Tuesday, 25 February 2014

Win A Buck A Breck┃John Alcorn ┃Seventeen Magazine (1970)

A beautiful double-page illustrated advert measuring 20¹⁄₄" x 13¹⁄₈" originally published by SEVENTEEN magazine in April, 1970. The illustration is signed by the artist, but unfortunately I can't decipher the signature. (See final photograph.) *Update 25/2/2014: The mystery regarding the signature has now been solved, illustration by John Alcorn.


If you can count every Breck on these pages, you can win a dollar a Breck, plus $10,000. We Want you to remember the Breck name. Not just for our shampoo, but for as many other Breck hair-care products as well. So to get you to remember our name, we invite you to play our name-counting game. The more accurately you can count, the more money you can win! First prize...$10,000 plus $1 for every Breck you count correctly, 10 second prizes of $1,000 each, 50 third prizes of $100 each, 500 fourth prizes of a General Electric Hairsetter.

 Artist's Signature.

All images & original text scanned by Sweet Jane from SEVENTEEN magazine, April 1970. 

Saturday, 22 February 2014

Pretty Polly | Yes. We Have No Suspenders. | Gebrauchsgraphik International Advertising Art (1968)


We Have No Suspenders.

Pretty Polly's unique new Hold-Up stockings don't need any. Instead of nobbly suspenders, Hold-Ups have tops that gently hug the leg: gently but securely.  For all this freedom all we ask you to part with is 8/11.  And your suspenders.
Image scanned by Sweet Jane from Gebrauchsgraphik International Advertising Art, September 1968.

Tuesday, 18 February 2014

News From Baby Doll Make-Up┃Petticoat/Trend (1967)



She's no sleeping doll! Her eyes are always wide, WIDE open...to the latest products, craziest ideas, newest colours ❀ Wear yellow lipstick, like a kiss of the sun ❀ Fringe-frame those pretty peepers with blue mascara ❀ And remember, Lightening is striking...on almost anyone! ❀ Space-age cosmetics ❀ Earthly prices. Blasting off at most Woolworths, daily.

1960s illustration


Image scanned by Sweet Jane from Petticoat/Trend 15th September 1967.

Friday, 14 February 2014

Rave Fashion For Valentine's Day | Clothes He'll Love You In (1968)

Clothes He'll Love You In 


Make the boys love you this Valentine's Day by wearing gear that'll really make them notice you! Plus your RAVE "Love Me!" sticker of course! Here's RAVE fashion girl Lee's own choice of stunning outfits guaranteed to bring you lots of cards and kisses on The Day, and every other day!  They're modelled by our new RAVE Girl Of The Year, Janine Gilbey, and our RAVE Girl '67, Joan Hinton!

Dare him to notice you in this fascinating two-piece in palest silky green, with flowery bridge front, worn here by Joan. FromAngela at London Town, 7 gns. Orange leather shoes with rosette trimming by Elliots, 5 gns. Clumps of orange beads for earrings, by Adrien Mann.

A gay, "boo-boo-be-doo" style straight out of the twenties that'll make any boy smile! The dress is in white with delicate pink and green rosebud print, by Feminella, 8 gns., and the hat, with cheeky wide band, is by Edward Mann, 39s 11d. Flesh tone leather shoes with bow fronts by Manfield, 69s 11d.

He'll love you in soft, clinging jersey, like these pretty twosome. The pink shirt dress with white daisy pattern modelled by Janine is by Rhona Roy, 7 gns., teamed with black patent shoes with satin rosette fronts by Elliots, 6 gns. The cute sunshine yellow with white trimming is also by Rhona Roy, 7 gns., with black patent shoes by Dolcis, 79s. 11d. White stockings by Morley, 10s. 6d.

A sweet, lost look to catch a boy's heart. The dress is made of calico with ornate, liberty printed yoke and cuffs. By John Marks, £5 19s. 6d. Beige, pearlised shoes by Elliots, £6 19s. 6d.

Boys go crazy over checks! Well, they will if you wear this blue and red, criss-cross patterned dress with wide white kipper tie and collar by Radley, 69s. 11d., with a frothy, fun cloche hat by Edward Mann, 39s. 11d. The sling-back shoes are by Manfield, 69s 11d. The culotte dress is in red tablecloth check, by John Marks, 8 gns. Black patent shoes edged in grey by Roland Keith, 99s. 11d. Red and gold watch by Old England Watches, £5 9s. 6d.

