Friday, 23 December 2011

The Booze Book | Determined Productions Inc. (1967)

The Booze Book

Determined Productions Inc.


The Booze Book, published in 1967 by Determined Productions, with design and illustrations by John Astrop & Eric Hill, comprises of sixty-six recipes by June Dutton and Edith Vanocur, who are described in the introduction notes as "a couple of attractive housewives with an uncommon background in booze." Apparently, they both had husbands who were deeply involved in the social madness of Washington, D.C. politics, therefore they became increasingly aware of the need for a concise compendium of interesting workable drinks. Anyway, 'tis the season to be jolly―and as good a time as any to post about this one. I've included a selection of the recipes plus a few of their tried and tested cures for ailing boozers at the end of the page. So...down the hatch, bottoms up, cheers and Merry Xmas!

All Images scanned by Sweet Jane from BOOZE by June Dutton & Edith Vanocur, published by Determined Productions Inc.(1967).  Design and illustration by John Astrop and Eric Hill.

Wednesday, 21 December 2011

Stars & Garters at The Electric Circus | New York's East Village (1967)

Stars & Garters at The Electric Circus 

This is part of a fashion editorial originally published in November 1967, which celebrated the continued popularity of the mini and also the return of the garter as a fashion accessory. There were in fact six other dresses included in this editorial, all quite expensive/high-end fashion with price tags ranging from $735-$1,225 for the dresses and $40-$50 for the garters, and they were indeed beautiful, however, none of them were to my particular taste. I found them to be a little bit too conservative for my liking and not in keeping with what was happening on the street at the time, especially when considering that this was published just a few months down the road from the 'Summer of Love' after all. The model in the photo below (Cathee Dahmen) is wearing the very last outfit to be featured, it may have only cost $38 in total, but it is definitely my favourite look from the piece. It is also interesting to note that the shoot took place at New York's premier psychedelic night club The Electric Circus located at 19-25 St Marks Place on the lower east side. The club, which had opened in july of the same year, invited its patrons to "play games, dress as you like, dance, sit, think, tune in and turn on" amidst the psychedelic light shows, live music, circus performers, experimental theater, astrologers and freaks! It was billed as the ultimate legal entertainment experience! I've included several links at the end of the page to more detailed information about the club, including a link to a fantastic blog called 'It's all the streets you crossed not so long ago' which has written extensively about the venue and its origins and many more of  New York city's rock 'n' roll haunts of the 60s and 70s.

 A Snappy Bit of Leg Art

In this the year of the leg, with plenty on view, and everything from flashy stockings to high-rise boots devoted to emphasizing the fact. The snappiest attention-getter is the old garter. A dated but delightful showbiz gimmick, garters fit the current theatrical spirit of late-nite fashion. They provide instant razzle-dazzle and what's especially good about them is that if you feel you are getting too much attention at any point during the evening, you can just slip them off and cool it without ruining the effect.

Cathee Dahmen 1960s hippie fashion

Star and Garter in the East Village

Lounging in the psychedelically painted doorway of the Electric Circus, a discothèque in New Yorks East Village hippie district, a girl wears a feathered garter ($7) which goes with her Indian-style headband ($5), like the star dress ($26) they come from discothèque's boutique.

Opening night of the Electric Circus June 1967.
All images scanned by Sweet Jane from LIFE Magazine 10 November 1967, model: Cathee Dahmen, Photographer Milton H. Greene.  Electric Circus photograph scanned from Radical Rags-Fashions of the Sixties by Joel Lobenthal.  "If the Electric Circus were to open today" can be found here. The excellent "It's All The Streets You Crossed Not So Long Ago" blog can be found here, and you can read a review from the Village Voice Archive about the opening night at the Electric Circus  here.

Saturday, 17 December 2011

Party Season = Party Invitations! John Alcorn┃Morgan Press Inc. (1968)

John Alcorn 

Morgan Press Inc.


1960s psychedelic pop art illustration

All Images scanned by Sweet Jane from my personal collection of vintage invitations, illustrated by John Alcorn and published by Morgan Press, Inc.  If you've ever wondered where the typeface style that defined the psychedelic 60s originated, click on the following link for more information about Morgan Press Inc.

