Sunday, 2 December 2018

Eylure - the gold-rush is on! (1967)




                    EYLURE - THE GOLD-RUSH IS ON! 











































                                   







              


         














  











                         

                                          IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Intro Magazine, November 1967. All illustrations by Gloria. Discover more about Eylure – the world’s favourite brand for false eyelashes since 1947. Read ''Who Made Those False Eyelashes?'' and go back to the nineteenth century to find out more about their originsView some of my previous 1960s make-up posts: Seeing About Your Eyes (Rave Magazine 1965); Eye Look - from Max Factor (Rave Magazine 1968); Everything a girl needs to achieve that switched-on dolly look from Baby Doll Make-Up (Rave Magazine 1968); Mary Quant Make-Up (Honey Magazine 1967); Miners Hit Make-Up (Rave Magazine 1966); The New Look: Soft & Feminine (Rave Magazine 1967). And finally, The Five Faces of Twiggy (Queen Magazine 1968).

Monday, 26 November 2018

The Facts of Pop Life - Rave Magazine (1966)




                                                    THE FACTS OF POP LIFE

RAVE takes a long, hard look at the pop world and the people who make it tick. What's it all about, this real yet so close to fantasy world, where overnight you can either become famous or forgotten? Here then are for you the facts of life, the facts of pop life...Every time you spin a brand new single, that little black circle of pleasure cost 7s 6d.  Just under half a crown a minute! Add up all those minutes and half-crowns and you have a giant record industry making around £25,000,000 a year. Each month the giant offers you stacks of discs―157 singles in April, 218 in May, 166 in June―and asks, ''Do you dig this?, Would you go for that?'' But only once in forty times do enough of you say ''Yes'' for the record to break even on the cost of making it. The question is: What happens to that money of yours? Who gets it? Who profits? Who are the men and the machines behind the stars? You are entitled to know, so RAVE has tried to find out...




                                   WHERE YOUR MONEY GOES...
























       


             



                              


                         WHAT THE POP STAR EARNS...







             





        ★★★ THE PEOPLE BEHIND THE STARS ★★★












               




                                           IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Rave Magazine, August 1966. All illustrations by Barry Fantoni. Discover more about Barry Fantoni, Private Eye writer and cartoonist, author, designer of pop art backdrops for Ready, Steady, Go, sometimes actormusician, and presenter of the BBC Television show A Whole Scene Going - Part one (of  two), midway through this particular show he speaks to three club owners―Ray McFall of the Cavern Club, Liverpool, Allan Williams of The Blue Angel, Liverpool, and Paddy McKearnon of Mister Smith's, Manchester, who give their opinions on the direction they think pop music will go in 1966. Read 1966: The Year the Decade Exploded by Jon Savage reviewed by Robert Christagu. Music Moguls: Masters of Pop: Money Makers, the 2016 BBC documentary narrated by Simon Napier-Bell, featuring contributions from Andrew Loog-Oldham amongst others. Watch Expresso Bongo, a 1959 film satire of the music industry, directed by Val Guest.  Read a piece by Ray Connolly on the Origins of the films That'll Be The Day and Stardust, and then watch That'll Be The Day (1973) and Stardust (1974). Yvonne buys her way into the chartsshe can't sing but she's young! Smashing Time (1967). Lambert and Stamp the 2015 documentary about The Who's managers, Kit Lambert and Chris Stamp. Pop, power, populism and propaganda…How Peter Watkins’ futuristic satire Privilege (1967) predicted a time when mass media would be subverted to the needs of those in power. And finally, the three most important things a manager does, according to 'Supermensch' Shep Gordon is to “Get the money, always remember to get the money, and never forget to always remember to get the money!''

Monday, 22 October 2018

Les Collections de Printemps (1970) Laroche, Dior, Saint-Laurent, Courrèges, Phillipe Venet and Louis Feraud



              Les Collections de Printemps

                     Légendes du Dossier Haute Couture     


Designer Haute Couture, Guy Laroche,  Yves Saint-Laurent , Maxi Coats, Paris Fashion, illustration 1970

Left: Laroche, coat-dress plus matching trousers in pearl grey Woolmark 100% virgin wool crépe by Moreau. Right: Saint-Laurent midi coat in gaberdine, and Scotlaine pure worsted cotton high-waisted trousers with turn-ups.




