Saturday, 30 March 2013

Martha Hill - Vanity Fair (1965)


Martha Hill

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

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


Thursday, 28 March 2013

Dandy Fashion: Cavalli Shoes | Queen Magazine (1969)


Cavalli Shoes

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

Image scanned by Sweet Jane from QUEEN Magazine, 19th March, 1969. Photograph by John Vaughan.

Tuesday, 26 March 2013

Harmony Presents the Twiggy book of Knitting Machine Patterns (1970)

The Twiggy book of Knitting Machine Patterns

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

Sunday, 24 March 2013

How We Made Princess Anne a Mod - Rave Magazine (1966)


 All images scanned by Sweet Jane from RAVE Magazine, August 1966.

Saturday, 23 March 2013

Caroline Smith Illustration | Queen Magazine (1965)

Caroline Smith Illustration

James Wedge, Deliss, Moya,Top Gear, King's Road fashion

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

James Wedge, Deliss, Moya,Top Gear, King's Road fashion

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

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

Thursday, 21 March 2013

The New Society | Who's who in the underground? | The Observer (1967)

Who's who in the underground?


Who's winning the battle of the generations?

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

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

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

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

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

Tuesday, 19 March 2013

Get Ready For Rain | Everywoman Magazine (1966)

Get Ready For Rain

Sweet Jane blog: Karen Møller for Soukh. Boutique, London (1966)
Coat and hat in PVC designed by Karen Møller for Soukh. Photographed by John French Studios.

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

Thursday, 14 March 2013

Wenching & Merrymaking! John Alcorn┃Morgan Press Inc. (1968)

Wenching & Merrymaking

John Alcorn -  Morgan Press Inc.

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

Monday, 11 March 2013

Dandy Fashion | Mr Fish of Clifford St | Queen Magazine (1968)

Mr Fish of Clifford St


1960s Menswear Designer Mr. Fish

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

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

Saturday, 9 March 2013

Julie Driscoll | Jeff Banks | Clobber! (1968)


Julie Driscoll ✮ Jeff Banks ✮ Clobber!

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

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

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

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

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

Monday, 4 March 2013

Yardley of London | Yardley Slickers (1966)


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