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Inspirational Images: Home Discomforts

2012-02-02T23:31:00.000+01:00

Scanned from Nova, October 1970. Photo of Libby Morris by Christa Peters.

Home discomforts - here today and here tomorrow

Such a perfectly composed photograph, I love everything about it.

Curious Coincidences: Gucci vs. Ossie Clark

2012-02-01T19:15:00.002+01:00

Gucci, A/W 2011 Ossie Clark, early 1970s

How very curious...

Have you noticed any curious coincidences lately? If so, don't hesitate to email me enquiries@vintage-a-peel.co.uk and if I use one of yours, I'll give you full credit.

Four Rooms

2012-02-01T15:54:00.000+01:00

I'm putting a little call out on behalf of a lovely lady called Sonia at Talkback Thames, who got in contact about a programme called Four Rooms. They're looking for potential participants who may have incredible items of vintage clothes that they want to sell. Ideally they want items with provenance: if it was worn by someone special, designed as a one-off by someone special or with any kind of interesting backstory.

So if you think you might have something of interest, and fancy seeing yourself on the tellybox, then please get in contact with Sonia at Sonia.sohal@boundlessproductions.tv or call her on 0207 861 8402

Hurry though, time is running out!

Curious Coincidences: ASOS vs. Radley

2012-01-31T12:05:00.005+01:00

ASOS, 2012 Radley, early 1970s

How very curious...

(Original Radley is for sale at Poshvintage.com)

Must See Vintage Films: The Adventures of Barry McKenzie

2012-01-31T01:58:00.001+01:00

Ok, so perhaps the term 'must see' is not necessarily going to apply to most [sane] people, but if you've got an appetite for the naff, kitsch or questionable tastes in life (and as a reader of my blog, I fear this may be the case...) then The Adventures of Barry McKenzie (1972) should be right up your street.

The film is based on the comic strip from Private Eye, written by Barry Humphries and illustrated by Nicholas Garland, and follows the eponymous Aussie hero as he fulfills his dead father's wish to expand his cultural horizons in London. Ending up in Earl's Court (where else?) a series of mishaps and misunderstandings lead Barry to an unspeakable dénouement in a TV studio. I am not even going to attempt to explain that.

Barry, Barry and Willie Rushton

Starring Barry Humphries in an early outing as plain old Mrs Edna Everage, Barry Crocker as our hero (Crocker is now married to Miss Peelpants-favourite Katy Manning and is best known to us 'Pommy Bastards' as the original singer of the Neighbours theme tune), and with cameos by Spike Milligan and Peter Cook, it is certainly quite an amazing period piece. Demonstrated perfectly with an incredible, possibly unique, shot of Barry and a friend walking down Marlborough Court. Yes, you can see Irvine Sellars 'Mates' boutique, Take 6, Aristos and Foale and Tuffin!!! Much excitement abounded....

Further still, one young lady is slinking around her apartment in the most perfect Zandra Rhodes outfit....

And then Peter Cook manages to floor me with a fabulous Betty Grable-printed t-shirt. I have no idea who this is by, so if any menswear geeks ever find out - please do let me know!

Curious Coincidences: Agent Provocateur vs. Rudi Gernreich

2012-01-30T23:56:00.000+01:00

Agent Provocateur, 2012

Rudi Gernreich, c. 1970

How very curious...

Vintage Adverts: Sex Sells....Chess?

2012-01-30T15:24:00.000+01:00

1973

Good use of a plunging black Ossie Clark dress, Home Paraphernalia of the New Kings Road, good use indeed. I'm sure it sent sales soaring...

Vintage Adverts: Very Diana Rigg, very Sanderson

2012-01-29T13:45:00.000+01:00

From 1973

There are elements that I like here, but I can't decide whether I prefer Diana's pad or Britt's groovier Sanderson-decked dining room. Someone's just going to have to donate a large house to me, so I can decorate each room in a different style and make up my mind...