Designer Phillipe Venet Midi Coat Paris Fashion Illustration 1970

                                              Phillipe Venet: Reversible beige and green Nattier wool midi coat.




Yves Saint-Laurent and Christian Dior Paris Fashion illustration Hélène Majera.1970
Left: Saint-Laurent white Forneris cashmere trousers with turn-ups, and royal blue Abraham crépe de chine blouse. Right: Christian Dior midi coat in beige wool. Below, very high waisted, cropped, wide legged pants, with buckle closure at the side.




Andre Courrèges Paris Fashion Illustration Hélène Majera.1970
                          Courrèges: Crépe combination embellished with large orange and green plastic circles.




Louis Feraud, Maxi Coat, Paris Fashion Illustration Hélène Majera.1970

                              Louis Feraud 100% Buccol wool, white midi length coat with silver metal ring detail.




Christian Dior Maxi Coat,  Paris Fashion Illustration Hélène Majera.1970
             Christian Dior reversible wool maxi coat, Racine jersey pants and Bianchini crépe georgette blouse.


                                           IMAGE CREDITS & LINKS 
All images scanned for the Sweet Jane blog from Dépèche Mode, March 1970, with thanks to The Sweet Book's Brad Jones. Illustrated by Hélène Majera. View part one of Les Collections de Printemps (1970) and more from the Paris collections for Spring 1970 in my previous posts Paris in the 70s illustrated by Leslie Chapman for Petticoat Magazine and The Ad-Lib Fashion Show at a Paris Bistro, photographed by Enrico Sarsini for LIFEDiscover the surprisingly rich and illustrious history behind trouser Turn-Ups via The Trouser Department I. Read The Story of Guy Laroche Couturier. And finally, you'll find some excellent examples of the Woolmark fabric manufacturers Moreau, Scotlaine and Forneris as featured in this post from the same period over on Vads (the online resource for the visual arts), and also the design archive from the Bianchini-Férier Textile estate via The Design Library. 

Sunday, 7 October 2018

Fun to live with: Designers Jon Wealleans and Jane Hill (1971)



                                   FUN TO LIVE WITH!

                                                        Jon Wealleans and Jane Hill.



1970s interior designers Jon Wealleans and Jane Hill, London






1970s interior design, Mr Freedom shop London, Jon Wealleans, Jane Hill


Left: An unusual escalator roller blind, which has been silk-screen printed in red and black, on cotton. Right: Plump and luxuriously cosy, quilted cushions, with 'Thirties' motifs. Photographs by Tim Street-Porter.




Jon Wealleans design Mr Freedom London 1970s
A false teeth sofa, with a soft and life-like tongue for some idle lounging. Designed by Jon Wealleans and upholstered by Felicity Youett, it's sold by Mr Freedom for £160. Photograph by Tim Street-Porter.




Jon Wealleans 1970s interior design Mr Freedom London

Candy-floss coloured and metallic PVC, intriguing foam-filled and interlocking Jigsaw seats, can be pieced together or else used separately. Photograph by Tim Street-Porter.




Jon Wealleans Mr Freedom design London 1970s

Jon Wealleans photographed at home with his PVC Jigsaw seat design, each unit was available for £30 from Mr Freedom.


                                                        IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from 19 Magazine, March, 1971. Original article by Penny Junor. All photographs by Tim Street-Porter. Except for the final photograph of Jon Wealleans at home which was scanned from 70s Style & Design by Dominic Lutyens and Kirsty Hislop. Discover more about about Jon Wealleans and his work in my book review Mr Freedom Tommy Roberts: British Design Hero by Paul Gorman. View Jon Wealleans working drawings for Mr Freedom: The greatest boutique ever, ever, ever? over on The Look - a fascinating insight into the creation of Mr Freedom in Kensington. Spend 5 minutes with Jon Wealleans (Mr Freedom's interior architect) on Rebel Rebel Anti-Style. View Jane Wealleans (nee Hill's) designs for OK Textiles Ltd in the 1970s.  'Why are you doing it? And if you stop doing it, would anybody care?' an interview with Jane for the Local Legends Research Project. Plus a Q&A with Jane, Founder and Director of Jane Wentworth Associates. And finally, some fantastic examples of  work designed & photographed by Howard Grey and made by Felicity Youett in 1967 and 1968.

