Wednesday, 29 November 2017

Qiana┃Dépèche Mode Magazine (1970)


Some fantastic illustrations, which were used to promote Qiana—a luxury, silk-like, nylon fibre developed by Stanley Brooke Speck for Du Pont in 1962. It was initially introduced to the fashion industry by Du Pont in 1968 through its association with various Couture Houses such as Dior, Balmain, Pucci, Cardin and Ungaro, and would eventually become widely used by ready-to-wear designers throughout the early 1970s as shown in these adverts, before filtering down to the home sewing market by the mid seventies. It then disappeared from view as a marketed fashion fabric brand, and was instead banished to the fabric composition label as a 'blend' under its original chemical name when synthetic fibres had finally lost their allure as the 'miracle fabrics' of the future―and their reputation increasingly moved closer towards one associated with bad taste. It did have one 'last hurrah' though, via the black Qiana nylon shirt and white Dacron polyester suit as worn by John Travolta in Saturday Night Fever (1978), but could never truly shake off the reputation that it had acquired in the public mind as times changed, once it had fallen out of favour. I've included several links related to the fabric at the end of this post, including an incredible selection of DuPont Company films and commercials from the Hagley Museum and Library: Audiovisual Collections and Digital Initiatives Department, there are some particularly interesting ones from the 1960s and 1970s which are definitely worth checking out.

Hélène Majera illustration 1970s

Hélène Majera illustration 1970s

Hélène Majera illustration 1970s

Hélène Majera illustration 1970s

Hélène Majera illustration 1970s

All images scanned for the Sweet Jane blog from Dépèche Mode, March 1970, with thanks to Brad Jones. All illustrations by H. Majera. View The Hagely Digital Archive's collection of DuPont Company films and commercials from this period. Discover more about the Daniel Hechter brand, and other examples of his designs as featured in Queen (1969). Some rare film footage of designer Harry Lans at work—creating a silver foil mini skirt in Paris (1967), and more of his designs in Elle (1969). View Du Pont's Heritage Timeline from 1802 to the present day. Marc Bohan's 1968 wedding ensemble designed for the House of Dior using Du Pont's Qiana, which has been donated to The Met Museum. Here you'll find some of my favourite psychedelic Dacron Polyester adverts, narrated by ken Nordine. And finally, the last official 'hurrah' of Qiana by Du Pont, as worn by John Travolta in 1978.

Wednesday, 15 November 2017

Nature gave this girl dull brown hair┃Jackie Magazine (1969)


Supersoft Hairtoner gave her the natural answer.

Now there's a natural solution to dull brown hair. A shampoo called Supersoft Hairtoner. It's a shampoo...but what a shampoo! Supersoft Hairtoner tones and tints as you shampoo, to bring out the true warmth in brown hair. To bring out exciting highlights...naturally and gently. There are four Supersoft Hairtoner shampoos, Brown soft, Brown Fire, Brown Gold, Brown Rich. Whatever shade of brown hair you have, Supersoft Hairtoner will make an exciting change.

Vintage 1960s hair colour print advertisement from Jackie Magazine

vintage 1960s hair colour advertisement from jackie magazine 1969

All images scanned by Sweet Jane from Jackie Magazine No.277. April 26th, 1969. Model and Photographer uncredited by the original publication. View some of my previous posts about 1960s & 1970s Hairstyles here: Curls: The Nouvelle Wave 1967.  Leslie Cavendish - The Beatles' Hairdresser 1967-1975. Colour Crazy - Rave Magazine 1967. Let Colour Go To Your Head 1972. Plus some fantastic examples of 'Big Hair' by Derek Roe for Queen Magazine 1966 and also by Jean-Yves Elrhodes 1968. And finally, My Favorite Brunette

Thursday, 9 November 2017

Show Yourself In Your True Colours┃Jackie Magazine (1971)

Does your personality show through your clothes? (You want to watch what you wear, luv!). No, really, you can tell a lot about people by the colours they wear - especially if they seem to favour one particular colour! To find out a bit more about your friends and also what type you are yourself, look over the colours we've chosen below as example.

