Sunday, 30 March 2014

Co-ordinated Quant 1966



For really co-ordinated chicks here's the topmost in organised planning! For the first time you can get really co-ordinated with dresses, coats, skirts 'n' shirts and handbags that have a make-up designed to match them. And for girls who want their make-up purses to carry through the really cool look there are packages galore that really swing in space-age steel and stark blacks and whites with a delicate daisy motif. So for that all-over look, mind you use MQ-MU - Eve Pollard.
































       

                                                             IMAGE CREDITS
All images & original text scanned by Sweet Jane from PETTICOAT magazine 7th May 1966. Original article by Eve Pollard, Photographs by Nigel Redhead & Michael Legge.

Thursday, 27 March 2014

Biba: Mini, Minier, Miniest! 1967












                                                                IMAGE CREDITS
All images scanned by Sweet Jane from LOOK, November 1967. Original article by Henry Ehrlich. Photograph by Douglas Kirkland.

    

Tuesday, 25 March 2014

Betsey Johnson's Dress for the Non-Seamtresses 1966



                                                            GLUE-IT-YOURSELF

The mini-garbed blonde in this shimmering sequence of paste-it-yourself dressmaking is a New York model named Lauren Hutton who cannot sew and for once in her life can say....So what? 
Starting with a basic dress in see-through plastic shown below, Miss Hutton shows how even a girl who is all thumbs can glue together an eye-catching number. All she needs to do is apply adhesive-backed foil scallops to the vinyl surface in a layer on layer fish-scale pattern. The cut-outs come in a $5 kit sold with the unadorned $15 dress, and include not only the economy-size sequins but also, in separate kits, wiggly strips and bright stars. Dresses and cut-out kits are the whimsy of a 23-year-old designer named Betsey Johnson. In a year of work for the Paraphernalia shops, Miss Johnson has made a name for inventive ideas - none more so than this one, which permits a girl to clothe herself using the techniques of gift wrapping. The emergence of the fish-scale dress is shown in four stages from top to bottom, variety achieved by using different cut-outs is illustrated in the star and strips patches on the final dress. Shoes with clear plastic heels are by Herbert Levine ($38).







Close-up of cut-outs show scallops, curvy strips - enough in each kit to cover one dress, plus extra sheet of foil for free-form designs.

















                                                                IMAGE CREDITS
All images & original text scanned by Sweet Jane from LIFE International September 1966. Model Lauren Hutton. Dress by Betsey Johnson. Photographer Howell Conant.



Saturday, 22 March 2014

Biba: London's Mini Mecca 1967


                                                                                      
If you're between 13 and 27, are as thin as a Twiggy or as tall as a Vanessa Redgrave, have a Mia hairdo or wear it straight and long, and require a bare minimum of underwear, then Biba (pronounced Bee-baa) on Kensington Church Street in London is your boutique. Biba specializes in skintight, long-sleeved mini-minis, often with flouncy big collars and cuffs. Dresses run from $7.70 to $ 9.80 and coats cost up to $19.60, so you go to Biba because the price is right. You go there also because everybody else your size and age is there (especially on saturday, when a traffic director is all that's missing). And you go because you know that what you buy will be what's being worn - for at least the next week or so.


Through these doors swing the hippest girls in London - 3,000 a week. Many buy a dress every payday, throw it away after a month because by then- "it's an antique."


From the outside, you can't resist looking in. The facade is black; swirls painted on the windows rim portholes that peer straight into the shop. It was once a grocery store, says an early settler, and "really stank of meat when we moved in." Inside, the first impression is of a banging sound barrier, a record player that never stops. The predominant color is burgundy - giant gold arabesques on burgundy wallpaper designed for Biba, burgundy covers for tables loaded with jewelry, burgundy dresses hung on wooden Victorian trees. Like Biba clothes, the shop - jammed with customers - is hard to squeeze into. It's even harder to push your way out of.

Unlike the rest of the shop, Ali Baba's Cave - the dressing room - is off limits to men. It's walls are shocking-pink felt; the ceiling, Art Nouveau tile. The floor is carpeted with dresses that no one has bothered to pick up.


"Mother is so sick of seeing clothes from Biba," says one customer, "that now I hide the bag when I walk in the house."



                                    Felt hats and chicken feather boas ($9) are the cheapest in London.