Friday, 28 September 2018

Biba: Kensington Church Street (1966)


A two page feature on Biba which was included in a fairly extensive report about the 'Long-haired English Scene' for Paris Match, published just a month after the shop had relocated from Abingdon Road to the new larger premises at 19-21 Kensington Church Street in March of 1966. This report also predates the more widely known Time Magazine 'London―The Swinging City' edition of the same year, which proclaimed London as the city of the decade and cited Biba as the 'most in Shop' for girls, by two weeks. 



                 BIBA KENSINGTON CHURCH STREET

          The mini-skirt conquers the street but not the old Londoners!


A strange shop, Kensington Church Street. Only a sort of porthole hints at what it hides—inside the 1900 decor, with garnet and gold wallpaper, green plants and old mahogany furniture, hundreds of ultra-short dresses hang from hangers!  Their price—less than 50 francs, and an uninterrupted stream of young people from all walks of life, from fourteen to twenty, fight over them. This is the latest fashion store. The name is "Biba". Tomorrow, in a nearby street, yet another new shop will open, and it too will attract many people: even if it seems to appear willingly old fashioned, because one of the main concerns of the new generation is "good" clothing. There are cases of young girls who buy ten dresses a week.




Sweet Jane blog: Biba boutique art nouveau facade by Antony Little 1966





                           A mini-skirted customer enters Biba, 19-21 Kensington Church Street, (March 1966).




Sweet Jane blog: Biba shop window by Antony Little 1966






On the outside looking in, a passer-by peers through the mysterious window at Biba, Kensington Church Street, (March 1966). 



window shopping Biba Kensington London 1966
Two passers-by photographed through the shop window designed by Antony Little at Biba, Kensington Church Street (March, 1966).



Sweet Jane blog: Biba shop window by Antony Little 1966.

Yet another curious passerby caught on camera through the Art Nouveau window designed by Antony Little for Biba, 19-21  Kensington Church Street (March, 1966).


























Sweet Jane blog: Biba shop assistant Kensington Church Street 1966




                                             Biba sales assistant, Kensington Church Street, (March, 1966).                                                     



Biba owner Stephen Fitzsimon and Biba shopgirls 1966



Stephen Fitz-Simon photographed with the sales assistants Dee Dee, Eva, Sarah, Monique (in background), Rosy, Biruta (Barbara Hulanicki's younger sister) and Susie, at Biba, 19-21 Kensington Church Street (March, 1966).                                   
                                              
                                
                                          IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Paris Match, Issue No. 886, April 2nd, 1966. Photographer unknown/uncredited in the original publication. Further reading about the aforementioned Time Magazine 'London: The Swinging City' issue published April 15th 1966 via 'The Youngest Legend in History: Cultures of  Consumption and the Mythologies of Swinging London' by David Gilbert, for The London Journal. View some of my previous posts about Biba at 19-21 Kensington Church Street, including this fantastic 'full colour' feature for LOOK Magazine published a year later Biba: London's Mini Mecca (1967); Biba: Mini, Minier, Miniest! (1967).  Another view through that Art Nouveau window in The Swinging Revolution (1966). Four minutes and forty-one seconds inside Biba Kensington Church St. More about the man behind the Art Nouveau window design: Biba Artist & Interior Designer Antony Little and also Antony Little: Beardsley, Biba, and BeyondAnd finally, one for all those curious passers-by, Little Anthony & the Imperials - I'm On The Outside (Looking In).

Sunday, 23 September 2018

Harry Fenton Session Clobber (1966)




                                                    SESSION CLOBBER
The current required look for rehearsals—and for any occasion when you want to look great and feel easy is the Fenton ''Man in White'' look. Rugged white waister 39/6d—white Flair line hipster 39/6d—white Nylon polo sweater 39/6d. 