Tuesday, 13 December 2011

Leslie Cavendish | The Beatles' Hairdresser (1967 - 1975)

The Beatles' Hairdresser

 1967 - 1975


 Leslie Cavendish

Leslie Cavendish - Vidal Sassoon trained stylist and personal hairdresser to The Beatles, was first introduced to Paul McCartney in October of 1966 through his then girlfriend Jane Asher, a regular client at the Vidal Sassoon salon in the Grosvenor Hotel. Shortly after that first meeting and for the following four years, he became personal hairdresser to all four members of the band and also went on to manage the 'by appointment only' Apple Hairdressing Salon which was located in the basement of Apple Tailoring Civil and Theatrical at 161 King's Road, working with them right up until they finally split and went their separate ways. Speaking of which, he was apparently summoned to attend to their hair shortly before the now infamous Savile Row rooftop gig in 1969 and after their demise continued to cut Paul and Linda McCartney's hair until 1975. Leslie eventually quit hairdressing in the late 1970s and moved abroad, but returned to London and his former profession a couple of years ago. These days, he can occasionally be found at the Joshua Altback Salon in St John's Wood. Or alternatively, you can contact him to make an appointment via 

Important Note - 10th/August/2017: This post was originally published 6 years ago, and since then Leslie has stopped cutting hair professionally. However, you can still take one (or all three) of his personal guided tours of London for Beatles fans! You'll find the full itinerary of each tour, plus the booking details here. And you can also read more about Leslie's adventures, in his forthcoming memoir The Cutting Edge: The Story of the Beatles’ Hairdresser Who Defined an Era, published by Alma Books on August 24th, 2017.


Promotional photograph of Leslie Cavendish taken by John Kelly, courtesy of The Official Archive of Leslie Cavendish - The Beatles' Hairdresser from 1967-1975. Watch an interview with Leslie filmed in 2013, in which he discusses his time spent with the band here. It's one in a series of four interviews with Leslie on the Rockin The Seams youtube channel, the rest of which can be found here.  

Wednesday, 7 December 2011

Baby Doll Make-Up┃Sun Shiny & Moon Shiny┃Photoplay Magazine (1968)



Out-shine doll!
Yes, there's a fab new set of shining examples from Baby Doll. Shiny Face-Shaders for high-lighting and shading. Sheeners―lip sheen, eye-sheen and face-sheen for natural skin gleam. Shiny lipstick, shadow, liner...everything. So out-shine, doll! at Woolworth's now!

All images scanned by Sweet Jane from PHOTOPLAY Magazine, September 1968. And although the artist is uncredited, as were none of the other commercial artists involved in the various illustrated advertising campaigns for this Make-Up range, I think that these particular ones look remarkably like the work of the wonderful Caroline Smith. View some more examples of Baby Doll Make-up adverts from this period in my previous posts News From Baby Doll Cosmetics (1967); Baby Doll Cosmetics - Jackie Magazine (1969); What's Your Lucky Number? Baby Doll Cosmetics - Rave Magazine (1968) and Baby Doll Make-Up Colours From The Rainbow - Rave Magazine (1968). And finally, discover more about Photoplay magazine: Photoplay Magazine: the birth of celebrity culture.

Sunday, 4 December 2011

John Stephen of Carnaby Street┃Womenswear



Much recognition and praise has been given to John Stephen's contribution to Men's fashion, particularly throughout the 1960s, however, very little has been said about his contribution to womenswear. And in spite of the intriguing descriptions of the various women's clothing items by his biographer Jeremy Reed in the highly recommended  The King of Carnaby Street - The Life of John Stephen, there appears to be limited access to any readily available photographic evidence. And by all accounts, it would also seem that very few actual garments from this era have survived. Or perhaps they have, but are yet to resurface onto the vintage market! I'm hoping that the latter proves to be correct, because to date, the Sweet Jane household are the proud owners of only 'two' pieces of John Stephen womenswear, but they are indeed two that are truly worth owning! The first, is an amazing mini-dress in red velvet with contrasting white polka dots, which my sister purchased some time ago from Liz Eggleston at Vintage-a-Peel. And the second, was an unexpected Ebay find, in dark brown wool jersey with contrasting detail in turquoise.

Apart from these, the only other example of his womenswear that I've actually seen, is a fantastic deep purple 'moire effect' velvet dress, decorated with an ivory coloured silk jabot, edge trimmed in lace, which can be found over at Victoria & Albert Vintage Clothing. Nevertheless, as a long time collector of vintage fashion magazines and books, I have managed to find some photographs here and there over the years. And thankfully, around half of  them are in colour, which was such a vital component in John's design aesthetic. I haven't had a chance to go through my entire personal collection yet, but i've uploaded the best of what I have found so far. I've also included examples of the three dresses that I mentioned earlier, which i'm sure will be of interest to other admirers of John's work...and I await the day when someone delves into the archives and publishes the definitive 'John Stephen of Carnaby Street' coffee table—fashion book (in colour!).