                                      BIBA BIRDS SCRAMBLE...AND BLOKES WAIT

"You can tell American girls by those awful bloomers," says a salesgirl, aged 19. "Their sense of dress is so terrible. Why, Mia Sinatra bought the worst dress in the shop." Our informant also has few flattering words for big American shoes, streaky American hair and "coats all the way down to their knees." Although the welcome is not always sunny, foreigners press into the shop. So do the more familiar Princess Anne, Brigitte Bardot, Julie Christie, Geraldine Chaplin, Claudia Cardinale. Service is minimal, prices aren't marked. No one asks: "Can I help you, madam?" But where else says a young New Yorker, can you match those dresses, those prices-and that clutch of startling people.
                         
Biba salesgirls (age:16-20) have plenty to say about boys. From the moment the doors open (9:30 a.m) until they close (8 p.m), the place is filled with young men, mostly dressed in the male equivalent of Biba clothes. "French boys think they're IT, but we think they're effeminate," says a salesgirl. "Italian boys ask everybody in the shop for a date and usually get one. Americans are very muscular." Most men come to approve purchases by a girlfriend or to make one themselves; others, just to look. They take precious space, but they fit the scene. A female impersonator was caught recently "just looking" in the girls only dressing room. Speed rather than ceremony marked his exit.



                                   Like everything else here, this large dial watch is a Biba Exclusive.




                                         With tinted glasses (sold here), it's hard to see the action
                                



                                                 The 22 salesgirls all get a free dress every week.

                   



           "One boy found his mother a dress here," someone says. "Now she think's she's a raving mod."




                                     Shades sold here are practical, but the handbags are swingy.


                           


                                                 Only an infant could sleep through this noise.
     



                      Babies are regulars. So are big dogs named Orpheus, Tiberius and Benjamin.


                                                                IMAGE CREDITS
All images & original text scanned by Sweet Jane from LOOK magazine November 1967. Original article by Henry Ehrlich. Photographed by Douglas Kirkland.

Tuesday, 18 March 2014

The Gamine Look 1967




Little French schoolgirls, one by one, dress in enchanting black. Colette, seated, and all of her pals are mad for matching tights. As for her dress, it's box-pleated from a low-lying waist and flies a flag of a tricolor tie: orange, black, violet! With tights, $23. Breton hats for everyone, by Adolfo 11. Zizi, standing in the center, zips herself up with a big ring pull in bright witty white. "Up" is an open-or-shut convertible colar in red. The dress, with black tights, about $23. Claudine is off in the background but easily seen - who could miss that six-foot scarf with signal stripes? White stitching sends a dress a message too. With tights, about $23. All shoes on this outing are by Nina.  Gaby, kneeling, finds flavor in the orange-pop pocket hanky of her white-stitched dress. With skinny tights-but of course! about $23. All dresses are of smooth Heller jersey, wool knit in America. By A 'n' R jr.



Madeline, above, has a starchy white linen collar and mini-cuffs, plus silvery metal reflectors and streaks of red piping. Lebanon wool jersey. Mindy Malone, about $30. Red stockings by Bewitching.


                                                                  IMAGE CREDITS
All images & original text scanned by Sweet Jane from SEVENTEEN magazine September 1967. Photographs by Joseph Santoro.


Saturday, 15 March 2014

Operation Venus 1968




                                                            COSAK IN ACTION
Adrenalin-charged reflexes trigger muscles and sinews. Disciplined icy judgements crackle into split-second responses. Thought and action are one. This is the white hot moment: and yet you are cool. Detached. Can find the time to think about Cosak. Cosak is new; brilliant, A tour-de-force. A cloth sans peur et sans reproche pour l'homme. 


                                                                           IMAGE CREDIT 
Image & original text scanned by Sweet Jane from QUEEN magazine 27 March 1968. Photograph by Alec Murray.

  

Thursday, 13 March 2014

Twiggy-Rigs are the Greatest! 1967






                                                                      IMAGE CREDIT 
                        Image scanned by Sweet Jane from Petticoat magazine September 16th 1967.

Tuesday, 11 March 2014

Jardin Des Modes: Allen Jones - Illustration


A double page fashion editorial illustrated by pop artist Allen Jones, originally published in Jardin Des Modes while it was under the artistic direction of Swiss born graphic designer Jean Widmer. As the creative director of the magazine (1961-1970) he revolutionised the entire visual concept of the periodical in the spirit of publisher Lucien Vogel, enlisting the talent of outstanding photographers such as Helmut Newton, Frank Horvat and Karen Radkai as well as artists such as Philip Castle, Milton Glaser and Allen Jones in an attempt to revive the art of fashion drawing which had been stagnating for a number of years. These particular scans were reproduced in an article about the career of Jean Widmer for a graphic arts magazine in 1971 so I don't have an original publishing date for the actual illustrations as they appeared in Jardin Des Modes, but i'm guessing that  it may have been circa 1965/66.












