Wednesday, 25 December 2013

Psychedelic Christmas poster: D.H Evans Oxford Street December (1967)

D.H Evans Oxford Street


Image scanned by Sweet Jane from Swinging Sixties Fashion in London and Beyond 1955-1970, by V&A publications. The full sized original poster can be viewed via the V&A online collection here. Illustration by Juliet Glynn Smith.

Tuesday, 24 December 2013

It's a White, White Christmas┃Rave Fashion (1967)



Be the centre of attention this Christmas by wearing sheer, bright, white! It's the stunning colour that ALWAYS gets you noticed and admired. At parties, on a date, white makes everyone look! Here's RAVE fashion girl Lee's choice of dresses and accessories in pure, pretty white. So make it a white, white christmas. Get dressed from head to toe in the newest rave colour.

1960s fashion
White wonderful dresses! On the left, in satin with ribbon shoulder straps, 69s. 11d. from Art Galore, 6 leapale Road, Guildford, Surrey. By post, 2s. 6d. extra. On the right, a chiffon dress with lace trimming on front panel and sleeves, by Simon Ellis, 8½ gns.

1960s fashion
Snow white pretty chiffon shirt dress with see-through sleeves and daisy lace trimming, by Seventh Avenue, £5 19s. 6d. For a really cute look, an all-over lace mini dress in nylon, by John Marks, 7½ gns.

1960s fashion
Sugar white and just as sweet, two lace dresses in purest white. On the left, a guipure lace shirt dress by Blanes Young Junior range, approx 10½gns. On the right, a Victoriana-style dress with diamanté buttons and frilled collar and cuffs. By Polly Peck, £11 15s.

1960s fashion
All things white and wonderful in these two super white party dresses! On the left is a crêpe dress with 'V' neckline and chain belt by Shelana, 5½gns. Dolly types will go for the shirring topped satin dress with coffee coloured lace frills round neck and cuffs, by Art Galore, 5gns.

1960s fashion
For special dates, a long dress in nylon seersucker with a band under the bust, by Polly Peck, £9 5s. The long chiffon shift with beaded edging and split side is by Seventh Avenue, 7gns.

All images scanned by Sweet Jane from RAVE magazine, December 1967.


Sunday, 15 December 2013

The Rave Trouser Suit┃Rave Magazine (1966)

The Rave Trouser Suit 


Want to be in the swing of things this winter? Then you must have this fabulous ready-to-wear RAVE trouser suit, in military-style corduroy in either French navy or chocolate brown for only 5gns, postage and packing paid! Complete the form opposite stating your size 10, 12 or 14, and post it, with a cheque or postal order for £5 5s made payable to George Newnes Ltd., to: RAVE Trouser suit offer, 136 Long Acre, London W.C. 99.

1960s Christmas fashion


        IMAGE CREDITS                

All images scanned by Sweet Jane from RAVE magazine December 1966. Photograph by P.L. James. Featuring Ace Kefford from The Move.

Saturday, 7 December 2013

Dresses by Polly Peck | Flair Magazine (1969)

Dresses by Polly Peck


It's Courtelle jersey we're talking about. Highly recommended whether you want to live it up or just relax. And especially if you're not quite sure. The printed one is Courtelle single jersey. Fine, light, warm. Very soft and comfortable. The plain one is Courtelle Neospun jersey. Which is beautifully smooth and supple. And they're both washable. Book early to avoid disappointment as they say.

Left: Shirt dress by Polly Peck in Courtelle Neospun jersey. Style 617. About £6.19. Right: Wild-for-buttons dress by Polly Peck in Courtelle single jersey. Style 6750. About £12. 15.

Left: Pussy-cat-bowed dress by Polly Peck in Courtelle single jersey. Style 6819. About £11. 16. Middle: Belted shirt dress by Polly Peck, in Courtelle single jersey. Style 6748. About £10. 16. Right: Cowl-neck dress by Polly Peck, in Courtelle single jersey. Style 6749. About £12. 15.


 All images scanned by Sweet Jane from Flair Magazine, October 1969, Artist uncredited.


Monday, 2 December 2013

Monday, 25 November 2013

Gebrauchsgraphik International Cover Art (1971)

Gebrauchsgraphik International

 Cover Art

Yet another striking cover from Gebrauchsgraphik International Advertising Art, this one is from the September 1971 issue.

1970s magazine illustration


Image scanned by Sweet Jane from Gebrauchsgraphik International Advertising Art, September 1971 B 3149 E. Artist uncredited.

Wednesday, 20 November 2013

I'll Never Forget What's 'isname | Carol White's Biba Wardrobe | Rave Magazine (1968)


I came across this interesting snippet of information in the February 1968 issue of RAVE earlier this year, while reading the 'Today's Raves' section of the magazine. And i've been intending to take some screen shots of Carol White wearing her outfits from Biba ever since...I finally got around to it last night, so here they are!