Two wild outfits in fab colours - Left: the coat with a matching skirt is in cotton by John Stephen £9 19s. 6d. Right: blue and lime dress in pure silk by Dollyrocker 6½ gns. Rave magazine, April 1967, Fashion report by Lee, Photographs P.L. James.

Left: Leather maxi skirt 22½ gns., and jacket, 31 gns., from Tracy, 71 New Bond Street, London, W.1. Silk scarf by Liberty, 2 gns. Boots bt Elliotts, 14 gns. Glasses by 47 West at Corocraft, 35s. 

Right: Maxi culotte suit by John Stephen, 40 gns. Sweater by Fantasia, 63s. Boots by Elliotts, 13 gns. Beret by Kangol, 10s. 6d.  The boy? Larry Smith of the Bonzo Dog Doo'Dah Band in his own rocker gear. The bike? A 500 c.c. Triumph. Rave magazine, May 1968, Fashion report by Lee, Photographs P.L. James.

Left: Bright orange chunky cord suit by John Stephen 10 gns. Picked for the super shade of orange, and a terrific belt fastening. Worn with soft cable knit skinny in sun yellow from Dorothy Perkins, 27s. 11d. Yellow beret by Kangol, 10s. 6d. 

Right: Startling yellow cord coat with super zip fastening and zip-up cuffs by Mary Quants Ginger Group, 12 gns. Underneath, a lime stretch jersey skirt from France at Roberta Roma, 7 gns. Beret in lemon, 10s. 6d. by Kangol. Neat lime-quilted shoes by Lennards, 59s. 11d. Rave magazine, April 1967, Fashion report by Lee, Photographs P.L. James.

Left: A dream of a dress in a flare of ice cream colours by Mary Farrin, 9½ gns. at James Wedge. Shoes in soft pale blue leather by Gaby, 79s. 11d. 

Right: With it, a dress that looks tiny when it's off and stretches to your own size when you put it on!  it's by John Stephen, 89s. 6d. Rave magazine, April 1967, Fashion report by Lee, Photographs P.L. James.

Printed Cotton jacket and dress by John Stephen. Photograph by Mike McGrath 

Knitted tops, striped cotton skirt, and trousers, all by John Stephen, 1965. Photograph by Mike McGrath. 

The Kinks drummer Mick Avory and *friend, modelling outerwear by John Stephen. Photograph by Mike McGrath. 


Deborah De Lacey and Mick Avory. Clothes by John Stephen.  Photograph by Mike McGrath.


Left: Art Nouveau print trouser suit in heavy linen by Hilary Floyd, 14 gns. Long line jacket with double-breasted look and wild, inverted pleat at the back—super colour combination, too! Purple trimmed shoes by Medway, 5 gns. Lilac beret by Kangol 10s. 6d.  

Right: Clinging disco-dress by John Stephen, 89s. 6d. Wrist watch by Old England.  Rave magazine, April 1967, Fashion report by Lee, Photographs P.L. James.

Beige and tan leather suit from John Stephen, 29 gns. Sweater in beige by Fantasia, 63s. Leather gloves by Dents, 45s. 11d. Cream beret by Kangol, 10s. 6d. Tinted glasses by 47 West at Corocraft, 35s.  Rave magazine, May 1968, Fashion report by Lee, Photographs P.L. James.

Leather coat from John Stephen, 35 gns.  Leather skirt from Lewis Separates, £5 19s. 6d. Sweater by Fantasia, 63s. Silk scarf by Liberty, 2 gns. Beret by Kangol, 10s. 6d. Glasses by 47 West at Corocraft, 35s. Boots by Elliots, 89s. 11d.  Rave magazine, May 1968, Fashion report by Lee, Photographs P.L. James.

Left to right: Alan Amsby, Eric Juhasz, Cindy Steeden.  Midi dress £7, Shirt £8, Blouse £5. The garments were available in white with a contrasting design in red and black or green, available from the John Stephen Department store 33-34 Carnaby Street. 

I couldn't resist including this still from the Smashing Time movie (1967), which uses John's Tre Camp women's boutique as the backdrop to a Carnaby Street fashion shoot.

John Stephen dress in red velvet with contrasting white polka dots, from the collection of Sweet Jane's Pop Boutique/Courtesy of Dandelion Sargeant.  