Lloyd Johnson - The Modern Outfitter

2012-01-28T15:39:00.001+01:00

Many thanks to Paul Gorman for the invite to the opening of the superb Lloyd Johnson exhibition at Chelsea Space on Tuesday night. True to my usual form, I found it mighty hard to take any half-decent photos amongst the crowds so I must apologise for the poor quality which lies herein. I'm also definitely planning to return on a quiet weekday, so I can absorb it all properly.

I must confess that menswear is not one of my great areas of expertise, but I do know what I like. And those early Johnson and Johnson printed shirts and jackets are incredibly covetable - I actually cannot resist a novelty print. I know Mr Brownwindsor fancied a few of them, and it is yet another reminder of the tragedy of how dull most modern menswear is. (Snuggling up in a sloppy 'La Rocka' jumper, seen below, would also be very desirable!)

The highlight of the exhibition is probably the original 'Johnsons' shop frontage from within Kensington Market. Such a hallowed place, formerly full of many of my favourite designers of the Seventies and Eighties, it's remarkable to see something like that having survived!

For me, La Rocka was just one of those names (like Red or Dead and Joe Bloggs) which stuck in my head during my childhood but which had little contextual information. This exhibition is a terrific insight into one man's journey through several different eras of street style in London, always managing to stay idiosyncratic but never stalling at the one style. And as someone the other night said to me, you can't really be different if you look the same as everyone else.

The exhibition runs until the 3rd March, so make sure you make a trip!

Vintage Adverts: Wrangler Psychedelia

2012-01-27T15:03:00.000+01:00

Scanned from Petticoat, April 1970

Jean Shrimpton - At Home With Fashion

2012-01-26T23:35:00.000+01:00

"It is so beautifully cut". Sabbath Suit by Ossie Clark.

As with so many of my favourite people, I far prefer 'Seventies Shrimpton' to her earlier, more famous Bailey-era. This photoshoot is from The Telegraph Magazine, April 1973, and shows Jean returning to the family farm - decked out in all the best designers of the time.

Jean Shrimpton has gained fame, fortune and glamour through her spectacular modelling career, but she seldom spends much money on clothes - although she will, on occasions, treat herself to an extravagance from Ossie Clark, one of her favourite designers. So we asked her to make her own practical choice from the clothes that are in the shops now. We photographed her at her parents' home - Rose Hill Farm, Burnham in Buckinghamshire.

"Basically I always choose dark clothes because they are practical and don't show the dirt. I like fairly simple, well-cut, Forties type clothes with big shoulders. I wear a lot of trousers and long skirts and prefer jackets to coats. If I do wear colour it is usually in tights or shoes"

Images scanned by Miss Peelpants

"I like long skirts and I liked the shape of this sweater with the cuffed sleeves and the lower neckline". Sweater by Rykiel.

"Super, very Forties, lovely grey colour, loose and easy to move in. Very much the sort of thing I wear". Suit by Coopers.

"A nice simple dress that could be worn anytime". Dress by Janice Wainwright

"I like small flower prints and this is a very pretty one". Dress by Bus Stop.

"Very comfortable, I can wear it anywhere". Jacket and trousers by Coopers.

Images scanned by Miss Peelpants

Inspirational Illustrations: Brush up!

2012-01-26T01:06:00.000+01:00

Illustration by Philip Castle.

Scanned from Petticoat, April 1970.

Mild Sauce: Be Prepared

2012-01-24T01:26:00.001+01:00

Janet Reger

More James Wedge fabulousness. I'm always delighted to find and scan a 'new' James Wedge photoshoot, and this one is adorable, despite lacking the trademark Wedge hand-tinted touch.

You never know when next you may stand revealed in the full glory of your underwear. Will it stand the test? Bare with us and we'll show you how to steal even the most embarrassing scenes in these glamorous, seductive undies-to-get-caught-in.

Honey. December 1972.