                                                         IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from Gebrauchsgraphik International Advertising Art January 1/1971.   Further information about the artist Allen Jones & examples of his work can be found hereFurther information about the photographer Frank Horvat can be found on his website hereAn interview with the artist Philip Castle can be found here.

Saturday, 8 March 2014

The Men Behind The Poster Boom 1968











A single poster shop in London sold 300,000 posters last year: that's over 1,000 a day. Posters are notices, advertisements, propaganda, pretty pictures. They reflect the fashion in graphics and in ideals of the times: "Beat the breathalyser, smoke pot" hangs beside Beardsley's pornographic illustrations of Lysistrata in one book shop, while all over the poster market, Vietnam, Che Guevara, gangsters and the 1890s lay their claim to popular liberal opinion. Imported American and Polish posters advertising anything from bread to circuses have a wide appeal, and coffee-bars and offices leave their "psychedelic" posters up long after the occasion they advertise has passed. Some cinemas in Ireland still write their posters by hand, but in England and America subtle and skillful printing methods are used and experiments made with inks and paints.

"PSYCHEDELIC" poster artists Nigel Waymouth, Mike McInnerney, David Vaughan, Mick English and Jon Goodchild.

There are pundits, popularisers and painters already in the poster field; several shops deal in nothing else, and several producing and distributing companies have been set up. One shop - Gear of Carnaby Street has been selling poster reproductions of Victorian advertisements for averting piles or developing the bust for three years now. Two of the directors Ralph Bowmaker (in jack boots) and Tom Salter (in heavy leather) both anticipated and helped to shape the present boom in posters, and, firmly rooted in commercialism, they have little scruple about the public's taste. Though impressed when they sell a Christopher Logue poster poem to 30,000 people at 5s each, they are quite reasonably pleased that the Carnaby sign has sold half a million copies.


GEAR of Carnaby St. have been printing posters since 1965. Three of the directors: Ralph Bowmaker, Tom Salter (wearing a suit from Blades),  and Ian Grey.
                      


They admit they're "selling in a very pop way", and work on the funny smut. "You can see people in the shop reading Logue's Why I Vote Labour. When they get to 'I vote Labour because if I do not my balls will drop off', you can see them pick it up and buy it. It's always like that." Ralph Bowmaker, trained in advertising, believes that most of the selling power of a poster lies in it's colour, but Tom Salter thinks people buy for the content, encouraged by the colour. "You must have a bit of sex and a bit of war. Funnily enough when we did a poster saying 'Sex War Sex Cars Sex' we thought we had the formula right down to size, but it didn't sell. The most vivid imagination behind the posters sold by Gear is Christopher Logue's. "I've always been very visual. I think if I could live my life over again I'd be a painter. Of course one always says that but I do feel it. I get on better with painters than with literary people." Logue has translated some of Homer, written several books of poetry, an ironical ABC, and appeared on television as  necrophiliac Swinburne in in Ken Russell's film of Dante Gabriel Rossetti. "Sometimes a poster poem comes straight away, like Why I Vote Labour. Some magazine in America wrote to me and said they were sure I would be voting Labour at the next election and please would I write and tell them why. I started writing all those dreary things about: I believe that if there is a form of socialism possible in this country...." but then I couldn't go on, so I wrote the first thing that came into my head. And they printed it! After that I turned it into a poster." Logue is now a partner in Stone's Posters, called after Bernard Stone, his producer. He can make £200 to £300 on a poster: not much, but then he enjoys doing them. They are after all a perfect medium for the iconoclasm that delights him. Logue, has contrived, as subtly as can be, to keep a a tough gutter language, and make it a form of  eye catching literature.



                               CHRISTOPHER LOGUE writes and designs his own poster-poems.



Often the psychedelic poster, is a non-poster, in that it doesn't advertise anything specific, and if it does it's message outlives the occasion it is advertising. More often than not, it is a reflection of the designers's personal interests and fantasies, the voice of his ideals, wishes, peaceable rebellion. Among all the designers who traffic in dream worlds, Mick English and Nigel Waymouth, both in their twenties, stand out. They work together and call themselves "Hapshash and the Coloured Coat", an innacurate reference to a god they found in the Egyptian Book of the Dead. They started doing posters for the now defunct club UFO and mostly now advertise pop groups. Their posters marry Hindu symbolism with art nouveau flourishes and with cunningly disguised erotica - butterflies on closer examination turn out to be genitals. The colours are delicate golds and silvers, or blazes of violent fluorescent paint. Their aim is total sensation, the total environment, with every sense engaged. Posters are only "a stepping stone towards mass visual awareness," says Nigel Waymouth. "The only intellectual thing about this is to try to get visual and consciously aesthetic values established in the street, to take it one stage further than TV, cinema and advertisements." Together, therefore they are embarking on a "total" programme. They design record sleeves, they've equipped a dark-room so that they can use photography in their designs, and they've cut a record themselves, called Following a fantasy or Nothing suceeds like sex.



