell, with additional pictures taken on the day by The Beatles’ assistant Mal Evans.   


When Elaine Bateson isn't serving in her brother-in-law's discotheque, she's serving other types of goodies in her sister's boutique. Elaine, a fair, slim, 23-year-old, has been helping Pauline run Leeds boutique, Togs, since it opened almost a year ago. Pauline and Elaine's fashion know-how stems from modelling experience. Pauline did a modelling course when she was 18 and Elaine models Togs togs in their newspaper ads. And she, herself, is one of the best ads a boutique could have! Pauline and her hubby, Leonard Cohen (no, not THE Leonard Cohen!) had their first Togs in Great George St., Leeds. This was a bit far from the raving scene, so, when the opportunity arose to take over an  old bakery shop in Briggate, they jumped at the chance, and landed smack bang in the middle of Leeds main shopping centre. Once they painted up the shop in striking red and black, they  were off to London to grab the pick of the clothes.

They certainly stock the best of the bunch, and Pauline and Elaine, being two very understanding people, try to keep prices down. Dresses range from as little as 79s 11d for a fine jersey-knit or cire shift, to £6 16s for something really special, in soft black velvet by Miss Impact, it's softly ruched on the top half of the sleeves and at the waist above a gathered skirt. Elaine loves loves working in Togs but her friends love her working there even more. It means they can choose gear in the comfort of their own homes. Every so often Elaine and her friends congregate in one house and they have a right old ''henny'' party, choosing and trying out all the latest clobber, hot from London. Kweens, Gay Girl, Jamie, Shar-Cleod, Slimma, and Gerry Finn are among the famous makes stocked at Togs. Also, local girl Wendy Smythe designs some fantastic blouses and skirts, made up in specially imported Swiss cotton. One, a cerise polo shirt with raised full sleeves, tied at wrists, looked fantastic teamed with Gay Girl flared pants in Courtelle. These are only 79s 11d. and give a super slim leggy look. Special feature is a row of matching buttons on the outside ankle. Sling a few chains round your middle ― 21 bob from Corocraft ― and off you jolly well go! Elaine and Pauline are full of bright fashion ideas. ''If someone buys a plainish dress,'' says Elaine, ''we suggest she tries trousers with it, or wears a few chain belts around her neck for a bit of difference.  ''But we don't put on the sales pressure. There's nothing worse!''

Elaine's favourite from the boutique was a Kweens navy jersey dress, with a Polo neck and long sleeves, it has two thigh pockets, piped with red, and cost £5 19s 11d. To complete the ensemble, as they say, a pair of pillarbox red tights from Ballito would really knock 'em out! For work, Elaine likes to wear casual separates. A Gay Girls herringbone skirt with a little button-down pocket and a putty coloured Shar-Cleod ribbed sweater was her rigout of the day. For a touch of zing she had added a bright neckerchief and hot-red, knee-length boots. Togs feature lots of super Shar-Cleod knits. A tiny twinset two-some, in red with contrasting Shetland pattern, was only 44s for the sweater, and 39s 11d for the waistcoat. Self-coloured, cable waistcoats are the same price and long-sleeved, pocketed cardies are 45s 11d. Skirts have the average price of 39s 11d in various shades of Courtelle, plaid, and tweedie ones with three buttons. All by Gay Girl. Another Wendy Smythe top I noticed was in fine creamy cotton with a pin-tucked, lace-edged jabot, lace-edged high neck, and long raised sleeves. Typically Victorian—imagine it with a wine velvet maxi! From Victorian elegance to present day disco swinging ­­– this Miss Impact tricel smasher with the swirly pleated skirt has a sexy low-cut back, and costs only £517s 6d. It's also available in gold. A super array of of Corocraft jewellery is on display at Togs, with rings from 9s 6d for chunky ones. Colorful elasticated beady bracelets are only 7s 6d. and delicate silver bands cost 25 bob. 


Break the rules in Regulation Gear! Jackie Magazine, Issue No. 318, February 7th, 1970.

Break the rules in Regulation Gear! Jackie Magazine, Issue No. 318, February 7th, 1970.

Break the rules in Regulation Gear! Jackie Magazine, Issue No. 318, February 7th, 1970.