Images scanned by Miss Peelpants

Dress from Browns, pants by Warners

Janet Reger

Madeleine Foundations

Mary Quant

Maidenform

Images scanned by Miss Peelpants

Mr Freedom and others tell "The most outrageous thing I've ever done..."

2012-01-19T22:54:00.000+01:00

Sheer brilliance! Scanned from Petticoat, November 1974.

Mensday: A Real Man

2012-01-18T23:30:00.003+01:00

It Takes A Real Man To Ask A Warm Girl To Return His Acrilan Sweater.

I think someone favours his Acrilan sweater over a bit of how's your father, because I'm sure he won't be getting any more there...

Scanned from Men in Vogue, November 1966.

Icons? Or clichés?

2012-01-18T00:43:00.009+01:00

All coincidences are intriguing, even if they are not all serendipitous. A few weeks back, Mr Brownwindsor and I went to the NFT to see Annie Hall. I was curious to see it anyway, as a relative newcomer to the world of Woody Allen, but I was also intrigued by the iconic status of Diane Keaton's androgynous style statements (which, according to the accompanying literature, were entirely her own and perfectly preserved by Allen, against the costume designer's better judgement.).

I emerged in my seemingly perpetual state of "mixed feelings". I enjoyed the film, no doubt about it, and I was as entranced by the character and appearance of Annie as much as any others who have seen that film, before and since. But I am a contrary so-and-so (indeed, my middle name is Mary!) and I could not shake the sensation of ennui. I am bored of conventional style icons. I wholeheartedly resent the fact that so many are appropriated by the media, the fashion press and, these days, by the blogging community.

Beautiful as Audrey may have been, as sensuous as Brigitte patently was, as unnervingly cool as Françoise Hardy always will be, I am tipping over into boredom when I look at them now. Even the obscure ones aren't so obscure any more.

The same goes for Keaton's Annie Hall style. Barely an Autumn season goes by without several half-witted fashion editors conceiving an 'Annie Hall' editorial. Two weeks ago, You Magazine gave the world the least convincing Emma Peel-influenced spread I have ever seen in my life. And I have seen a fair few. I actually laughed, out loud.

Afterwards, we wandered into the South Bank branch of Foyles. As if to prove my point, there I found a book which, frankly, made me want to hate it just from the cover. I cannot even remember the title it was so dull (and I didn't recognise the author) - something about fashion icons and getting their style. It did not disappoint me. Page upon page giving flimsy advice on how to pull off various looks, each section led by an 'icon'.

For a Deborah Harry rock chick-look, you will need to wear smudgy eyeliner and tousle your hair. For a Brigitte Bardot bombshell-look, you will need to wear eyeliner and tousle your hair. For a Françoise Hardy yéyé-look you will need to..... Need I continue?

The laugh-out-loud moment came for me when I saw the section containing Stevie Nicks and Kate Bush. How to be a 'free spirit'. Seriously? If you need to read a book which tells you how to dress, make-up or style your hair like a free spirit, then you really are not one. Defeating. Entire. Object.

Everyone should feel free, especially in personal expression through appearance. People should never feel like they are compelled to stick with one style forever. If you want to change your look every day, good for you. But if you need to read a book which shows pictures of Kate Moss in the 'free spirit' section, alongside the genuine article, then there is something seriously wrong with how you are approaching your personal style, and vintage clothing.

For surely the joy of personal style, and the development thereof, is just that. Personal. Learning what works for you, not what works for the women you admire. Those women were not trying to look like someone, they worked hard to find their own image.

I find I pick obscure 'icons' for my own purposes. Both deliberately and subconsciously. A smattering of Chrissie from Man About The House here, a dash of Noosha Fox there, a hybrid of Pan's People and a snifter of Jo Grant. But I don't look like any of them, and really I just want to look like me. Liz. I would feel repelled if I saw a Youtube tutorial on how to achieve Noosha's make-up, or Cherry's enormous hair. I look and learn, or don't.

I wish all authors the best of luck, but I also wish that they would take the remarkable opportunity they have and do something different with it. Something unique. Something thought-provoking. The kind of waffle I was reading in that book was worthy of a second-rate fashion blogger, not a published author.