Jackie Magazine 1970s fashion

1970s fashion Jackie Magazine

If you seem to have more red gear looming out of your wardrobe than any other colour then as far as you're concerned RED certainly doesn't mean Stop!  You're the ''all systems go'' type, with no holds barred! You'll go all out to get what you want and if anything looks like standing in your way you can surmount it with the minimum of effort. Male-wise you go to the top. Good-looking, plenty  cash to see you have a good time, but he has to have an understanding nature because YOUR way is ALWAYS best!  Get yourself easily spotted in this one-button blazer and reverse print shirt. The shirt has long sleeves and stops at the waist.  Complete your outfit with a flirty skating skirt and hat.  Jacket from all branches of Bus Stop. Style No.498 £6.95. Fabric: Cotton. Colours: Red, blue, green or yellow, all with white. Sizes 8-14. Spottie blouse from all Bus Stop branches. Style No.3932 Price: £4.95. Fabric: Rayon. Colours: Red or Blue on White. Sizes 8-14. Skating skirt by Miss Impact.  Style No. C5024. Price: £1.80. Fabric: Jersey. Colours: Black, brown, purple, red. Sizes: 10-14. Woven hat from selection at Herbert Johnson. Style: Della. Price: £2.50. Colours: Natural, red, white, black, navy. Stripey socks from Mr. Freedom. Price: £2.40.

1970s fashion illustration jackie magazine

Lots of ''blue'' people are really ''reds'' in disguise because blue is the soft shade of innocence and a lot of crafty ''reds'' would like to think of themselves as such! But true blues are easily spotted. They have this warm friendliness about them which never fails to capture the hearts of those around. Love is the mainstay of their lives. Without it they can't survive so, needless to say, they are rarely without the company of a dishy bloke. Have a fit of  the blues—the happy kind of course—in a short skirt and sexy stockings. Shirt by Impact. Style No. D4070. Price: £4. Fabric: Bonded crepe. Colours: Black, brown, burgundy, purple, blue. Sizes: 10-14. Shorts by Medusa. No style number. Price £3.50. Fabric: Velveteen. Colours: Assorted. Sizes: 10-14. Socks by Morley. Style: Hot Socks. Price: 59p. Colours: White, navy, black. One size.

1970S fashion illustration from jackie magazine

We all have our problems, dear. We won't go as far as to call you a ''schizo''―just a bit mixed up! One minute you're bombing about like a mad thing and the next you've got a hefty dose of the galloping gloomies! You're one of those people who enjoys a challenge but once it's beat, you immediately lose interest. You never stick to any particular thing-including blokes! Your man will have to be willing to share you with lots of others because you change fella's just about as often as you change your gear. Mix yourself up in a myriad of colours. Two t-shirts—one a vest and the other with short sleeves by Maudie Moon. Short sleeve Style No. MMM5. Price: £2.50. Fabric 100% Acrilan single jersey. Colours: As illustrated. Sizes: Small, medium. Trousers by Travers Tempos. Style No. 527. Price £5.75. Fabric: Facecloth. Assorted colours: Sizes 10-16. Flattie shoes with instep lacing from main branches of Lilley and Skinner. Style: Astra.  Price: £4.99. Fabric: Suede. Colours: Raspberry/pink. rust/brown. black/purple. Sizes: 3-8.


All images scanned by Sweet Jane from Jackie Magazine No. 402. September 18th, 1971. Illustrations/Artist uncredited in the original publication. Further reading on the subject of Colour Psychology and The Emotional Effects of Colours. The role and meaning of colours for a spiritual seeker, and how colours can have a significant effect on our lives. Color is for everyone! 1968. She Comes In ColorsAny Colour You Like, She's like a Rainbow. View some of my previous Jackie Magazine posts from 1969 and 1970. Discover more about Herbert Johnson Hatters, and view Twiggy wearing one of their hats in Vogue, 1967.  A forum for anyone who remembers or worked in Kensington Market London 1970s-1995. And finally, the excellent Fans of Jackie Magazine UK  Facebook group. 

Sunday, 5 November 2017

Courrèges | Clothes of the Future | Observer (1965)

Of all the couturiers now working in Paris, Courrèges is the one whose designs are really revolutionary. He questions some of the basic conventions of women's dress: Why should skirts go down to the knee? What's the use of jewellery? Why shouldn't fashion be functional? The clothes of Courrèges have been called ''Space Age'' clothes - but, as our pictures show, this doesn't mean bizarre pressure-suits and odd helmets, it means clothes for the Space Age: the age of action, freedom, and participation, of the woman who moves around. They are designed to simplify her life. The less important details may change from season to season, but Courrrèges remains faithful to his own fashion belief. Here photographer Hatami records Courrèges evolving the look of the seventies and the new excitements of this season's collection, while Joy Tagney tells what the 40 year old designer is like.