Stockists of Gillian Richard dungarees include Marshall and Snelgrove­­­­­–Just In and all branches; Guys and Dolls, London and Manchester; Goodhams, Chiswick; Stop the Shop, King's Road.◼︎ Dorothy Perkins sweater from all branches or by mail order from Dorothy Perkins M.O. Dept.,Wokingham Road, Bracknell, Berks., adding 3s p&p.◼︎ Dollyrocker outfit from: Miss Selfridge and branches.◼︎ Shelana pinafore dress from Dickens and Jones; Kemps of Croydon; Calverts of Widnes; Miss Janet of Liverpool. ◼︎ John Craig shirt and trousers from Stop the Shop, Kings Road; Neatawear and branches; Barker's, Kensington. 

All images scanned by Sweet Jane from an original issue of Jackie Magazine, Issue No. 318, February 7th, 1970. Cover photo by Frank Bez. John Lennon poster photography uncredited. Fashion illustrations uncredited. View some of previous posts about The Fool Design Collective, Jackie Magazine, The Beatles, and Boutique fashion: Lift Up Your Skirt And Fly Boutique Sheffield|Jackie Magazine (1969);  Show Yourself In Your True Colours|Jackie Magazine (1971); Jess Down English Boy Ltd Model & Artist|Jackie Magazine (1969); Baby Doll Make-Up Woolworth's|Jackie Magazine (1969); Apple, the Beatles' London boutique is the beginning of a whole new Beatle empire|Rave Magazine (1968); The Hippie Hautes Couturières! Felicity Green on the Flower Power Fashion Scene (1967); The Fool's Paradise|Apple Boutique (1967); The Boutiques Business (1970); The Birdcage Boutique Nottingham (1965); The British Boutique Boom!|Rave Magazine. (1965). View interviews with the late Simon Posthuma, Pattie Boyd, Tony Bramwell, Edina Ronay and more about Apple Boutique, filmed for BBC Newsnight in 2008. And finally, visit The Fans of Jackie Magazine Facebook Group. 

Saturday, 22 February 2020

Jenny Boyd | The English Girls of 1967 | Mademoiselle Age Tendre (1967)




Who are the sixteen-year-old girls in the land of the Beatles? What are their tastes, what are their hobbies, how do they dress, what is their attitude towards love and boys?  To be able to tell you, our special envoy Violaine Frank went to interview at length, this month, the British equivalent of our Mademoiselle Age Tendre: Jenny Boyd―schoolgirl all week and apprentice-model in her spare time. Jenny, whom many women's magazines already use a lot, is the sister of the charming Pattie Boyd, Beatle George Harrison's wife. She answered our questions with great care; she also posed for our friend André Berg's camera in the most extravagant outfits from her wardrobe. Discover here, with her, the current face of the girls of London. 

Who are the English girls? "They look like me," says Jenny Boyd. Photo by André Berg, December 1966. (Mademoiselle Age Tendre, 1967).

The English Girls

When, in the Chelsea café where we had just settled down, I said: Do you think Jenny, that you could answer, on behalf of the majority of English girls, to the questions that French women ask themselves about them? The delightful Jenny Boyd looked at me, suddenly disconcerted, and whispered: ''Me, speaking for other girls? It's difficult...'' Her very soft, very blue eyes kept watching me, and then she said: ''Let's try it, if you like...but I can't promise you any good results!''  So we tried; Jenny, by her age, her taste, the way she dresses, is the picture of the ''English girl of 1967'' (if, well, such an image exists). Never in our conversation did she want to play the role of spokesperson that we offer her; but her responses, and reactions, are nonetheless revealing: they tell us what to expect, what is expected, what, in December 1966, a young girl who lives in London likes, and what often differs from most French women.

Jenny Boyd, poses against the spectacular Pop Art facade created by the artist Michael English for Michael Rainey's 'Hung On You' Boutique at 22 Cale Street, Chelsea. Photo by André Berg, December 1966.

M.A.T: You have just walked us, photographer André Berg and I, across two London avenues very famous for their clothing stores, King's Road and Carnaby Street. And today, you're wearing an extraordinary short dress in silver nylon, gathered at the waist, under a coat barely longer than a boy's jacket. This brand new clothing style, when did you adopt it?

