Tuesday, 19 October 2021

Op and Pop┃Art Forms in Furnishing (1966)




is for lovers of cool jazz, mystery,
 and maths...

If you're feeling that the art world is an exclusive society―then take a look at Op and Pop art. Take Op first: Remember the Marzine sea-sickness advert? It made your eyes swim. Well, that's Op art. It means optical intrigue. Look at the fabric on the wall, it moves, swings round in circles. Black and white, stark, architectural, clinical, sometimes cold, but always stunning. This fashion makes the most of modern synthetic mass-produced materials; they're hard, tough and shiny. Because of the absence of colour and accent on form, a bunch of flowers, a tray of drinks or a woman's dress becomes more important, interesting. It's a backcloth, so simple that other simple pieces blaze into life and colour.

Op-scene furniture is steel-boned, shiny, black-mac, luxuriously geometric: thin and slick, or fat and opulent. You don't have to furnish an entire room to make it Op art. Much simpler and cheaper to put a bulls-eye cushion on a plain architectural chair, or hang a Marzine-type fabric curtain. Remember though, Op art is a fashion and like fashion it expresses the getting to grips with new techniques, new shapes. A lot will last but much will fade. So, however keen on Op or Pop you are remember to use it in things you like as individual pieces or with things like wallpaper, cushion covers and decorations that you can change.


Above: The cotton wall covering (on left) is from a selection of fabrics at Woollands and costs 17s 6d yd (48'' wide). Picture, Flickering Grid (centre), by Oliver Bevan, 70gns from Grabowski Gallery, 84 Sloane Ave, London SW3. Oxted 6ft settee with low back and arms; here in black PVC with aluminium alloy frame, £84. A 3ft version without arms, upholstered in fabric, costs £39. You can order them up to 10ft long. The Coulsdon chair has a satin-chromed steel frame, fully upholstered in PVC and costs £49 13s 6d.; Coulsdon circular table with satin-chromed steel frame and plate glass top, 30in diameter, costs £47 9s. All by William Plunkett at Woollands. Zebra skin on floor costs between £90-£100, by Joseph Hamliton & Seaton. Accessories: lamp in foreground; base is made of X-Lon, by X-Lon, costs £7 10s; shade in photo-printed plastic costs £5 3s 3d. Mug, 9s 9d; and orange aluminium bowl―a set of three costs 22s 6d. The Op Art cushions in felt cost 30s each. All from Woollands unless otherwise stated. 


is for people who see humour in art, and art in everyday objects...

Pop is less awe-inspiring, less esoteric than Op. It's more fun, too. Pop means popular―its roots and its inspiration are in familiar, everyday objects―cigarette packets, national flags, strip cartoons, advertising pictures. As American Pop artist Roy Lichtenstein says, it's the use of commercial art as a subject in painting. (Grandaddy of the movement was American Stuart Davis, who painted 'Lucky Strike' in 1921, a picture based on fragments of a cigarette packet.) Reflecting on the use of such objects the viewer is made to realise the significance of seemingly insignificant things―their actual design, as well as their power to conjure up nostalgic, associated ideas.

It's meant to cheer you up, communicate an idea, make you conscious of the detail in everyday objects. Since 1961, Pop art has had an increasingly pervasive influence on the art world in general―in graphic design, particularly painting and sculpture, as well as house decoration and furniture. As with Op, so with Pop―no one can live with a room full of it. Try it in small doses as wall decoration: like posters, toys; flags, jolly a wooden chair with gaudy colour, or paint a whitewood chest with fairground symbols or military stripes. In short, please yourself. You have an excuse now.


Above: Large chest, hand painted by Dudley Edwards, £39 10s. Small, round, red, white and blue clock, designed by Caroline Ebborn, 18gns. Tiny plain wooden chest by Paul Clark, costs 37s 6d. Large, square clock, with brilliant, purple painted frame designed by Image Three, 15gns. Purple canvas and white wood, folding Director's chair, 6gns; imported from Poland by Goods & Chattels. Blue ladle costs 10s 6d, also from Goods & Chattels. Red and purple Britannia tray cost 7s 6d and is designed by Duncan Fox. Red, white and blue towel, 22in by 42in, designed by Natalie Gibson, costs 12s 6d. Blue bucket chair designed by Royal College of Art. Bright canvas cushion, 32s 6d. All from Woollands.

Red and purple Britannia tray,
 designed by Duncan Fox, 1966.