I rarely write long posts these days. Partly time, partly energy and partly because I am not always convinced that the world needs yet another person giving their opinion about style. These days, I try to share the quirky, unseen images which so excite me. The thrill of a new-old copy of an obscure magazine; the bizarre, experimental photography, the unusual looking models, the daft adverts for naff clothes which I openly covet, the beauty of illustrations...

So here is my first proper 'post' for a while. I hope people can feel proud of their true selves, comfortable in their skin and not behind the mask of someone else.

Incidentally, for an authentic Pan's People look, you will need to wear smudgy eyeliner and tousle your hair. Oh...

Inspirational Illustrations: A Love Story

2012-01-14T01:17:00.002+01:00

Illustration by Jean Max Perramon. Scanned from Nova, March 1975.

Sometimes you find a beautiful image like this, google the artist and find out wondrous things about them. Sometimes you find nothing. Sometimes, you find something deeply sad.

If I use a vintage stamp, and the oldest postbox I can find...

2012-01-13T03:26:00.002+01:00

...can I please send off for these goodies?

Images scanned by Miss Peelpants

1970

1974

1972

Images scanned by Miss Peelpants

Inspirational Illustrations: All this grief to be fashionable

2012-01-12T01:35:00.000+01:00

Illustration by Ken Laidlaw. Scanned from Petticoat, January 1973.

Vintage Adverts: Smoochers

2012-01-11T15:50:00.000+01:00

Smoochers from Boots Seventeen. Scanned from Petticoat, November 1974.

Mad orange lipstick packaging, names like Smoochers and Sugar Daddy, men in puffy sleeved shirts....make-up advertising just ain't what it used to be!

Rod Stewart, October 1973

2012-01-10T14:33:00.003+01:00

Happy Birthday Rod! Scanned from Girl About Town, October 1973. A free jobs listings magazine for women, I cannot take the credit for the 'score' - it was given to me by Mr Brownwindsor this Christmas! Ah, how scarily well he knows my bizarre reading habits...

I'm happy to find that its former owner was no fan of Rod the Mod and left the pin-up in tact. I will certainly be sharing some of the brilliant job listings in further posts.

"It hasn’t got boobs or anything".