Jenny: About a year ago. Until then, I had always worn the dreary uniform typical of schoolgirls, long skirts, big sweaters that were a little too heavy―in short, I wasn't really interested about the way I looked, I didn't care about fashion...Luckily I have a beautiful model for a sister, that you know, Pattie. One morning she had enough and suddenly decided to take me in hand
Come on, she said, you're gonna change your lookI followed her. She was the one who introduced me to the little shops on Carnaby Street, where there are lots of fun and inexpensive clothes, she taught me how to do my makeup, how to fix myself up, and to enjoy making the most of my appearance. I immediately adopted the slightly exuberant style she proposed to me, which, changed my boring school life so wonderfully...

Above: Jenny Boyd, photographed outside Granny Takes a Trip, 488 King's Road, by André Berg, December 1966. You'll find some rare film footage of another fashion shoot outside the boutique during this period via The Kino Library

M.A.T: Was it Pattie, again, who gave you the desire to become a model? 

Jenny: It's her, of course. There, I did not let myself be convinced on the spot: You, you are pretty I said to her; but have you taken a proper look at me? Pattie was undeterred by the argument: Do what I tell you, everything will be fine. And, here I am...almost a model.

M.A.T: Tell me about the boys. The ones you know, the ones you've had a chance to meet...What do you expect from them, in general?

Jenny: The boys? I say it candidly, for me, they are the basis of everything. I love them all, but I like to keep it casual. What do I expect from them? Let them take an interest in me first. 

M.A.T: This passion for boys, as you say, does it ever complicate your relationships with some of them? Suppose five boys, all equally compatible and affectionate, try to seduce you, will you let them court you in turn without showing any preference forever?

Jenny: That is another problem!  I never said that I'd ever make the boys unhappy. In a situation like the one you're proposing to me...I think I would force myself to  choose.

M.A.T: Which would you choose, then? The most beautiful, the funniest, the most sensitive? What qualities or what faults would lead you to say: I want this one, or this one?

Jenny: It's hard to answer that; you'd have to show me the five boys in question! (Jenny laughs for a moment, and then thinks) I love beauty, that's for sure, but let's be clear about this word ''beauty''; I hate ''handsome'' boys; neither George Chakiris nor Alain Delon dazzle me. I find beautiful a face that has strength, charm, a face that reveals a real person: Mick Jagger, for me, is beautiful; John Lennon too; and Tom Courtenay, and Terence Stamp....

English girls come to discover tomorrow's fashion, that of the day after tomorrow, in the popular quarter of Chelsea. There are five main boutiques which offer it to them at very accessible prices. Biba's; Granny Takes a Trip; Top Gear, Countdown and Mary Quant's Bazaar. Thousands of girls have adopted this fashion, along with Jenny, thousands more will come soon. England, in December 1966, is a delicious clothing delirium that invades shops, streets, subways, cafes, and life. AboveJenny wears a silver nylon dress 45F (£3), from Granny Takes a Trip, 488 King's Road, Chelsea. Photo André Berg.

M.A.T: You told me that two years ago you spent a month's holiday in France. Do you feel that French girls are very different from English girls? That their tastes, their way of life are really different from yours?

Jenny: I think there are, yes, serious differences between French and English. Maybe not the essentials, but on some details there are many...Take this example, among others: when they go to a performance hall, to see and hear a singer, the girls here never moderate their excitement, or their enthusiasm. They shout, they sing, they passionately kiss their fiancé (if he is present, and if they have one); the most "crazy" sometimes cry. French women, on the other hand, give you the impression of having a sort of fear of appearing ridiculous, which in this case seems inappropriate to me. Why not loosen up and let yourself go if you want to do it? After all, who's going to decide that you look ridiculous? The fireman on duty? So what if he does?

M.A.T. Things have changed a lot in France in this respect in the last two years (the Rolling Stones are largely responsible for this). So what do you think is the right measure? 

Jenny: Let's say: a free but controlled excitement.

Jenny Boyd wears a red feather boa, 50F, at Biba 19-21 Kensington Church StreetPhoto André Berg, December 1966.

M.A.T: Do you know any of the stars who, in France, interest young girls? Adamo, Johnny Hallyday, Claude Francois, Francoise Hardy? ....What do you think of them?