The incredible hand-painted chest featured in the Pop Art room above, although solely attributed to Dudley Edwards, is an example of early work created as a partner in the design group Binder, Edwards & Vaughan which had been formed with fellow Bradford Art College graduates Douglas Binder and David Vaughan after the trio had reconnected while living in London. These brightly-coloured chests were among the first applied art pieces created at their Gloucester Avenue studio in Primrose Hill where the BEV style evolved as they began to merge influences from a variety of sources such as the background imagery in Marvel Comic's Dr. Strange drawn by Steve Ditko and the multicoloured painted door fronts of Bradford's Pakistani community―to the streamlined geometry of the Art Deco movement and the decorative art and painting techniques of the fairgrounds which they had frequented as teenage Teddy Boys.

Above: Binder, Edwards and Vaughan, photographed for a Sunday Times magazine feature in 1966 at their studio in Gloucester Avenue, Primrose Hill, amidst a selection of their hand-painted furniture designs. The original magazine caption read as follows: Apart from tarting up chests of drawers and the odd chair, Douglas Binder, David Vaughan and Dudley Edwards, left to right above, are now branching out into interior design. Recently completed jobs include painted walls in Woolland's 21 Shop, and the chests are available from Woolland, Knightsbridge, SW1., £20 to £30.

The first of these painted chests sold to the photographer David Bailey who lived at 177 Gloucester Avenue opposite the BEV studio, after they had decided to leave one on his doorstep overnight in an inspired moment of self-promotion, which resulted in payment by cheque the following morning...but more importantly, Bailey's bustling home/studio served as the ideal showcase for their work. Shortly afterwards they received an order from photographer Antony Armstrong Jones, otherwise known as Lord Snowdon―husband of Princess Margaret, which generated enough publicity in the national newspapers for more commissions to start rolling in, and before long they were on their way to bigger and better things, starting with a major order for two dozen chests from Woollands of Knightsbridge, which was closely followed by their move into painting interiors,  large scale exteriors, and the customisation of cars.

Unfortunately, due to the nature of the media they specialised in, tangible examples of the most exceptional work from their two-year output as a design group no longer exist...other than the photographs and film footage which documented it. But although the cars and various facades have long since been redecorated, I can't help but wonder if any of the painted furniture has survived...I'd like to think that there's more than one psychedelic BEV designed piece out there somewhere. I've checked the inventory of the late Lord Snowdon's estate which sold at Christie's in 2020, but the aforementioned item wasn't listed amongst the objects for sale.

However, after some further research I've discovered that his son David Linley established a furniture-making business in the early 1980s, now approaching its fortieth year, and he appears to have had a genuine love of furniture design since childhood, ignited by his father's taste, as seen in this quote from an interview in Vanity Fair (2017) “My father’s rooms, as a child, were a very exciting place to be,” David says, “not only because of the beautiful models who were coming to be photographed for Vogue or The Sunday Times but also because of the very avant-garde furniture that he had made. So perhaps the BEV chest of drawers is still in the family's possession! I've also scoured through images of Bailey's Victorian terrace house on Primrose Hill as it looked in late 1968/early 1969, but to no avail, apparently he was apt to change the decor regularly as new inspiration hit, and judging by the photos from this period,  'Pop Furniture' was out!



The facade and interior of Tara Browne's and John Crittle's Dandie Fashions Boutique, at 161 Kings Road, Chelsea, by Binder, Edwards & Vaughan in November, 1966, around a month before the shop opened. The psychedelic fascia area inspired by Steve Ditko's Dr.Strange artwork was designed and painted by Dudley Edwards, the Art Deco influenced entrance and ground level areas were created by Douglas Binder.

On the left and right, fashion sketches by the acclaimed designer Karl Lagerfeld, and in the centre, Dandie Fashions boutique by Binder, Edwards & Vaughan as it appeared in Nova, April 1967. The designs are clearly influenced by the facade created by BEV, the sketch on the left has a magazine tear sheet attached featuring the shop's fascia, and just seen on the bottom right sketch is a piece of a tear sheet showing the entrance to the shop. I spotted these sketches back in 2019 when both WWD and Vogue announced that a treasure trove of 125 of the recently deceased designer's sketches dating back to the early 1960s were to be offered for auction by Urban Culture. The sketches had been held in the archive of the House of Tiziani, the Italian fashion house which Lagerfeld had worked with for several years throughout the sixties while also freelancing for many others during this period, including the French fashion house Chloé, which he took sole creative control of in 1966.