 Cover Photograph by Hatami.


In his short white jacket, André Courrèges looks like a very healthy doctor. With his athlete's build and addiction to rugby, he's a long way from the popular image of the willowy couturier. In more than appearance, Courrèges brings a breath of sturdy rural individualism into the hothouse world of the salons - he was born in the Basque country 40 years ago. ''I often drive to Pau, to see my family and friends who still live there. I like to slip out of Paris whenever I can, to see the green fields, the trees, the clear sky - I love nature.'' Indoors, he likes the theatre, cinema and Plato. But it's his admiration for the simplicity of the seventeenth-century Flemish painters, and for Le Corbusier and Kandinsky's geometrical abstractions, that tells most about him as a designer and a man.

Fashion designer André Courrèges. Photograph by Hatami.  

For Courrèges, who likes to think of himself as an engineer of clothes, started life as an engineer of bridges and roads. ''I wanted to be a painter,'' he says, ''but my parents persuaded me to study civil engineering at the college in Pau. They thought it would be a steadier career. I enjoyed the drawing and designing, but I left before taking my exams. I knew I would never become an engineer.'' ''While still at college, I began designing men's suits for a local tailor, and also did a little shoe designing. In 1948 I came to Paris and spent eight months at a small fashion-house. But just designing wasn't enough. I wanted to learn the secrets of dress-making techniques for myself. A real couturier must be able to do everything.'' ''Then I discovered Balenciaga's work. It was a revelation, the perfect balance between technique and art. When the chance came to join his house, I jumped at it. I went into his workrooms at 25 like the youngest apprentice, knowing nothing about needles, scissors, sewing-machines. Eleven years later he made me his first assistant, and I took charge of his salon in Madrid. I admire him tremendously and like him very much.''

The Courrèges 1965 trouser suit has a jerkin with cut-away armholes, and hipster trousers with a looser leg than last year's. The goggles are slit to see through. Photograph by Hatami.

In 1961 Courrèges left Balenciaga to start his own fashion-house in the Avenue Kleber. The decor is almost entirely white - Courrèges's favourite colour - but the atmosphere, though dedicated, is far from clinical. Big gilt mirrors relieve the white walls; the white curtains are draped softly, and bobbled; vases of pink and white flowers stand on white carpets. His first collections were in the tradition of Balenciaga. Then in his fifth he showed a number of trouser suits, and became famous as the Trouser King. For Courrèges, trousers are not just a gimmick, but part of his fashion philosophy. ''I get my inspiration from simple, natural things. I don't like any form of artificiality, in people or life. I don't make clothes for women who lead an unreal, pampered life, but for girls who go shopping, run for buses, women who have jobs as well as being wives. My clothes aren't particularly feminine - I design for a world where women are often as successful as men, if not more successful.'' Courrèges's is one of the rare fashion-houses that don't sell perfumes: ''Most couturiers only exist because of the money brought in by perfumes - the clothes play a very small part, they're really just for the publicity. I appreciate the commercial side - it's very necessary - but I don't let it dictate to me; I won't be bound by anything. When I bring out a perfume I want it to be a thunderbolt, a flash of lightening, and part of the collection - I'd like it to be free.'' 

The Courrèges trouser suit for evening has hipster trousers on braces and a cropped bolero jacket in pink and white check sequins, worn over a white top. Photograph by Hatami.

At present Courrèges needs no lightening-flashes to electrify audiences. His shows are startling experiences. Models march on and off like robots, giving themselves just enough time to display the clothes with quick, jerky movements. The telephone rings constantly. Musique concrete thumps from stereo speakers. The music is the creation of Coqueline Barrère, Courrèges's first assistant. She too comes from the Basque country, and has known him for over 15 years. Asked about the future, she says: ''His evolution has always been very slow. It will continue like this, always in a straight line, one foot in front of the other.'' This rings true. Whether or not his present success in the fickle world of salons continues, Courrèges will evidently go on producing clothes of scientifically precise design and wonderful craftsmanship. The straight line shows no sign of wavering.