Dressing a star for a film can be a costly business for the film company, but not so when she chooses her clothes from London's swinging boutiques. Young actress Carol White, star of the film "Poor Cow" and the television production of "Cathy Come Home", did just that! When she went shopping for her latest film, "I'll Never Forget What's 'isname"―she went straight to Biba Boutique in Kensington Church Street, London W.8. And instead of the bill running into thousands of pounds it only came to £80. None of Carol's outfits cost more than £8! 

I'll Never Forget What's 'isname (Dir. Michael Winner - 1967) 


All screen images by Sweet Jane from I'll Never Forget What's 'isnameStarring Carol White, Oliver Reed, Marianne Faithfull, Wendy Craig, Edward Fox and Orson Welles. Directed by Michael Winner. Original release date 18 December 1967. Carol White's outfits from Biba, Kensington Church Street. Original text from "Today's Raves" RAVE magazine February (1968). I'll never forget what's 'isname original soundtrack by Francis Lai, and the original Theatrical Trailer.

Saturday, 16 November 2013

The Birdcage Boutique Nottingham (1965)




Whenever the British boutique boom of the 1960s is mentioned, the focus is always immediately centred upon London, and predominantly on the Carnaby Street and King's Road areas. Nevertheless, as the boutique phenomenon wasn't merely confined to the Capital, I'm pretty sure that there were equally influential and important boutiques in some unlikely location off the beaten track in just about every city, town, and village throughout the land at some point, and that their legacy still lives on in the memories of the teenage clientele who frequented them. And yet, I feel that it is in someway a cultural loss that so many of them have not been properly documented, with the exception of  The Birdcage in Nottingham, which was covered quite extensively by Marnie Fogg in her book about the boutique culture of the era. Perhaps saved from obscurity while others were lost, purely through its connection with the evergreen career of designer Paul Smith, who played a pivotal role in its origin and has therefore taken it through time with him as he moved on.

Advertisement for the Birdcage Boutique designed and illustrated by Ian Longdon.

The Birdcage was the brainchild of designer Janet Campbell, a native of Nottingham. After leaving college she spent some time working for other people in the fashion business in London, where she formulated the plan to open her own shop. Upon her return home in 1965, she gave herself a week to find a suitable property for the new venture, and with the help of her friend Paul Smith, quickly found the ideal location in an old tailors shop at the end of Bridlesmith Gate, paying twenty pounds a week for a six-month lease. The shop became an instant success, with a queue of people three rows deep outside on the opening day admiring the window display by Smith. A year later in 1966, Janet Campbell expanded the business, moving the machinists from the first floor of the building to make way for a menswear department which she asked Paul to run, he in turn travelled to London to source labels which were previously unknown outside the city, and over the next four years built up an extensive customer base for the boutique throughout the midlands, until 1970, when he made his departure from The Birdcage to open his own shop, and the rest as they say is history.

The staff of The Birdcage in Nottingham 1966: Ian Longdon, Paul Smith and Valerie Longdon. They're wearing graphic t-shirts, a new phenomenon sold through mail-order by the satirical magazine Private Eye. The shirts were designed by Nottingham art student Dave Humby.

The story of The Birdcage ends in Marnie Fogg's book with the departure of Paul Smith, and as far as I can gather, it continued to trade at the same location until it moved elsewhere in the late 1980s, but I have no idea what became of Janet Campbell or any of the other key figures within the staff from that point onward, or how far into the next decade that it continued to exist. However, while researching the information for this post I did find an amazing array of other boutiques located within the Nottingham area which I wouldn't have been aware of otherwise, even though more boutiques opened in Nottingham during this period than in comparatively larger cities such as Manchester and Birmingham.

The following are just a few names and details of what I have discovered so far: Carnaby Styles―which was situated in Wheelers Gate in the early 1970s (sold Budgie Jackets, Tank Tops and Loon Pants); Pennnyfeathers owned by Mike & Shirley Benwell, would later become known as Gladrags/Backstage; Peru was run by a girl called Zena, circa 1973; Image Boutique in St Peter's Gate (sold Ossie Clark/Radley); Grapevine was situated on Goldsmith Street next to Paraphernalia; Campus was on Victoria Street (it sold Jeff Banks and Mr Freedom gear); Madcap Boutique on Carrington Street circa 1966 (ladies clothing made on the premises, shirts for guys made on request); Bus Stop (a Lee Bender outlet); Nonsuch boutique which was situated in the Bridlesmith Gate/Byard lane area (they sold hippie clothing, afghan coats etc.); Razzamatazz was on Trent Bridge; Boogaloo (no details yet); another boutique called I'll Leave It (sold high waisted flares, bowling shirts circa 1973).