Jenny: I know almost all of them by name, I know many of them by their records; I love the voice and the beautiful face of Francoise Hardy (she is also an important personality in England). I know almost nothing about Adamo; I've heard two or three of his records, but didn't take it any further. I don't really understand French, and the music alone didn't seduce me. As for Johnny Hallyday, he remains a source of amazement for the whole of Great Britain: everyone finds him handsome, no doubt, but how could he have become such a big star in France? His records aren't very good, are they? The last Frenchman that England has adopted is your Claude Francois; he has some ''punch'', and a crazy charm. 

Jenny Boyd, London, December 1966. Photo by André Berg.

M.A.T: A legend says that the English of today find the French old-fashioned, perhaps because of their musical tastes, or clothing ...what should we think of it?

Jenny: A legend is a legend, you have to believe it only halfway. For my part, I do not have the feeling that the French are more outmoded than us, or that the Turks, or that the Italians, or (let us remain in the legend) the Lilliputians.

M.A.T: Let's talk about leisure: How does a girl spend her free days here? What is the most fun?

Jenny: There, I think French and English meet: we love dancing, listening to music, going to the movies. As for sport!  I don't like it very much, it's a passion that I leave to my father and my uncles: they play crazy amounts every week on the "football pools" (these are bets on competitions between football teams, which are equivalent to French Tircé). Here, in every town (even the smallest), there is a ballroom, where, twice a week, a crowd of young people can go to relax: the particularity of these halls is threefold: the entrance is free, you can hear very famous bands, and they are so big in general that they can hold up to six hundred people... The only hall of this kind that I have seen in France is in Paris: it's La Locomotive.

Jenny wears a long-haired/deep-pile coat, 175F, at Top Gear, 135 King's Road, London S.W.3. Photo by André Berg, December 1966.

M.A.T There are about twice as many modelling schools in England as in France. How do you explain this difference?

Jenny: I don't know what kind of job girls are most passionate about at home, on the other hand, here, modelling excites a lot of people. My sister, Pattie, receives a hundred letters from school girls every day asking for advice and information on this job. Tens of thousands of girls find Jean Shrimpton's career extraordinary. My mother, twenty years ago, may have been dreaming of becoming Marlene Dietrich, or Rita Hayworth, or Ingrid Bergman; today, all the English girls have decided to compete with Shrimpton ... This morning, you gave me an issue of "Mademoiselle Age Tendre" in which there was a long report on Muriel Duclos, looking at this girl, I said to myself: "It's funny, why is she doing television? She could be a very pretty model.'' 

M.A.T: Do you ever say to yourself, 'I'm English,' and I'm happy about it?

Jenny: Nationality means nothing to me, I don't care. Ah! if once I was actually delighted to be English: it was the day the Beatles (George is my brother-in-law) received the Medal of Economic Merit (The MBE). On that day, the Queen showed that she had a sense of humour, and gave the offended veterans a serious 'old-fashioned' look. I was very pleased. 

All images scanned by Sweet Jane from Mademoiselle Age Tendre, January, 1967. Model: Jenny Boyd. All photographs by André Berg. Original interview by Violaine Frank―English translation by Sweet Jane. View some of my previous Beatles, Boyd and British Boutique related posts: Fine Feathers For Night Birds | Pattie Boyd |Rave Magazine (1964). The British Boutique Boom!|Rave Magazine (1965). Biba|London's Mini Mecca|Look Magazine (1967). John Stephen of Carnaby Street|Womenswear. How much is a Beatle worth?|Rave Magazine (1966). By the end of 1967, the Beatles had moved into the fashion business and Jenny began working in their Apple Boutique. View Jenny Boyd ‘Staring Into The Face Of God’―a filmed interview with Iain McNay for Conscious TV. You'll also find some fantastic footage of Jenny throughout The London Look (1965) and also in Joe Massot's cinema short Reflections On Love (1966) which was nominated as the best short film at the Cannes Film Festival, Joe Massot would also go on to direct Wonderwall (1968). Visit Jenny's Official Website: Jenny Boyd| Public Speaker & Writer. And finally, Jenny’s book; Jennifer Juniper: A journey beyond the muse (Urbane Publications), will be available on March 26th 2020. 

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