American folk singer Bob Dylan, the greatest cult figure of the Underground, inspires many posters. One of the most impressive works of the ephemeral poster scene is this version of Dylan by Martin Sharp, who designs for Oz magazine.



Impetus for the psychedelic poster came not only from the American underground, but also from Australia. Oz, a monthly satirical magazine, moved to London from Sydney in January 1967. Since then it has issued posters inserted into it's pages, printed fold-out covers as posters, and even printed a whole issue on the back of a poster. The subject matter has ranged from a caricatured Wilson calendar to love-children offering their flowers to Tantric lovers in position 70. "We got lots of letters saying it was impossible". Martin Sharp, 26 , brought up in Sydney, used to design for Oz. Now he works for it only when he feels like it, but the rarer strokes of the magazine are still usually his. He dreamed up the issue that was printed on the back of a poster, bearing the legend "Plant a Flower Child", but he also freelances as a poster-designer. His designs are crowded, detailed and witty. In the collage poster for the legislation of Marijuana Rally in Hyde Park last year, he cut out Red Indians from a 19th Century traveller's book of tales, and many innocent figures can be seen to be smoking intriguing and questionable substances. For him the attraction of posters lies in their cheapness and availability. " I think galleries are dying because they charge so much. Art is a very big business now, and people don't buy for pleasure but for investment." Martin Sharp's Bob Dylan fantasy is one of the best-selling posters in London., having topped the 10,000 mark. "That should bring in £300 to £400 in royalties, but of course I haven't seen any of it yet. It's much more than I ever got for a painting." 


"HANGUP", a poster shop which was opened in Islington last october by Bob Borzello (left), now sells up to 2,000 posters a week.



Shops specialising in selling posters are also opening all over the country. Managers such as Bob Borzello, 31, from Chigago who runs Hangup, and Mike Phillips, 24, of Forposters, are genuinely keen and enthusiastic about posters as art. As Bob Borzello says, "They're not just reproductions. This is a genuine Warhol, and this is a genuine Lichtenstein, because they did them as posters." Certainly the Tate agrees with him, for in its recent Lichtenstein exhibition, a huge poster advertising the artist's earlier show in Pasadena was hung alongside his canvases. But then posters have become a form of art afterall.





                                                       IMAGE CREDIT & LINKS
All images and original excerpts scanned by Sweet Jane from The Daily Telegraph, April 10th 1968, original article by Marina Warner. Photographs by John Marmaras. *Except for Bob Dylan poster image by Martin Sharp which was scanned from the Observer magazine, 3rd December 1967.


Black on the Canvas: The trailer for the forthcoming feature length documentary about the life and times of the artist David Vaughan can be found hereFurther information about the artist Nigel Waymouth can be found on his website here. Further information about the poet Christopher Logue can be found here.
                                                                       
                                                                                  


Wednesday, 5 March 2014

Paper Dresses to GoGo 1967



It's like getting a whole new personality. First, use Breck's exciting new Go Go Light to take your hair a full step lighter without strong bleaching. Then step out as a glamourous "paper doll" in this season's craziest fashion:paper dresses. It's easy. It's fun. Just get Go Go Light and a paper dress. You may even catch a paper tiger.





                                                               IMAGE CREDITS
                    Image & original text scanned by Sweet Jane from SEVENTEEN magazine July 1967.


Tuesday, 4 March 2014

Odd Underwear 1967



What the eye doesn't see the heart doesn't grieve over. But with so much of our underwear showing through the cut-out shapes and rave designs of today's fashions, the '67 rave girl has to plan her undies with care. Here's a rave selection off odd undies just right to wear under some of '67's odd fashions!





















                                                                   IMAGE CREDITS
              All  images scanned by Sweet Jane from RAVE magazine April 1967, artist uncredited.

Saturday, 1 March 2014

She's a Rainbow 1971










                                                                 IMAGE CREDITS
               Image scanned by Sweet Jane from GEBRAUCHSGRAPHIK International Advertising Art 8/1971.