Saturday, 30 March 2013

Vanity Fair - February 1965




Head over heels in love with prints: paisley in pink is a clinging dress in Tricel jersey with headband and stockings to match; paisley in blue is a loose sweater topping a slim skirt, headscarf and stockings to match. All by Martha Hill. Photograph by Roy Round.


                                                                  IMAGE CREDITS
                                Image scanned by Sweet Jane from Vanity Fair February 1965 Vol.18  No.8

                                                           
                                                         

Thursday, 28 March 2013

Vintage Advert: Dandy Fashion - Cavalli Shoes - 1969



































                                              THE IMMANENCE OF THE PAST

Reminiscence of spats gone very new. Ankle-high shoes with laced uppers of brown-and-beige mottled toadskin, vamps of black patent or brown aniline calf. Handmade by Cavalli of Bologna, 30gns; to order from Russell & Bromley, New Bond Street W1.




                                                                   IMAGE CREDIT
Image and original text scanned by Sweet Jane from QUEEN magazine 19 March 1969. Photograph by John Vaughan.

Tuesday, 26 March 2013

Harmony presents the Twiggy book of Knitting Machine Patterns 1970




































         
                                                             IMAGE CREDITS
All images scanned by Sweet Jane from the Twiggy Book of Knitting Machine Patterns published in 1970. Which is a 24 page catalogue consisting of knitting patterns with accompanying photographs for 11 outfits. All photographs of Twiggy by Justin de Villeneuve.


Sunday, 24 March 2013

Rave Magazine 1966: How We Made Princess Anne A Mod...












                                                   
                                                                 IMAGE CREDITS
                             All images scanned by Sweet Jane from RAVE magazine August 1966.

Saturday, 23 March 2013

Caroline Smith Illustration: Queen Magazine 1965 (James Wedge, Deliss, Moya,Top Gear,King's Road)







Wool Crépe suit with bead-bound neck from Deliss. James Wedge crochet cloche and enamel brooch from Top Gear.




Knitted dress with cutaway armholes, checkerboard beret by James Wedge. Kid lace-up shoes with see-through toes by Moya. All from Top Gear.





                                                    IMAGE CREDITS

Images scanned by Sweet Jane from Swinging Sixties-Fashion in London and Beyond 1955-1970 published by the V&A. Original article published in Queen Magazine June 1965 - Illustrations by Caroline Smith.

Thursday, 21 March 2013

The Observer 1967: Who's who in the underground







                                                             THE NEW SOCIETY

                                       Who's winning the battle of the generations?


IF you are over 25 you feel uncomfortably aware that Pop is not just music; Something Is Going On Underground. If you are under 25 you are certain that It's All Happening. A curious alliance has been struck between teenagers, the hippies, commercial pop and the young intellectuals. Somehow all have crystalised into a separate society or 'scene'. At it's centre, the authentic full-time hippies, young, serious, flamboyant in dress, claim to have taken an analytical look at the adult world, experienced a violent revulsion at what they saw, and decided that the only honourable course is to detach themselves, or 'drop out'. International in outlook, they feel they have more in common with their age group in San Francisco or Amsterdam than with older generations, sometimes referred to as the 'grey'. Their ideas are as colourful a grab bag as their clothes. Genuine young curiosity often founders in hippy ideas of 'love' that have only a marshmallow consistency, or in faddy mysticism. But Vietnam and civil rights arouse a common response.

The Underground plans to live peacefully but disparately. It produces and reads it's own newspaper, the International Times, runs it's own boutiques and bookshops, organises it's own finances and legal aid for members who get picked up by the police, goes about it's own pop arts business. It also likes to go about it's own pleasures. This is the point at which it clashes with the 'straight' world since, to break from the confines of conventional living, the Underground explores hallucinations produced not only by light shows, noise, and colour, but also by marijuana and LSD. So its private parties and tribal gatherings, its Freak Outs, are bound to arouse police attention.

Underground designers influence the visual style of shopping bags, posters, magazines and paperback jackets. Pop fashions provide ideas that help keep the rag trade lively. Pop has no demarcation lines: the Underground has produced a new kind of entreprenuer, who may run a pop group, write songs, design badges, and have an interest in a boutique at the same time. And clamberng on the Underground bandwagon are commercial impresarios, organisers and disc jockeys who are hippy for this season but might next year be offering to promote the Hallé Orchestra if that proves more marketable.

To some, the pop scene with it's mixture of Beatles and Beardsley seems to be a show of decadence, and evokes sighs that the precocious twentieth century is reaching it's fin de siècle only too soon. To others, it is a sign of democratic vigour, and of the way the young are naturally outwitting the meritocracy: winning the generation battle. On the 'scene' the same names crop up again and again, and in such different fields, that the outsider begins to suspect an Establishment. Like any establishment, it's founded on past togetherness ('I knew Joe back in CND') and present self-interest: it is an Underground maxim that their talent and money should be kept within the group. MAUREEN GREEN describes 16 people who are helping to make the 'scene' work.











                                               
                                  IMAGE CREDITS & LINKS
Caroline Coon's website can be found hereJohn 'Hoppy' Hopkins website can be found here. You can read more about The Fool Design Collective here The Psychedelic Poster Art of Hapshash and The Coloured Coat hereThe complete archives of the International Times are available to read here.
                           
All images and original text scanned by Sweet Jane from the Observer Magazine 3rd December 1967. Cover photography Maureen Green/Adrian Flowers.

Tuesday, 19 March 2013

Get Ready For Rain: Everywoman Magazine - March 1966




 Coat and hat in PVC designed by Karen Møller for Soukh. Photographed by John French Studios.