2012-01-08T02:02:00.002+01:00

So very quotable (see post title and also: "I cannot breathe in the atmosphere of convention," he told one interviewer. "I find freedom only in the realm of my own eccentricity."), it is hard to believe that David Bowie is actually allowed to age at all. But he reaches the very elegant and refined vintage of 65 today and I would like to wish him many, many returns of the day. So, in his honour, here is an interview from Petticoat Magazine, January 1973...

~~~

Heralded by a thunderous chunk of Beethoven's Ninth Symphony, Fourth Movement as adapted by Walter Carlos for march from A Clockwork Orange, Ziggy Stardust and his Spiders From Mars skip on stage virtually unseen under cover of the murky gloom.

When the spotlights come on the audience gives up a single gasp of utter disbelief Ziggy’s hair is a solid bob of flaming Apricot Gold, made even brighter by a deathly-white made-up face. He is wearing a blue Lurex jacket open to the navel and a pair of blue denims tucked into what , appear to be boxing boots.

The Spiders—Mick Ronson on guitar, Mick Woodmansey on drums and Trevor Bolder on bass—seem ill at ease in their silver jumpsuits.

The exhibition that follows is of secondary importance. David Bowie made his impact the second he stood there under the lamp, legs apart, hips gently swaying, guitar slung over his back and a limp smile playing on his mouth.

There`s no getting away from it, the boy is beautiful.

Articulate and animated David has his own ideas about what he is — "just a cosmic job" — and where he’s going — "to be an astral spirit" — but he leaves us to make our own interpretation.

The heads hold him in awe and regard him with respect, a last stubborn vestige of what was once the Underground.

A number of usually-cynical music paper writers forgot to be objective when Bowie re-appeared on the scene last year and quite openly played John the Baptist to his Messiah.

To them he is the Samuel Pepys to a Clockwork Orange generation; chronicling alarm, violence and anarchism but always ending on a definite note of optimism. (As you’ll find out if you listen to Bowie's The Man Who Sold The World collection.)

Fans just bop to him in Stoke-on-Trent, hang his picture on their bedroom walls, grab at him in stage door scrums and dismiss him the minute his latest forty-five rpm chartbuster slips from the Fun Thirty, just another hit parade idol.

So who is David Bowie? He was born David Robert Jones in Brixton, South London, probably twenty-five years ago. His accurate birthdate is a well- kept secret. The family moved to Bromley, Kent, and David won O level GCEs in art and woodwork before leaving Bromley Technical High School at sixteen to become a com- mercial artist with an advertising firm.

It only took him six months to realise that his artistic sense‘was in danger of collapsing under the strain of working in the world of advertising. He handed in his notice and formed his first professional group, a "progressive blues" outfit known as David Jones and the Lower Third.

One record that lingers from that period is I Dig Everything, a piece of shattering, quavering vocal acrobatics from Bowie. But with the advent of the Monkees in the mid-sixties David had to face up to stark reality. The Monkees were being sold on the unspoiled features of an exiled Mancunian, one Davey Jones. It was obvious this bright-eyed, young smiler was going to happen so David played it shrewd and dug up the name Bowie.

David Bowie and the Buzz were on the point of breaking big a number of times. They had a residency at the Marquee in Wardour Street and since they had no money they lived in a beaten-up old ambulance parked right outside the club.

"We were second billing to the Hi Numbers who later became The Who," David recalls. "Even then Pete Townshend was writing great stuff. In fact he and I were the only ones with anything to say."

Sadly The Buzz subsided and a disillusioned Bowie stopped playing professionally to throw himself into a lengthy period of meditation and self-examination. He read huge amounts of Albert Camus, Harold Pinter and Oscar Wilde. He joined the Buddhist Tibet Society and helped to establish a Buddhist monastery in Scotland.

He met and worked with mime actor Lindsay Kemp and then formed his own mime troupe as part of his Arts Lab project in Beckenham, Kent, where he’d now set up his headquarters.

Several misguided people said at the time, that by Bowie’s efforts, his Arts Lab commune could become Britain’s first self-sufficient sub- community, but the project floundered.

By the time David had made a "don’t-blink-or-you’ll-miss- me" appearance in the film The Virgin Soldiers and had gone to the cinema one night to see Stanley Kubrick’s 200l-A Space Odyssey.

"The whole thing just zapped me," Bowie said. Bowie went home and wrote the song that was to change his life. Space Oddity was the story of Major Tom, the astronaut who shut off his communications systems, said goodbye to a doomed world and prepared to spend the rest of his life in never decreasing circles in outer space. Space Oddity was also a mammoth seller, topping thei charts round the world. It elevated Bowie to big box-office status.