On the right, a close-up of the entrance to Dandie Fashions boutique created by Binder, Edwards & Vaughan in 1966. And on the left, a sequinned sheath dress by Karl Lagerfeld, worked with Art Deco inspired psychedelic patterns in pink and purple. This incredible dress originated from the personal collection of the wondrous Anna Piaggi, legendary Italian fashion journalist, editor and style icon, and yet it sold at Christie's 'Fashion through the Ages' auction for a mere £125 in December 2010...even though it had been estimated between £500-£1000. The dress is described as dating from the 1970s on the auction website..but it is evidently based on the same sketch which was inspired by BEV's original 1960s design. I've discovered two more plastic sequinned dresses featuring the same Art Deco/Dandie Fashions design by Karl Lagerfeld for Chloé, which are held in The MET, one is dated 1967, the other 1968 but they're clearly from the same collection. In moments like these I really miss Freya Erickson's Ciao Vogue, which sadly, is now defunct, however, I have noticed that the name and website currently appear to be in use by someone else. But, what a wonderful resource Ciao Vogue/Youthquakers was whenever you needed to accurately date a collection via vintage Vogues 1965-1975, although it no longer exists, I still see her scans all over the internet and on other people's social media accounts every other day, so I bet I'm not the only one who misses that website and blog! Freya can now be found at Sweeter Than Oats, taking old recipes and modernising them for the plant-based world. 


Above, some screenshots from a filmic encounter with Fred Fowle, otherwise known as Futuristic Fred, Britain's most revered fairground artist. Captured at work decorating a ride in his studio in Streatham, London, in 1975 by documentary maker Michael Whyte. Fred Fowle was extremely helpful to the newly formed BEV design group, who had sought him out after they discovered that he was responsible for designing and painting almost all of the fairground art in the UK, and advised them on fairground art painting techniques. 



Dudley Edwards and fellow artist Gary White working on the customisation of Tara Browne's AC Shelby Cobra in 1966. Gary White (left) was also a member of the Binder, Edwards & Vaughan design group, and as a trained sign-painter and coach-painter his role was to assist in executing the actual paintwork. August, 1966.


Fantastic footage of Binder, Edwards & Vaughan at work, and examples of some of the cars they customised can be viewed in this Pathé Newsreel Film, including a 1960 Buick Convertible, and Tara Browne's AC Shelby Cobra which was exhibited at The Robert Fraser Art Gallery in Mayfair in September 1966.

Left to Right: Douglas Binder, David Vaughan, Dudley Edwards  and assistant Gary Whyte of The BEV Design Collective photographed with Tara Browne's AC Shelby Cobra, 1966. 


Earlier this year AVA Classics presented the L.S.D.E.V, inspired by The Right Honorable Tara Browne’s AC Cobra which was customised by the BEV Design Group in August 1966. This fully electric replica of the original, by AVA Electrifi at Powerscourt House, Enniskerry, in Wicklow, Ireland, which is not too far from Luggala, once the home of the Guinness heir Tara Browne, has been hand painted by Dudley Edwards.  

All Op and Pop Art Forms in Furnishing content scanned and transcribed by Sweet Jane from House Beautiful and Better Homes, January 1966. Op Room photograph by David Swann. Pop Room photograph by Michael Boys. Binder, Edwards & Vaughan images scanned from Electrical Banana, Masters of Psychedelic Art by Norman Hathaway and Dan Nadel [Damiani]. Nova, April 1st 1967; and I Read the News Today, Oh Boy: The short and gilded life of Tara Browne, the man who inspired The Beatles' greatest song, by Paul Howard (Picador). View 'Our Business is Fun (1975) a filmic encounter with fairground artist Fred Fowle, and discover more about Fairground Artwork via the Fairground Heritage Trust. View Binder, Edwards & Vaughan's mural for Woollands, in my previous post about the 21 Shop. Watch the trailer for Black On the Canvas, a documentary film about the life and times of BEV artist David Vaughan. And lastly, Take a look inside David Bailey's London Home (1969). 