The Courrèges 1965 coat grabs the eye with deck-chair stripes of white and pistachio. It is cut double-breasted with a neat stand-up collar and caught by a belt at the hips. Photograph by Hatami.

French pop star Francoise Hardy wears a white suit designed for her by 'Trouser King' Courrèges. Photograph by Hatami.

His party dress for 1965 is shaped like a gym-slip with a deep, square neck. The white top is latticed in pink and the skirt sequin-covered in pink, with boots to match. Photograph by Hatami.

As the Courrèges collection ends, Rose-marie, his pretty German model, in brief top and pants, holds in front of her a hankie shaped banner with FIN embroidered in silver sequins. Photograph by Hatami.

All images scanned by Sweet Jane from the Observer Magazine March 1965. Original text and interview by Joy Tagney. All photographs by Hatami. Read 'Mère Courrèges. La femme du célèbre couturier des année 60' - a very interesting interview with Coqueline Courrèges, creative partner and wife of André Courrèges. Discover more about The Work of Legendary Photographer Shahrokh Hatami, including Ronan and Mia - a 23-minute documentary which was shot and directed by Hatami during the making of Polanski's Rosemary’s Baby, Part one, Two and ThreeVogue Remembers André Courrèges. And finally, some film footage of Courrèges Collections from 1968 , 1969 and 1970.

Thursday, 2 November 2017

A Raver's Pop Guide round Britain┃Rave Magazine (1966)


'A Raver's Pop Guide Round Britain' published in May of 1966, just over a month after Time Magazine had proclaimed London as the city of the decade!devoting the cover and 13 pages of its April 15th Vol. 87 issue to all things 'Swinging London'—an expression which was initially used jokingly by one of the editors on Time, before becoming a working title for the forthcoming article. According to Andrea Adam's first-hand account in Jonathon Green's excellent Days in the Life 1961-1971, she said, that although it was the working title, they never tried to push it as a concept, however, it caught on within the office, so much so, that eventually 'London: The Swinging City' was used on the cover story which was heavily illustrated and produced in a pop style collage by Geoffrey Dickinson. The intro to the feature, written by Piri Halasz, declared, among other things, that ''In a decade dominated by youth, London has burst into bloom. It swings; it is the scene. This spring, as never before in modern times, London is switched on. Ancient elegance and new opulence are all tangled up in a dazzling blur of op and pop. The city is alive with birds (girls) and Beatles, buzzing with mini cars and telly stars, pulsing with half a dozen separate veins of excitement. The guards now change at Buckingham Palace to a Lennon and McCartney tune, and Prince Charles is firmly in the longhair set.'' (Great Britain: You Can Walk Across It On the Grass p30). Subsequently making it one of the most influential pieces written on the Swinging London phenomenon at the time. And the rest, as they say, is history.


England swings! Not only in London, but all over the country fans are wide-awake to the latest raves in fashion and pop. Come for a RAVE-conducted tour as we show you what's happening pop-wise and fashion-wise in other RAVE people's worlds, as we pay a flying visit to RAVE centres Manchester, Birmingham, Liverpool, Newcastle, and Bristol.

All images scanned by Sweet Jane from RAVE Magazine - May, 1966. Illustrations/Artist uncredited in the original publication. View my previous posts about the far reaching influence of Cathy McGowan & Ready Steady Go throughout Britain, The Birdcage Boutique & the fashion scene in Nottingham, and the Sheffield boutique Lift Up Your Skirt and Fly. Let's not forget that Biba's Postal Boutique delivered the 'total look' through the letter box to those living outside London. Further information about the nightclub scene in Manchester in the 1960s & much more, on the excellent Manchester Beat website. The tale of a couple of 'young girls coming down from the North with their heart full of dreams' in Smashing Time (1967) - George Melly's satire on the phenomenon of Swinging London, Directed by Desmond Davis.  Take a look at George Best's Manchester Boutique as featured in the opening scene of  The Lover's (1973). And Discover Britain on film in the 1960s & 1970s via the BFI Website. A selection of  programmes from the 2016 BBC regional documentary series about life in 1966. Living in '66: Suits, Boots and Northern Roots, Newcastle A GogoPop, Pirates and PostmenAnd finally, Hit The North with The Fall.