Making the man line feminine, a pin-striped linen culotte suit by Lee Cecil, 6½ gns., with added interest from a frilly lace jabot blouse by Feminella, £3 10s. Hat by Edward Mann, 49s. 11d. Black patent bar shoes by Dolcis, 89s. 11d. Large toff ring in gilt with blue stones by Adrien Mann, 10s. 6d.


All images and original text scanned by Sweet Jane from RAVE magazine February 1968. Photographer uncredited.

Tuesday, 11 February 2014

The Ad-Lib Fashion Show at a Paris Bistro (1970)

The Ad-Lib Fashion Show

La Coupole


In the gilded couture salons of Paris the spring collections went on display. But it was a drafty, overcrowded Left Bank cafe with the atmosphere of a gaudy railroad station that had the real-life fashions. For 43 years La Coupole has ben a favourite artistic haunt, for Hemmingway and Chagall in the '20s and '30, for Jean-Paul Sartre's existentialists after the war. Today the big bistro draws a bright young crowd of innovators. Table hopping and rubbernecking, dressed in Boutique clothes and thrown-together outfits, the girls of La Coupole show up first with the newest look, whether it's the Garbo or the Gypsy, the Lana Turner or the Modigliani. For Paris originals, it is the best show in town.

La Coupole Paris 1970

Some of  the regular female customers at La Coupole, February 1970.


La Coupole Paris 1970
"I have been here every single night for 18 months boasts Babbete Vergnet," in a chiffon peasant blouse and wig.  Note: Although none of the outfits were attributed to any particular label or designer by the magazine in the original article, the top from this ensemble looks remarkably like Ossie Clark's Diaghilev inspired 'Nude Look' outfit which was chosen as 'Dress of the Year' in 1969 for the Museum of Costume in Bath by Prudence Glynn, fashion editor of The Times.

La Coupole Paris 1970
Habitué Babette turns up again, in a T-Shirt and her own hair. "Never a wig without a hat," she says. Again the T-shirt is uncredited but quite possibly may have come from Mr Freedom by the looks of it. 

La Coupole Paris 1970
Maria Kimberly, an American actress who lives in Paris, sits thoughtfully before a glass of wine. Her linen blouse is stylishly Victorian, and her air is strictly Juliet Greco.


All images and original text scanned by Sweet Jane from LIFE February 27 1970. All photographs by Enrico Sarsini.
La Coupole restaurant is still as vibrant as ever, known as the Art Deco jewel of Montparnasse it's definitely worth a visit next time you're in Paris, in the meantime you can visit it online here.

Further information about The Legend of La Coupole, the favourite studio of the artists of Montparnasse can be found here.

An example of the Ossie Clark 'Dress of the Year' 1969 & more information about the designer, can be found on the V&A website here.


Friday, 7 February 2014

The Five Faces of Twiggy ┃Queen Magazine (1968)


What is The Face of Sixty-Eight! It's a face from the past, a face from the history-books of movies, a face from Garbo and Harlow - The Face of The Great Days of Hollywood. We let Twiggy loose among a pile of faded film-stills and a collection of cosmetics. We said: 'Give us the once-and-for-all, the ultimate Hollywood Look.' This is Twiggy's reply...she composed her own make-up, and Leonard styled her hair with wigs.

Unfortunately, this post was almost in danger of becoming 'The Three Faces of Twiggy' because the previous owner of the magazine had removed a couple of pages!...the very two which contained the Greta Garbo look and also Twiggy's interpretation of the silent movie star Theda Bara. However, I have managed to salvage the finished Garbo look, as it was also reproduced in Twiggy's autobiography from 1975, which i'm thankful for, as she made a particularly amazing job of it! The original finished 'Theda Bara look' is completely lost though, apart from one tiny postage stamp sized photograph from the introduction to the editorial, which I have enlarged, but even so, it doesn't do her justice (or the backdrop for that matter, designed by Julie Hodgess who also created the wallpaper used to decorate the interiors of Biba in Abingdon Road and Kensington Church Street). UPDATE: As of the 20/2/2014, I'm very pleased to say that the lost 'Theda Bara' look has now been fully retrieved, thanks to a very generous visitor to blog who noticed my dilemma and took the time to scan the image from her personal collection.

One of the five faces of Twiggy..This version is inspired by Ginger Rogers. Twiggy's white tie, tails and top hat are from Bermans, the theatrical costumiers, her shoes are from Charles Jourdan.