And finally, Roxanne and Roxy Threads (1972), which were both run by Robert Ivars Michailov-Mètra, otherwise known as Roxy Rob. I've left this one until last because I have managed to unearth a little more information about it than the others, which you can read for yourself via the link above. And I suggest that you do! He's quite the character, and the man has also made everything from loon pants in the late sixties to Oxford Bags in the early seventies for the Northern Soul scene enthusiasts.

Paul Smith photographed at his first boutique in Byard Lane, Nottingham, which he opened two weeks after leaving the Birdcage. It was a very small space measuring a minute 3 metres x 3 metres at the back of a tailor's shop. The rent was free for the first three months and fifty pence a week thereafter, the use of a damp basement was also included in the agreement which Paul eventually turned into an art gallery called The Pushpin, exhibiting limited edition lithographs by Andy Warhol and David Hockney. He remained here for the next four years, opening for business two days a week (Fridays & Saturdays). A full scale recreation of this shop is included in the current Paul Smith exhibition at The Design Museum.

A Birdcage swing-ticket, with thirties and forties cinematic references, designed and illustrated by Ian Longdon, (1971).  

Greg Longdon outside The Birdcage in Bridlesmith Gate, the original Edwardian facade was reworked in maroon and gold to suggest that a trendy boutique now lay beyond the traditional tailor's shop. The Boutique sold garments designed and made by several people under their own label. Ian Longdon not only manufactured the clothes for the shop but was also the man behind the publicity and packaging design, constantly updating the style and presentation.

Designs by Ian Longdon for The Birdcage.

Paul Smith outside the London Electricity West End power station which was situated on the east side of Carnaby Street and Ganton Street, 1965. Paul is wearing a shirt made from Liberty's Tana Lawn print (described as a small floral print previously used for children's clothes), his boots are from Anello & Davide.

An update to my original post from 2013. I recently came across this original Birdcage Boutique metal letterpress print block, which I found for sale on Ebay. (6/11/2014)


All relevant Birdcage Boutique information and images sourced and scanned by Sweet Jane from Boutiquea '60s cultural phenomenon by Marnie Fogg, published by Mitchell Beazley, 2003. Except for the final photo of the Birdcage Boutique letterpress print block which is courtesy of SeaSunshine99 on EbayAdditional location information regarding the Paul Smith photograph provided courtesy of Robert Orbach formerly of I Was Lord Kitchener's Valet. View the current collection of Liberty's classic Tana Lawn prints as worn by Paul Smith in the final photograph. Discover more about 'Hello, My Name Is Paul Smith'  a major exhibition celebrating the career of the designer which spans a forty year period―at The Design Museum from the 15th of November 2013-9th March 2014. Read 'Hello, My Name Is Paul Smith-Fashion And Other Stories' the accompanying book to the exhibition. View an example of original Northern Soul Oxford Bags made by Roxy Threads. Plus, an extremely rare example of an original dress from the Birdcage Boutique circa 1966And finally, view an interview with Janet Campbell, owner of The Birdcage via the excellent 2016 BBC Documentary Series, Living in '66―Robert Lindsay Remembers, which I was pleased to contribute to here.

Tuesday, 12 November 2013

The Illustrations of Beate Broemse | Gebrauchsgraphik International Advertising Art (1971)

The Illustrations of Beate Broemse


This cover is one of my personal favourites from my collection of Gebrauchsgraphik International Advertising Art magazines. Originally designed by Beate Broemse, an instructor at the Famous Artists School in Munich for a poster design contest organised by the Cinema International Corporation in 1970 to promote the release of the American feature film Medium Cool, in which author and director Haskell Wexler presented his first study of the growing spread of violence in the USA and the responsibility of the individual for the development of society as a whole. However, although it made the cover of this issue of Gebrauchsgraphik, it didn't actually win the competition, but it did take second prize to the overall winning design by Carl Steiner, the director of the FAS school. The school itself originated in the USA in 1948, where a number of well-known and successful graphic designers developed a teaching method permitting them to pass on their artistic experience via a correspondence course. And for that purpose, they founded in an old mill in Westport Connecticut near New York, the Famous Artists School, and eventually went on to open centres worldwide. The teaching program (which still runs today) comprised of subjects such as industrial art, illustration, fashion design, painting, photography and the art of writing. The carefully selected teaching staff consisting of professionals with a talent for teaching rather than merely professional instructors, as the school's criteria expects its staff to be in constant contact with current industry practices.

1970s magazine illustration

Poster design by Beate Broemse. 

 Illustration by Beate Broemse.

Illustration by Beate Broemse. 

Illustration by Beate Broemse. 