Monday, 26 July 2021

Mary Quant's Face in the Clouds┃1971



''Please don't make my new colours
 look like old colours''

Pink and blue. Use them like ordinary make-up and they'll look like ordinary make-up in unusual shades. Use them this way and you can look devastating. Mary is very concerned about her new colours and your face. If you're going to experiment, experiment. But let your hand be guided. The colours were inspired by sky tints. So she called the finished look 'Face in the Clouds'. Which, when you've tried it, is how you feel. as much as how you look. 

Your new eye brows ✿ Take a dry mascara brush, and brush eyebrows upwards. Then take one of the pinkier of our new lipsticks. Put some on the end of the brush, and tinge the hairs on your eyebrows. You're on your way. 

Lashes help your new look ✿ Your lashes should look very natural and fine. Mary Quant's Wisps on the top, Ultra-Fine Lower Lidders on the bottom. Finishing touches with two light coats of Brown/Black Tearproof Mascara.

Your Skin ✿ To contrast the lovely new colours keep your skin pale and matte. Mary Quant's Nature Tint or Starkers in Light and Beige. And Face Final in Translucent. And then you're flying solo.

And now, the bridge of your nose ✿ Cover the whole area under your eyes and across your nose with Moody Blue Eye Gloss. Then you've a soft shiny base to work from. 

How to make your eyes look different ✿ Take some Skylark Jeepers Peepers. Blend the blues with the applicator and brush over the Eye Gloss. Give some depth and shading to your eyes by using the deeper blue in the eye socket. At the edge, blend the colour lightly to merge with your skin tone.

Meanwhile up on the browbones ✿ Smooth on lots of Pink Eye Gloss, taking your curves wide, and gliding out onto your cheeks.

Your Lips. Make them shine ✿ If you want your Face in the Clouds, your lips must be shiny, natural and pink. Mary's new colours are Sundown, Sky Blue Pink, Cloud Pink, and Moonshine. All with definite extra-terrestial overtones.

At the ends of your fingers, your nails ✿ Very Bluey, Mary's new nail colours. Pie Eyed, Moon Glow, Pie in the Sky, and Hazy Heather. 


All content scanned and transcribed by Sweet Jane from an original Mary Quant Make-Up Range Brochure, 1971. Model and Photographer unidentified/unknown. Read The Story of Mary Quant Make-Up, an edited extract from the Mary Quant exhibition book, in which Beatrice Behlen explores why Quant's make-up range was as revolutionary as her clothing. All aboard the Mary Quant Beauty Bus 1970-1975. View some of my previous Mary Quant Make-Up posts: From Mary Quant, A Completely New Look! 19 Magazine, 1970. Mary Quant Make-Up, Honey Magazine, 1967. Mary Quant Gives You the Bare Essentials, Rave Magazine, 1966. Co-Ordinated Quant, Petticoat Magazine, 1966. Also, take a look at the The Make-Up Museum where cosmetics and art intersect. They have been exhibiting, preserving and researching make-up design and beauty culture history since 2008. Read: Marshmallows or Elvis? What you see in the clouds might say something about you. And lastly, for your listening pleasure...or not. Shades of Orange, 1968, via The Clouds Have Groovy Faces Rubble Vol. 6. Last Cloud Home, 1969. Water Colour Days by Clouds, 1971. And Hey You...Get Off My Cloud, 1965. 

Saturday, 20 March 2021

Knack Clothes! | Intro Magazine (1968)




And if you don't believe us then we'll prove it to you! We took three basics―a cardigan dress, a pair of trousers and an after-dark dress―then made them look special by adding just the right things. Accessories may be from Cartier's or Woolworth's, either way they can look stunning ― or awful.

It's not money that matters but the knack of assessing a garment and adding the finishing touch. French girls know just how to do it (curse them!). They always have the right bag, the right shoes. Trouble is there are only a few rules to go by. Your accessories should have some relation to the main garment either in colour, tone or fabric―that's one rule―but they needn't match.

Knack Clothes! Cover model Murph wears a beret in marigold by Quant, 6s. 6d. Marigold sweater by John Craig, 49s. 11d. Bonded crepe trousers with high buttoned waistband by Simon Massey, 6gns. Red stretchy battle-dress jacket by Valstar, £2 19s 11d., and Mary Quant boots, 76s. 11d. 

You should choose your accessories to create a mood too. In fact, looking good in clothes is not just wearing a dress but creating it. Model girls know how to do just this. Murph, our model girl, added a secret beauty spot of her own for the dandy waistcoat ― not because anyone could see it but it made her feel more Regency and dashing.