      
                                                                            IMAGE CREDIT
Image scanned by Sweet Jane from Everywoman Extra March 1966. Fashion Editor Georgia Wells.

Friday, 15 March 2013

Dandy Fashion: Dandy of Brook Street 1969


             

Brian of Brook Street, on the corner of Brook Street and South Molton Street, was opened just under two years ago by Brian Landau. He designs all the clothes; they have an up-dated turn-of-the-century look about them. The shop is filled with modern versions of the stock or cravat shirt, plus masses of stylish suits for day and evening, and a rich jewellery selection.                             




Leisure suit in cream needlecord  with a single button fastening at the waist, long centre vent; £28 10s. The high cut trousers have slightly-flared bottoms. Light tan cotton twill shirt, 5gns, it fastens with pairs of buttons, has two-button cuffs, and a welted patch breast pocket. Fine silver chain with tasselled amber detail, from the jewellery selection.




For a party - light grey slubbed silk shirt, stock style cravat tied in a knot, with very full puffed sleeves. Matching flared trousers and irregularly-pleated cummerbund. £30. Circular brooch, from the selection.




Grey flannel three-piece suit with a long flared jacket; two button, long centre vent. The six-button waistcoat has two flapped pockets, the high-cut trousers have slightly flared bottoms. £42. White cotton stock style-shirt shirt, Tattersall checked in red and black, with button cuffs, 5gns. Silk handkerchief, £1 2s 6d. Gilt filigree brooch, from a selection.




                                                             IMAGE CREDITS
All images and original text scanned by Sweet Jane from Queen magazine March 1969. Original article by Erica Crome, photographer uncredited.

Thursday, 14 March 2013

Vintage Illustration: John Alcorn - Wenching & Merrymaking!









                                                                 IMAGE CREDITS
Party invitation card designed by John Alcorn for Morgan Press Inc. Image scanned by Sweet Jane from my personal collection. You can view another example of John Alcorn's illustrations from this range in one of my previous posts here.

Monday, 11 March 2013

Vintage Advert: Dandy Fashion - Mr Fish 1968





                                        Michael Fish of Mr Fish 17 Clifford Street London W.1
                           

                                                                IMAGE CREDIT
Image scanned by Sweet Jane from Queen Magazine 17th January 1968. Photographer Howard Grey.           
                            
 

Saturday, 9 March 2013

Julie Driscoll - Jeff Banks - Clobber! 1968

                                                      




                                                      
                                                   MISS JULIE
Few women have original beauty and talent too, but singer Julie Driscoll has both. She's as eye-catching and unusual offstage as she is when she's belting out a song in some smoky club. Since the record she made with Brian Auger and The Trinity, This Wheel's on Fire, was released last month, it's been said that she could become a big star. After her appearances on French television last october, she became a sort of cult figure: people followed her in the street.  'I've always been a success in this country touring. It's only record-wise that I didn't make it."  She comes from Vauxhall and her conversation is a jumble of pop patois and Cockney.  Her first job was as a showroom assistant at Worth's fashion house: she wanted to be a model.  Later she went to work for her agent opening fan letters for The Yardbirds.  But she's been singing since she was 12, and made her first record at 15. Her father plays the trumpet. "I worked for him once at Churchill's Club when I was 16 pretending to be 20. You should have seen the fantastic gear I wore. The band played Latin American and I was dolled up in flouncy flamenco dresses. Between shows I'd nip down to The Scene to hear real music."



Her professional and personal life are inseparable. She talks about 'We' meaning Brian Auger and the group. "We're unbelievably close, and we all stick together." She's never in one place long enough to have boy-friends, though "I once got involved when I was in Rome for 16 days." Her good looks are not eccentric, but the way she uses them and dolls herself up is. She has definite ideas about what she should look like, and has developed the knack of making the most  conventional clothes look odd and original.  She perms her curly hair and cuts bits off where she feels like it. She won't let a hairdresser near the old barnet, as she calls her weird frizzy mop.  She never wears bras, loves boots, big rings and huge brimmed hats. Sometimes she picks up bits and pieces for her wardrobe from antique stalls, and gets her mother to keep her eyes open too. 






One of the first songs she wrote was called Dedicated to the C.A.M. (Chelsea Antique Market). Her latest is Lullaby to a Raindrop. "I write in two moods, when I'm hung up or totally relaxed." At 20, after three years touring and playing different dates almost every night, she feels she should learn more. "I'd like to speak French, and learn to drive. I want to get stuck into my guitar and write more songs." But she's finding that one of the inevitable consequences of her recent success is that she has even less time to herself. Now film companies are approaching her, but she's treating every suggestion with caution.  I'd like to act, and I feel I'm capable, but I don't want to end up just another actress caught up in that terrible film world. I would have to sing."















The clothes she wears are by Jeff Banks of Clobber, and sold at Fifth Avenue, Regent Street, London W1. Her shirt (2nd photo) is by Annacat, Brompton Road, SW3. Cover photo: hat by Otto Lucas at Fortnum and Mason, Piccadilly, London W1.

                                                  IMAGE CREDITS
All images scanned by Sweet Jane from The Sunday Times Magazine, May 12th 1968. Original Report by Meriel McCooey. Photographs by Just Jaeckin.

Monday, 4 March 2013

Vintage Advert: Yardley Slickers (1966)













                                                             
                                                                  IMAGE CREDITS
                         Image scanned by Sweet Jane from 60s All-American Ads published by Taschen.