All images scanned by Sweet Jane from Gebrauchsgraphik International Advertising Art August 8/71 B3149 E. All illustrations by Beate Broemse. * The scan didn't quite translate the colour of the cover as it is, in reality the pink is actually a brighter shade of neon candy pink and the blue area is about a shade darker. More information about The Famous Artist School can be found here. More information about Medium Cool by Haskell Wexler plus the original film trailer can be found over on the excellent Criterion Collection site here.

Thursday, 7 November 2013

You Can Go All The Way In Terlenka (1969)

You Can Go All The Way In Terlenka


The space-age fibre is here. Terlenka was born to travel, light and carefree. It's washable and needs no ironing. And the beauty of Terlenka is infinite in design and colour, in fashion, fit and feel. It's light years ahead of anything else on earth. Go places in Terlenka.

Dress by St Honoré with silver fleur de lys braiding. Available in alternative colours. About 7½ gns.

Left: Black dress with horizontal silver stripes by St Honoré. Available in alternative colours about 7½ gns. Right: Dress by St Honoré featuring a gold lame collar and gold trim. Available in alternative colours about 8 gns.


  All images and original text scanned by Sweet Jane from FLAIR  October 1969.

Saturday, 2 November 2013

What To Wear When The Lid's Off (1968)

What To Wear When The Lid's Off

The problem is to stay smartly unruffled with the top off. A man can wear anything with his wardrobe of convertible cars except very long hair or a kilt. Girls, though they're less likely to own flashy cars, soon get to know all about them. So they wear trousers, culottes or shorts and protect their hair with jazzy scarves and hats, to catch the eye of bird-and car-fancier alike.

Left: White crepe trouser suit, belted cardigan style with diamante buttons and buckle, by Marrian McDonnell, 80 Sloane Avenue, London SW3, 18gns. Long, lurex scarf with tasselled fringe is splendid draught excluder, 4gns., from Liberty, Regent Street W1. Silver shoes, £6 16s. 6d., from Elliotts, 76 New Bond Street, W1 and branches. Diamante ring by Adrien Mann, 10s. 6d. Right: Snug-fitting evening suit with wide silk revers, $36, crinkled crepe poloneck shirt, £7 10s,. both from Club 92, Aquascutum, Regent Street, W1; Manchester and Bristol. Car; Chevrolet Corvette.

Left: Sturdy canvas tent coat and pleated culottes, both short, pocketed and proofed, £14 3s. 6d. by Young Jaeger, from Jaeger, 204 Regent Street, W1; Jersey pull-on hat £4 5s. (price includes matching scarf), from Malyard, 12 Ganton Street, W1 and Wardrobe at Michael's, Ealing. Printed chiffon scarf by Bernard Neville, £2 17s. 6d., from Liberty's. Gilt hoop earrings, by Adrien Mann, 7s. 6d. Gloves, 39s. 6d., from Fenwicks, New Bond Street, W1., and Newcastle. Fishnet stockings by, by Bonnie Doon, 1gn., from Simpsons. Gaberdine boots, 14gns., from Magli, 114 New Bond Street, W1.  Right: Pinstripe suit, £36, striped Viyella poloneck shirt, £5 15s. 6d., gloves, £2 9s. 6d., all from Aquascutum, London, Manchester and Bristol. Driver's gangster hat, 5gns., from Malyard. Accurist chronograph £26 17s. 6d., from Leslie Davis, 266 Oxford St W1; Muir, Manchester. Car; Jaguar E-Type

Left: Python jacket, waisted and slinky, by Ossie Clark, 25gn. with cream linen shorts, 3gn., from Quorum, 52 Radnor Walk, SW3; all branches of fifth Avenue. Jungle-striped chiffon scarf, £2 17s 6d. by Bernard Neville from Liberty. Bamboo bangles by Adrien Mann, 7s. 6d. each. Gilt rings by Corocraft, 7s. 6d. each from Selfridges, Oxford Street, W1. Mesh knee socks by Bonnie Doon 1gn., from Fenwicks. Ochre brogues, 6gns., from Ronald Keith, 117 Oxford Street, W1., Manchester and Jersey.  Right: Almond green lambswool sweater, 5 gns., and matched up French cotton trousers from 5gns., reversible suede to leather jacket, zippered pockets one side, poppered on reverse, £27, all from Cue at Austin Reed, 103 Regent St W1., Two-tone driving gloves, £2 15s., from Aquascutum. Sunglasses, 6 gns.; write to Oliver Goldsmith, 60 Poland St, W1, for a list of stockists. Adrien Mann jewellery on these pages from Harrods, Knightsbridge SW1; Robinson & Cleaver, Belfast. Car; Alfa Romeo Spider 1750. 

All images scanned by Sweet Jane from the Observer magazine 24 March 1968. Original article by Liz Smith. Photographed by Duffy in Europark's underground car park at Marble Arch.

Monday, 28 October 2013

Dramatic Undercover - Vogue (1965)


     Image scanned by Sweet Jane from Vogue, October 1965.