There are a few don'ts too: Don't wear so many added bits that they lose their significance―in fact don't wear many added bits, full stop. Build up a collection of scarves, gloves and jewellery. The chain stores are good hunting grounds, and keep them as immaculate and folded as your dresses. The next step is for you to try for yourself. Experiment; permutate; find the right combination and what goes with what. Like we said, it's not what you wear but the way that you wear it. Have we proved our point?

TAKE A pair of trousers in bonded crepe with a high buttoned waistband, Simon Massey, 6 gns. And a marigold sweater, 49s. 11d., John Craig. And a red stretchy battle-dress top by Valstar, £2 19s 11d. ADD a squashy beret. Everybody knows that a beret completes an outfit. In marigold by Quant, 12s. 6d. Watch and snakeskin strap, made by Old England and priced at £5 9s. 6d. ADD a pair of shiny boots by good old Mary Quant―they're full of important looking zips for you to play with, price 76s 11d. ADD to the same trousers, a crisp white lawn blouse, 59s. 11d., and a brocade waistcoat in hundreds of colours, priced at £3 9s. Both available from Neatawear.

TAKE A navy dress in fine cotton frilled in black lace down the front and round the cuff―and add hardly anything. Dress by Lee Cecil, 6gns. JUST ADD A pair of super shoes like these (above) in blue patent with little enamel flowers on the front. By Gaby, £5 9s. 6d. And add a pair of good looking pale stockings in Mirrasheen by Sunarama, priced at 8s. 6d. Then add a beautiful ring like the one shown (below). It comes from Vendome, cost 3½ gns. 

There is no need to add anything more―just think how dreadful the effect would be if you added a pair of long dangly earrings and/or a feather boa. It's a great temptation to dress up for a big night out and end up looking like you've only missed off the kitchen sink! So make sure you're not overdoing the accessory bit. You can work wonders on that ❝little black dress❞ by dressing it up with a pair of really stunning shoes or one dramatic piece of jewellery. (Both cheaper than a new dress). 

A navy dress in fine cotton frilled in black lace down the front and round the cuff, by Lee Cecil, 6gns. Blue patent shoes, with enamel flowers on the front, by Gaby, £5 9s. 6d.

You can make a cheap dress look expensive with a really good accessory added. It seems to us that there are two schools of thought on dressing; one is to buy cheap clothes and more expensive accessories. The other is to oomph up classic clothes with some fun accessories. Decide which camp you're in and then don't ever swap! That's when disaster happens!

TAKE A cardigan dress in sludge green. We chose a John Craig one with short sleeves and a little handkerchief pocket. It cost 4½ gns. ADD a pure silk scarf in gold, pink and green tied in a different way. Make the scarf into a long thin roll, wrap over twice to make the knot. It's not the scarf but the way that you wear it. Scarf, Jacqmar, 69s. 11d. ADD an important looking watch. This one is named Half a Sixpence because it's threepenny-bit shaped! Has a shiny tortoise-shell strap. By Old England £5 9s. 6d. And a brown leather belt, by Otto Glanz, £1. ADD A chunky pair of brogues in green suede with green leather toe caps and a silver bar and just the right shade of tights, in pale green (it's the little things that are important). By Bear Brand, 12s. 11d. Shoes, Ravel, 59s. 11d. 

All content scanned and transcribed by Sweet Jane from Intro Magazine, January 1968. Model: Murph. Photographer uncredited. View some of my previous Mary Quant posts ➽ On The Quant Wavelength (1967). From Mary Quant, a completely new look! (1970). Mary Quant gives you the bare essentials (1966). And here, you'll find a pair of incredibly rare vintage Mary Quant 'Puddleduck' boots available at Dandy Fashions boutique. Discover more about the Old England watches featured in the post above. And also Faye Dunaway, the gun-toting Bonnie Parker in Bonnie and Clyde, who has done for the beret what Bardot did for the bikini (1967). And lastly, The Knack...and how to get it (1965). 

Wednesday, 13 January 2021

Marianne Faithfull ┃Mademoiselle Age Tendre (1967)


As 1966 turned into 1967, songstress Marianne Faithfull was chosen as the cover girl and star model to present this eight-page 'Party Dress' fashion feature in a special end-of-year issue of M.A.T., in which, the French teen magazine decided to celebrate the top movers and shakers of the revolution in pop, fashion, modelling and film from across the channel in 'Swinging England' along with the traditional seasonal festivities. 