                                

1960s Mod Fashion Menswear print advert


                            
                                                IMAGE CREDIT & LINKS
Image scanned by Sweet Jane from the New Musical Express No.1010, May 20th, 1966. View another Harry Fenton of Shaftesbury Avenue print advert from 1966 in one of my previous posts Harry Fenton Flare Up! (1966). That Ealing moment: The Man in the White Suit (1951). The Rolling Stones Paint It Black, Brian Jones dresses in white (1966). "Tell 'em to wear f**kin' white and come when I callDig! (2004).  And finally, Whatever Happened to Harry Fenton? 

Wednesday, 19 September 2018

From Mary Quant, a completely new look! (1970)



              From Mary Quant, a completely new look!
Why should it just be Nature who changes her face for Autumn? Wine-dark Autumn colours to wear against a pale, powdered face. Jeepers Peepers eyeshadow in six rich colours; a new Shadow Stick in mahogany; four new moist lipsticks in colours like crushed grapes; and four toning nail polishes.
                  

Mary Quant Make-Up 1970s






Mary Quant Make-Up




                                                         IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from 19 Magazine, November 1970. Photographer and Model uncredited. View some of my previous Mary Quant Make-Up posts ➽ Co-ordinated Quant (1966); Mary Quant gives you the Bare Essentials (1966); Mary Quant Cosmetics (1967); The Five Faces of Twiggy (1968) in which, Twiggy's 'Ginger Rogers' look is achieved using Mary Quant Make-Up. Film footage of Mary Quant and her Make-Up range (1968). View Mary Quant - Una donna un paese (1972) almost 20 minutes of fantastic Quant and London street fashion filmed around the King's Road and Chelsea area, plus an extensive interview with Mary (over dubbed in Italian). Visit Mary Quant Cosmetics Ltd.. The forthcoming retrospective exhibition Mary Quant at the V&A, opens on Saturday, 6th April 2019. Swinging London: A Lifestyle Revolution (1952-1977) opens February 8th 2019 at the Fashion and Textile Museum—this exhibition presents the fashion, design and art of the Chelsea Set; a group of radical young architects, designers, photographers and artists who redefined the concept of youth and challenged the established order in 1950s London. At the forefront of this group of young revolutionaries were Mary Quant and Terence Conran. And finally, “Days decrease, and Autumn grows, Autumn in everything." (1971). 

Monday, 13 August 2018

Pinch the shirt off his back! Mr Fish, Take 6, Lord John, and The Westerner (1968)



                          PINCH THE SHIRT OFF HIS BACK!
Girls are stripping men of their shirts! Well, not bodily, but girls are crowding into men's stores to snap up their snappy shirts. Is it because we're envious? Because we're being outshone by dazzlingly dressed males? We ask leading menswear firms the reason for this shirt stampede. Here are their answers, plus a few of our own.



1960s Shirt




Cecil Gee say girls go for the gorgeous colours now available: pinks, purples, greens, yellows, deep blue. Girls all over the place flock to buy these bright colours that they can't get in blouses in the women's shops!  Mr Fish make some of the most beautiful (and expensive!) shirts in London. They specialize in made-to-measure shirts that are romantically patterned in silk, some with huge bloused sleeves—and girls go for this look so much that twenty-five per cent of their customers are female. In fact Mr Fish are happy to steal girls' ideas for their shirts and make them up for men.  Carnaby Street Shops find that girls go for the cut of their shirts, which they say have been tapering into the waist for a long time now. The pretty colours and flowery patterns obviously suit girls as well as men, and sizes in Carnaby Street tend to be skinnier too: a size 14 in shirts is about the same as a size 12 blouse.  Take Six who make the nearest thing to a blouse for a men-roll collared, buttoned down the back, in heavy satin—are selling over sixty a day in their Gt. Marlborough Street shop, a lot of them to girls for evening wear.  John Michael say that girls descend in flocks on their Westerner shops tracking down the genuine John Wayne look: the very fitted western shirts are pounced on, together with fringed leather waistcoats. Lots of super coloured shirts at all their branches too. And this is probably the key to the whole trend—there are shirts to suit every mood: pick the right one and you can look like a wild thirties gipsy, a dashing cowgirl, romantically Byronesque, in fact, very, very feminine. And now that shirts are so much more shaped you needn't swim in baggy folds around the waist: sleeves are still very long—they're cut to be long on a man, so that cuffs show under jackets—but most girls like the fragile ''little girl lost in a man's shirt'' effect this gives. And girls' blouses still can't match the crispness of men's shirts, and the shapeliness of collars which never go limp and curled up in the wash. So pick your look, and your shirt, from the five shown here, and discover that a shirt doesn't always ''look better on a man!''