Monday, 23 October 2017

The Boutiques Business (1970)


Small boutiques with their slightly different clothes have been around for a long time. But the big business boutiques so characteristic of London today appeared only six years or so ago, revolutionising fashion here and throughout the world. Who were the innovators? Here we look at the five best-known boutiques, and also their owners.

Barbara Hulanicki Biba Kensington High Street 1970s
Barbara Hulanicki, owner of Biba, photographed at her Kensington boutique by Duffy for the cover of The Daily Telegraph Magazine, 1970.                         



Kensington High Street, W8.
Biba, probably the best known of all the boutiques, began business six years ago with a mail order offer of a gingham shift and scarf for 25s, because Barbara Hulanicki thought it was impossible to buy inexpensive well designed clothes and decided to do something about it. At the end of last year, in premises 16 times the size of the original boutique in Abingdon road. Biba opened as a store selling not only clothes but also accessories, make-up and home furnishings, Barbara Hulanicki's distinctive style is carried through all her designs, sold only at the store and by mail order catalogue. She works with her husband Stephen Fitzsimon.

Barbara Hulanicki Biba Kensington High Street 1970s

1.Barbara Hulanicki in the store, where carpets and furnishings have all been designed with complementary colours and patterns. Child's dress, 6 gns; matching cap 2 gns; tights 10s 6d. Photograph by Duffy.

Biba Fashion 1970s

2. On the mezzanine floor. Crepe coat and trousers, 15 gns; colour matched straw hat 26s 6d; crepe shoes 5 gns; tights 14s 11d; cross pendant 29s 6d; tassels 7s 6d; Child's dress 8 gns; hat 22s 6d. Photograph by Duffy.

Biba Fashion 1970s
3. Mirrored on the staircase: a slim crepe dress, 9 gns; cloche hat 2 gns. Photograph by Duffy.

Biba Fashion 1970s

4. Printed Tricel dress, 9gns. Hair by Barbara Hulanicki. Photograph credited to  Guy Cross. 
113 King's Road, SW3
when Quorum opened in 1964, the clothes designed by Ossie Clark and Alice Pollock, who had studied at the Royal College of Art together, were considered outrageous. They were worn mainly by people in the film and pop worlds. Now customers fly in from all over the world. Ossie Clark's wife, Celia Birtwell completes Quorum. She designs the prints for the fabrics. Ossie Clark makes clothes in which women ''feel and look beautiful''. A year ago, Quorum expanded when Radley Gowns bought a large percentage of the business, opening a chrome-fronted boutique on the Kings Road. Ossie and Alice now design a certain number of clothes for Radley, and export to Germany and Italy.

Ossie Clark fashion 1970s

1. Ossie Clark outside Quorum, 113 King's Road, SW3. The model wears a red and cream dress typical of his designs, 20 gns; wedge-heeled shoes 11 gns from Quorum. Photograph by Duffy.

Ossie Clark Alice Pollock fashion 1970s

(2.) Alice Pollock reflected in the mirrors of the dressing room. The model wears a Caftan style knitted dress and scarf designed by Alice, 15 gns. (3.) Long black and cream crepe dress designed by Alice Pollock, £20; Ankle-strap shoes 12 gns from main branches of Elliot; Hair by Leonard. Photographs by Duffy.

Film footage of the much talked about but rarely seen Quorum Boutique at 52 Radnor Walk, which includes an interview with Alice Pollock and Ossie Clark, the clip is from the CBC daytime series 'Take 3o' (October, 1966).                                                              

Quorum Boutique

The actress Genevieve Waite entering a Chelsea boutique in a scene from Michael Sarne's 1968 film Joanna. After some further research, and also a direct word with Michael (thanks to Sophia Satchell-Baeza), I believe it's very possible that this is in fact 52 Radnor Walk, which was the location of the second Quorum boutique, as seen in the video clip from 1966 above.     

A more detailed look at the painted facade of the boutique as it appeared in Joanna, 1968,  (directed and written by Michael Sarne). And here, you'll find a link to No. 52 Radnor Walk as it looks 'today', the central double-doors have since been removed, and the building has been converted back into a Chelsea residence.                            