White satin shirt-dress with buttoned collar and cuffs. Dorothée Bis, 35, rue de Sèvres, Paris 6ᵉ. 135 F. Red leather shoes with low heels are on sale at New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ, 95 F. Photo by André Berg.

Gathered along its entire length, with long sleeves tightened at the wrist with elastic, this dress is in yellow crepe. Dorothée Bis, 2, rue de Belleville, Paris 20ᵉ, 119 F. The patent shoes, 49.95 F, chez André, 90-92 rue Saint-Lazaré, Paris 9ᵉ. Photo by André Berg.

Green flannel dress, round neck and balloon sleeves, with a belt under the bust. Gudule, 72, rue Saint-André-des-arts, Paris 6ᵉ, 180 F. Beige leather shoes with a low heel. New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ, 95 F. Photo by André Berg.

Sleeveless mauve crepe dress with yoke above the bust. Prebac, 100, rue Saint-Lazare, Paris 9ᵉ, 178 F. Purple pumps. New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ, 95 F. Photo by André Berg.

Black velvet dress edged with white lace and a black satin ribbon at the waist. Drugstand, 179 F. White lace stockings: La Grande Maison. 12.50 F. Patent shoes: André, 90-92 rue Saint-Lazare, Paris 9ᵉ, 49.95 F. Photo by André Berg.

The blouse, in synthetic fiber, is striped silver, gold, blue and red, 45F. Long velvet skirt, 60 F. The set is on sale at Monoprix. Kid's pumps. New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ, 95 F. Photo by André Berg.

Purple crepe dress with white collar and cuffs. Sud 48, 48, avenue, du Général-Leclerc, Paris 14ᵉ, 129 F. Shoes, 95 F, chez, New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ. Photo by André Berg.

Smock style dress in silver lamé fabric. The belt is sewn onto the dress. Drugstand, 2, rue de Belleville, Paris 20, 179 F. Shoes, 89 F, at Renast, 32, rue Trouchet, Paris, 9ᵉ. Photo by André Berg.

Red velvet dress. The collar is adorned with a white lace jabot. Under the dress, Marianne wears lace pants. The set, (model, Ann-Carol), 189 F, at the Drugstand, 2, rue de Belleville, Paris 20ᵉ. The shoes, 95 F, at New Durer, 38, boulevard Saint-Michel, Paris 6ᵉ. Photo by André Berg.

The silver lamé model she is wearing here on the magazine cover was created by Daniel Hechter for M.A.T. Cover photo by André Berg. 

All images scanned by Sweet Jane from Mademoiselle Age Tendre, January, 1967. All content translated and transcribed from French to English from the original fashion editorial by Sweet Jane. Model: Marianne Faithfull. All photographs by André Berg. Keep up to date with all things Marianne Faithfull via Marianne Faithfull Official. I'd also recommend the excellent Faithfull Forever blog which is dedicated to the singer, songwriter and actress. View my previous post on Peter Blake's Pop Art Poster of Marianne Faithfull (1968), plus more on Swinging London in The Swinging Revolution (1966). Gear Guide―A hip-pocket Guide to Britain's Swinging Fashion Scene (1967). Jenny Boyd and The English Girls of 1967 The Hippie Hautes Couturières! (1967). One Plus One―The Rolling Stones and Jean-Luc Godard (1968). French Lace on King's Road Hippies (1969), and London fashions spotted on display at an Ad-Lib fashion show in a well known Paris Bistro (1970).  And finally, as Marianne says ''It is absurd to live in a cage, You know there's got to be Something Better'' (1968). 

Saturday, 17 October 2020

Long for a Coat┃Stirling Cooper, Biba, Bus Stop, Mary Quant┃19 Magazine (1970).




The pre-war look is still with us, exerting a wintry influence on coats. The casual trench has been restyled, and is now longer, with squarer shoulders. Large shoulder bags and high-styled Granny shoes follow the look through. It could have been borrowed from an old Rita Hayworth film. Length varies from just below the knee to mid-calf, and although some coats are slimly cut, they all have that marked Granny look, and are made up of appropriate fabrics like tweeds, smooth wools and velvets. 