Twiggy's Ginger Rogers look...Complexion: Mary Quant's Bare Light Starkers make-up (worn without a powder for the necessary light, pale skin-tone). Eyes: lashes cut from a strip of Loads of Lash (applied in twos and threes); Brown Liquid shadow (in the creases); Transparent Eye Gloss (on the lids); and Black Tearproof Liquid mascara (applied in abundance on the lashes). Lips: Sexpot Red lipstick, with Lip Glosser over it.

Marilyn Monroe is the inspiration for this make-up...Complexion: Elizabeth Arden's Peach Perfect Finish foundation and Transparent powder (for smooth, matt covering to Twiggy's freckles). Eyes: Silver Fox Creamy Eyeshado powder (in the creases); Sun Gold Cake Eyeshado (on the brow bones); Black Cake eye-liner (for a thin line behind the lashes-and the beauty spot); and Extra Thick lashes. Lips: Mexican Fire lipstick (a brilliant crimson) and a little Ardena Highlighter (to emphasise the cupid's bow). Her ear-rings are from Fortnum & Mason.

Twiggy's Greta Garbo look make-up...Complexion: Estee Lauder's Bare Beige pale foundation and Sun Film powder (pressed well into the foundation for a smooth finish). Eyes: Twiggy's own brows (brushed into a very fine line) plus Evening Brown Black Cake liner (to extend the tin arched line, and, in a slightly thicker line in the creases); White frost shadow (on the lids); and lashes (put on in twos and threes between her own). Lips: Evening Black lipstick (mixed with a little eye-liner for a darker upper lip). The hat is by Brian Harris, and the fur is by Maxwell Croft.

Twiggy wears a red Rita Hayworth-style wig for this transformation...Complexion: Lancôme's 03 foundation (a gold tone); Magie Foncée face powder; and Moderato Fard see powder rouge (for colour high on thr cheekbones). Eyes: a blend of Aurore and Vert shadow (on the lids); Brun 73 pencil (to outline the brows); and Twiggy's own lashes mascaraed with a pair of exceptionally long long ones, using Dark Brown Lancomatic. Lips: Incarnardin lipstick. The ear-rings are from Fortnum & Mason, and the leopard skin is by Maxwell Croft.


Twiggy's dramatic Theda Bara look...Complexion: Helena Rubenstein's Opaline Silk foundation; Silk Highlights (on the cheekbones); and Opalescent powder (for an alabaster skin-tone). Eyes: Tender Greige eye-shadow (notice how Twiggy keeps her eyes open while brushing it on, otherwise the shading would be too low to show when the eyes were open); Lumina Blue (on lids); Black eye-liner; and Black Fashion Brow. Back-drop design is by Julie Hodgess.

All images scanned by Sweet Jane from QUEEN magazine 8 May 1968, except for Twiggy's 'Garbo' look which I scanned from TWIGGY BY TWIGGY, an autobiography, published by Mayflower Books Ltd. Original Beauty editorial by Joan Price for QUEEN, all photographs by Justin de Villeneuve. *The finished 'Theda Bara' look (second last photo) scan courtesy of Elizabeth Williams via An Open Look: Twiggy's Guide to Looking and Feeling Great, published by Robson Books Ltd, 1985.

Tuesday, 4 February 2014

Dandy Fashion┃Vogue (1967)

Dandy Fashion


Or straight from a North West Frontier trading post. Peter McEnery, now starring in The Game is Over with Jane Fonda, appears, above, with all sorts of slightly savage paraphernalia. Bottles of Christian Dior's subtle new cologne, Eau Savage, scattered, to the right, available from October 1 and from 32s. 6d. a bottle. Brown saddle leather suitcase, open, to the right, 60 gns; watch, just showing on wrist, 180 gns; Indian Calicut print, behind; all from Doug Hayward. Leopard skin, right, £120, from Liberty. Gleaming black wood brass capped and collared whip, front right, specially made for the film Great Catherine, £14 10s, from Swaine, Adeney, Brigg & Son. And the clothes Peter McEnery is wearing Lanvin's magnificent great wild wolf coat, long and fixed with wooden toggles. By Connaught Furs, £270 to order from Harrods. Indian saffron and Paisley silk scarf, £6 15s. pink poplin shirt, 5 gns, both with scarf, far right, from a wide range at Mr Fish, Clifford St W.1.

Image & original text scanned by Sweet Jane from VOGUE September 15th 1967. Photograph by David Bailey.

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