Another image of 52 Radnor Walk, this time, the shop is used as a backdrop in a publicity shoot by photographer Rick McBride for a BSA Motorcycle Ad Campaign, this particular image was also available as a BSA poster. Cover photo: Motorcyclist Magazine, December 1967. Models: The BSA 650cc 1968 Thunderbolt, Jane Solo and Robert Campbell.  Interestingly, Robert Campbell also auditioned for the role of James Bond in 'On Her Majesty’s Secret Service' around this period, making it into the top five candidates. You can view some behind the scenes images of his audition, which were photographed by Loomis Dean for LIFE  Magazine                                             

3 Kensington Church Street, W.8.
(and branches at Croydon, Nottingham, Manchester, Birmingham, Glasgow.)    
As a designer for a dress manufacturer, Lee Bender felt she was not always able to sell the clothes the public wanted, so she opened Bus Stop three years ago. With her own boutiques, Lee Bender feels it is possible to produce ''instant fashion'', and, relying on her instinctive knowledge of what is right at the time she produces designs which anticipate trends such as the current one for ''granny'' prints and the Forties look. Since she first opened Bus Stop, branches have opened in five areas and the business exports to the U.S. and Europe.

1. Lee Bender in the window of the Kensington boutique. The model wears a Tricel suit with peplum; jet beads 2 gns; Sandals 5 gns from Elliot. Photograph by Duffy.

2. An inside photograph of the boutique in Kensington. (3.) Among the old bar and shop signs that are part of the decor, cream knitted suit, £9 10S; tights 10s 11d; beaded choker 21s; Hair by Ivanna at Ricki Burns. Photographs by Duffy.


45 South Molton Street, W1 and 80 Sloane Avenue SW3
The first Marrian-Mcdonnell boutique opened in Sloane Avenue in April 1966. Christopher McDonnell, who had been a fashion editor with Queen magazine, where he met Mary Ann Marrian, designed clothes that were casual but elegant. A wholesale range was produced soon afterwards to meet the demand from other stores, and now the partners export to the U.S and Scandinavia too. In 1968 the second boutique opened in South Molton street, and its success emphasises Christopher's flair for giving a touch of glamour to classic fashion.  


Typical Marrian-McDonnell is this cotton midi dress with matching sleeveless coat, 20 gns. (Dress 10½ gns; coat 9½ gns). Mock snakeskin shoes 8½ gns from Elliot. Photograph credited to Guy Cross.

4. Outside the dressing rooms, jersey jumpsuit, 13½, worn with zip-fronted snakeskin jacket, 45 gns. Patent leather lace-up shoes, 10 gns. at Kurt Geiger. Hair by David at MichaelJohn. Photograph by Duffy.

1 Marlborough Court W1
Marion Foale and Sally Tuffin spent three years designing clothes under their own label before opening the Foale and Tuffin boutique in 1965. Their designs, often based on history, are still sold to other stores and boutiques in Britain and they export to the U.S. and Europe as well. They design for a relaxed way of life and make clothes they or their friends could wear.

Top 1. Marion Foale (left) and Sally Tuffin in their boutique. Photographed by Duffy.

2. Chiffon blouse, £7, and three matching skirts, £7 each. Photograph by Duffy.


3. Printed cotton dress, £12 10s; Hair by Vidal SassoonPhotograph by Duffy.


All images scanned by Sweet Jane from The Daily Telegraph Magazine (Number 300) July 17th, 1970. Except *Biba Photograph No.2 'on the mezzanine floor' which is a higher quality outtake of the shoot than the one included in the magazine, I scanned this from The Biba Years 1963-1975 by Barbara Hulanicki and Martin Pel. All photographs by Duffy *except N0.4 Biba dress and *No.3 Marrian-McDonnel blue cotton midi-dress ensemble which are credited to New York fashion photographer Guy Cross. Original editorial content by Cherry Twiss. Screenshots of 52 Radnor Walk from Joanna (1968). Vintage December 1967 Motorcyclist Magazine cover image courtesy of nospartsnow. Why not pay a visit to Barbara Hulanicki's website and Official Facebook Page to see what she's been up to lately. And you'll find Lee Bender's website and facebook page here. More about Duffy - the man who shot the sixties. Celia Birtwell on life with Ossie Clark, being friends with David Hockney, and a life in print. Ossie Clark; The King of the King's Road. Some of my previous posts about The British Boutique Boom 1965 (Part 1), and Part 2 here. And finally, "Transient Friends" by the capricious Geneviève Waïte from her 1973 album Romance is on the Rise, the video clip is comprised of footage from Joanna (1968).