Above: Yellow felt hat, by Feathers, 40s. Spruce green barathea midi skirt, by Foale and Tuffin, £11 10s. Bordeaux wool two-button coat, by Stirling Cooper, £16 15s. Grey tights, by Biba, 10s. 11d. Burgundy bar-strap shoes, by Ravel, £5 19s 11d. Burgundy felt hat, by Feathers, 40s. Bordeaux and beige woollen skirt from a selection at Feathers. Bordeaux wool coat with storm flaps and button-up belt, by Stirling Cooper. £16 15s. Grey tights, by Biba, 10s 11d. Photo by James Wedge.

Above: Brown felt hat, by Feathers, 40s. Beige polo-neck pullover and green skirt, from a selection at Feathers. Black and white tweed double-breasted coat, from Wallis, 13 gns. Plum suede with python trim shoes, by Sacha, £7 19s. 6d. Brown snakeskin and suede laced belt, by Janet Ibbotson, £5 15s. 6d. Huge canvas shoulder bag, by Moss Bros., 84s. Photo by James Wedge.

The Sweet Jane blog: Long for a Coat┃Stirling Cooper, Biba, Bus Stop┃19 Magazine (1970).
Above: Cream Russian-style blouse, by Lee Bender for Bus Stop, 85s. Navy and white tweed coat, by Lee Bender for Bus Stop, £16. Beige suede boots with side buckle, by Russell and Bromley, £14 10s. Brown mock snakeskin bag with tassels on pockets. by Sacha, 5 gns. Photo by James Wedge.

The Sweet Jane blog: Long for a Coat┃Stirling Cooper, Biba, Bus Stop┃19 Magazine (1970).
Above Left: Tan felt hat, by Feathers, 40s. Brown fitted single-breasted velpauné midi coat with lapels and button fastening, by Stirling Cooper. £22 10s. Above Right: Tan felt hat, by Feathers, 40s. Brown single-breasted velpauné midi coat with Peter Pan collar, by Sterling Cooper, £22 10s. Brown tights, by Biba, 10s 11d. Photo by James Wedge.

The Sweet Jane blog: Long for a Coat┃Stirling Cooper, Biba, Bus Stop┃19 Magazine (1970).
Above: Brown tweed hat, by Biba, 63s. White angora jumper with polo neck, by John Craig, 5 gns. Brown tweed trousers and brown tweed midi coat, with leather patched elbows, by Biba, £21. Suede and snake trimmed shoes by Sacha, £7 19s. 6d. Brown leather bag, by Bata, £5 10s. Photo by James Wedge.

Above: Tan and beige woollen top and button-through skirt from a selection at Feathers. Brown hooded cape, by Wallis, £11 19s. 6d. Rust tights, by Martyn Fischer, 10s. 11d. Brown Granny shoes, by Dolcis, 89s 11d. Photo by James Wedge.

Above: Black felt hat, by Feathers, 40s. Black flannelester shirt with wing lapels, by Lee Bender for Bus Stop, 85s. Camel coat with tie belt, by Mary Quant, £27. Photo by James Wedge.

All content scanned and transcribed by Sweet Jane from an original issue of 19 Magazine, November 1970. Fashion Editor Norma Moriceau, Fashion Assistant Polly Hamilton. All photographs by James Wedge. Models unknown. 

Discover more about milliner, boutique owner and photographer James Wedge via this transcript of an interview recorded with him in 2006, and view further examples of his photography and artwork on the official James Wedge website. Here, you'll find further reading on fashion editor Norma Moriceau, later known for her work as costume designer on The Great Rock 'n' Roll Swindle (1980), Mad Max 2 (1981), Mad Max Beyond Thunderdome (1985).

View some of my previous posts about boutique fashion: The Boutiques Business (1970) which features five of the best known boutiques and the designers behind them, Biba, Quorum, Bus Stop, Marrian-Mcdonnell, and Foale and Tuffin. James Wedge designs for Top Gear illustrated by Caroline Smith, Queen Magazine (1965). The British Boutique Boom, Rave Magazine (1965). The Quant Formula in Fashion, Honey Magazine (1967). The New Boutiques, Biba Postal Boutique, Victoria & Albert, Top Gear and Harriet, Vanity Fair (1965). London Boutique Fashion, Carnaby Girl, Biba, Bus Stop, Universal Witness, Jours de France (1970). The Maxi Look from Wallis and Bus Stop, Jours de France (1970). And finally, Fabulous feminine looks inspired by the Bardot/Moreau film 'Viva Maria'. Wear anything with a faint 'granny look', antique jewellery, button boots, and weird coloured specs, Rave Magazine (1965).