1960s shirt fashion Mr Fish, The Beatles Apple Boutique

Wildly romantic in a gipsy-sleeved silky shirt, dark blue with burnt orange and white. Mr Fish, 8gns. Sizes 14-16, several colours available, from Mr Fish, 17 Clifford Street, London W.1 (or by post 2s 6d. extra). Skirt in orange crêpe designed by The Fool, 4½ gns., for Apple Boutique, 94 Baker Street, London W.1. Sashed with a silk scarf, scattered with silver jewellery, all from Indiacraft.




vintage 1960s shirt by Mr Fish Clifford Street London

An example of the Mr.Fish shirt photographed above, in one of the alternative colour options as mentioned. Although this item sold in 2014, there are several excellent detailed photographs of it still available to view courtesy of Vic and Bertie Vintage...well worth a look!





vintage 1960s fashion Mr Fish kipper tie and Take 6 boutique floral shirt Carnaby street

Stunningly efficient in a creamy shirt delicately flowered and high collared, from all branches of Take 6, 60s. 6d.. Clotted cream kipper tie Mr Fish, 2 gns. (other colours available), Mr. Fish, 17 Clifford Street, London W.1.. Camel skirt, Etam, 19s. 11d. (other colours available) from all branches of Etam. Patent belt buckled in Tortoise-shell, Otto Glanz, price about 36s. 9d., from  Selfridges, Oxford Street, London W.1. Tortoise-shell winter sunspecs, Oliver Goldsmith, approximately 6 gns., from most leading Opticians.




vintage 1960s western style shirt from The Westerner old compton street

Wildly Western in a beige John Wayne shirt from The Westerner, 79 gns. 6d. (other colours available), The Westerner, Oxford Street, London, W.1. and Old Compton Street, London W.1. New twist to the jeans theme, black corded cotton with white stitching, Separates Centre, 3 gns.  Available from the Separates Centre, Oxford Street, London W.1 and Girl, Kings Road, London, S.W.3. Huge buckled military belt from Moss Bros., £4 10s., paisley silk scarf from a selection at Indiacraft.






Schoolmarmish (as no schoolmarm ever looked) in a brilliantly flowered shirt with high button-down collar, from all branches of Lord John, 60s. 11d., aubergine knitted mohair waistcoat by John Stephen, 79s. 8d., John Stephen, 52-55, Carnaby Street.




vintage fashion 1960s satin roll-collared shirt Take 6 boutique Carnaby Street

Pure glamour in a white satin roll-collared shirt, deeply cuffed and buttoned in pearl, from all branches of  Take 6, priced 4 gns.  Squared pewter brooch, studded with amethyst coloured stones, Adrien Mann, approximately 2 gns.




                                                              IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Intro Magazine, January, 1968, with special thanks to Kirstin Sibley for the gift! Photographer and model uncredited. More fashion for him & her from The Boyfriend book (1970). An excerpt from Sex and Unisex: Fashion Feminism, and the Sexual Revolution by Jo B. Paoletti on Pop Matters. Examples of Le Masculin Féminin fashion trend from Dépèche Mode (1971). Just Dandy: The Style and Legacy of Mr Fish. Terry Rawlings interviews Warren Gold of Lord John, Carnaby Street (Part One) and you'll find the rest of the Warren Gold/Lord John interview here in Part Two. More from The Westerner in Rags for Riders (1971). John Stephen of Carnaby Street womenswear. John Michael Ingram: The Menswear designer whose refined tailoring made his clothes and shops a favourite of 1960s mods. The Victoria and Albert Museum's Oliver Goldsmith Eyewear Collection. And finally, Clothes by Mr.Fish, Douglas Hayward, Blades and other tailors, who see nothing sissy about finery for men, and are influencing the ready-to-wear racks (1968).

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