John Stephen dress label.

John Stephen mini dress in red velvet with contrasting white polka dots, from the collection of Sweet Jane's Pop Boutique/Courtesy of Dandelion Sargeant. 


John Stephen dress in dark brown wool with contrasting detail in turquoise, from the collection of Sweet Jane's Pop Boutique/courtesy of Dandelion Sargeant.

John Stephen dress in dark brown wool with contrasting detail in turquoise, from the collection of Sweet Jane's Pop Boutique/courtesy of Dandelion Sargeant.

John Stephen purple velvet dress from Victoria and Albert Vintage Clothing. 


Update: 23/6/2014: Purple Velvet dress by John Stephen of Carnaby Street currently available from Vic & Bertie Vintage.

Update: November 2013. Another rare example of Vintage John Stephen of Carnaby Street Womenswear—a 1960s suit in tangerine and gold brocade, which recently sold on Etsy. Photograph courtesy of  Bat City Vintage

All images scanned by Sweet Jane from Rave Magazine, May, 1968, Fashion of the Sixties by Barbara Bernard, and Rave Magazine, April, 1967. John Stephen Purple velvet dress circa 1968 by Victoria And Albert Vintage Clothing. John Stephen Brown & Turquoise/Red & White polka dot dress photographs by Sweet Jane. Smashing Time (1967) screenshot courtesy of Sparks in Electrical Jelly. Discover more about Alan Amsby, also known as Mr Pussy, originally from London, but now a long time resident of Dublin and still looking incredible! The photograph of Mick Avory and friend..I'm not sure if this is in fact Kiki Dee, as the female model wasn't credited by name, but it does look like her, and they did model a lot of John's collections together around this time. Read more about John Stephen: The Progenitor of a Custom-Built Design Movement. View some of my previous posts about Carnaby Street boutiques and entrepreneurs: Whatever Happened to Stephen Topper—Topper Shoes Carnaby Street and also Gear Guide - Who's Who in Carnaby Street 1967. And finally, an interview with The King of Carnaby Street himself, John Stephen, on what the well-dressed mod was wearing for  the Whit-Weekend, 1964.

Friday, 2 December 2011

In the Sixties | Frank Habicht


These are just a few of my favourite photographs by Frank Habicht, who began his career after he graduated from the Hamburg School of Photography in 1962, working as a freelance photographer for publications such as Twen, Esquire, The Sunday Times and The Guardian. In his varied career he has also worked as a stills photographer for the film directors Roman Polanski, Bryan Forbes and Jules Dassin, as a freelance photographer for Top of the Pops (1969) and as the in-house photographer for Hugh Hefner's Playboy Club in London (1970). Although Frank photographed some of the most iconic faces of the 1960s such as Jane Birkin, Serge Gainsbourg and The Rolling Stones, he also had the ability to capture the essence of the decade through his images of lesser known individuals. Much of this work can be found in his book Young London's Permissive Paradise published in 1969, however, it is difficult to find an in-expensive copy these days, as it has become a highly sought after collectable. As an alternative, you could try looking for a copy of In the Sixties published in 1998, from which the following scans were taken, as the book features a selection of the same work from this period.  

  Live it to the hilt, René, Westminster Bridge, 1968, by Frank Habicht.

 Live it to the hilt, René, Westminster Bridge, 1968.


My heart leaps up when I behold.

Part of the scene, Alice, London socialite, Rolling Stones Concert, Hyde Park, London, 1969, by Frank Habicht.

Part of the scene, Alice, London socialite, Rolling Stones Concert, Hyde Park, London, 1969. 

Leaving tomorrow behind, Mata Hari Boutique, Earls Court, 1967., by Frank Habicht.

 Leaving tomorrow behind, Mata Hari Boutique, Earls Court, 1967.

 Rule Britannia, Britannia rules the waves. Biba.

 Rule Britannia, Britannia rules the waves. 

All Images scanned by Sweet Jane from the book "In the Sixties", all photographs & photographic titles by Frank Habicht.

Wednesday, 23 November 2011

Talking Eyes by Max Factor | Rave Magazine (1967)



Your eyes are tell-tales. They gossip away to anyone who catches their glance. Talking in a different way as your mood switches. Sometimes soft and dreamy. Sometimes bold and bright. That's why Max Factor's eye make-up range is mood-blended in lots and lots of different tones. So your eyes and their make-up can always talk the same language. Telling the way you feel.

 All images scanned by Sweet Jane from Rave Magazine, April, 1967.