"It was a catastrophe," he remembers. "One month I was playing acoustic guitar to ah handful of people in folk clubs, the next I was out on the Mecca ballroom circuit, a pop star; playing to thousands of scream- i ing kids who wanted to pull me to pieces.

"I couldn’t take it for very long so I went into retirement for a couple of years." In those two years, during which he married Angela, the daughter of an American mining engineer and had a daughter [sic], Zowie, his peace went undisturbed. Bluntly, he was finished and that was the way he wanted it.

"I had time to sort myself out and write. I needed that time where nobody wanted me to do anything, nobody expected anything of me."

Then he suddenly appeared with some new almost frighteningly significant songs to which he gave the name The Man Who Sold The World. He was back but this time he was given respect as a composer not just adulation as a pop star.

It was about this time that David was photographed in his Mr. Fish dress. "It’s a man’s dress," he insisted, "it hasn’t got boobs or anything. I`ve always loved clothes and think that you should dress exactly how you like without a care for what people might think.

"I cannot breathe in the atmosphere of convention," he told one interviewer. "I find freedom only in the realm of my own eccentricity."

David finally consolidated his new-found position in pop with The Rise and Fall Of Ziggy Stardust and The Spiders From Mars, the saga of an imaginary pop group, it’s adventures and eventual destruction.

He is very involved with the stars and beyond, and warns that we should be happier than we are about the prospect of meeting real Spiders from Mars in the years to come.

Bowie leads an isolated life. He surrounds himself with allies and no-one else gets through.

How would he like people to think of him?

"Anyway they want to," he says. "I’d hate to think I was anybody`s guru, nor am I a pop , idol. Music is far from being my whole life, it’s only my mode of transport for getting my thoughts and beliefs across. I want to retain the position of being a photostat machine with an image."

Gordon Coxhill

All the support you need

2012-01-06T16:57:00.002+01:00

Some sizzling photos of Marie Helvin. Scanned from Nova, March 1975. Photos by Harri Peccinotti.

Images scanned by Miss Peelpants

Images scanned by Miss Peelpants

Au revoir stinky old 2011. Happy New Lear!

2011-12-31T01:31:00.001+01:00

As is now my tradition, for I really rather loathe the whole New Year 'thing' with a passion, I would like to wish you all a Happy New Lear with a mini-picture spam of new Amanda pictures I've seen this year. Several have been pilfered from the fabulous Mr Tarkus. Merci!

http://www.flickr.com/photos/gesebel/5901868080/

http://www.flickr.com/photos/gesebel/

http://www.flickr.com/photos/gesebel/6539391119/

Loungerie

2011-12-30T01:05:00.001+01:00

Leaf design bra (£2.75) and pants (90p) by Triumph

Underwear need not just be functional, it can be beautiful too. So with fashion becoming ladylike on top, perhaps it's time to show some style and imagination on what you wear underneath.

From Honey magazine, December 1974. Photos by Monty Coles.

I want it all.

Images scanned by Miss Peelpants

Twenties-style slip by Proper Pride (£4.35)

Cami-knickers by Janet Reger (£19.50)

Images scanned by Miss Peelpants

Larking around with Diana Rigg

2011-12-29T01:03:00.000+01:00

Diana and costume designer Alun Hughes

I came across this series of photos ages ago, and there's something about the sheer volume of them which entertains me greatly. She looks like she's having a jolly good time, larking around with the random chaps she has been thrown together with in the studio. I think they were mainly promotional photos for her outfits so, other than costume designer Alun Hughes, I guess the guys were just there for slightly unhinged, eccentric, Avengerland good measure...

Diana with British boxer Billy Walker

Diana with Avengers stunt coordinator Ray Austin (left)

Plus rogue bottom-spanking photo with unidentified gentleman...

Vintage Adverts: Dubonnet on the rocks

2011-12-28T13:36:00.001+01:00

Dubonnet. Scanned from Vogue, November 1972

Merry Pimm'smas!

2011-12-24T00:51:00.000+01:00

Hope you all have a beautiful, snuggly, tipsy Christmas and New Year!! Thank you for visiting the blog, and for buying from Vintage-a-Peel, throughout 2011 and please do come back for even more gorgeous things in 2012...

Love, Miss Peelpants xx

Vintage Adverts: Chelsea Girl's word is her bonded Orlon

2011-12-22T02:28:00.000+01:00

From December 1970. I love me some Chelsea Girl, and this advert is just perfection with the colours, the styling, the design... it even makes me half-fancy a white wig! I think I'll leave it at the half-fancying stage though...

Thank God for the Seventies...

2011-12-21T13:25:00.000+01:00

...for providing me with the only Christmas songs I can deal with, aside from certain carols. I can't even take the Nutcracker suite due to extreme over-familiarity. So the only ones I can really bear are from the Seventies. I'm not anti-Christmas, I am merely anti-schmaltz.

Plus bonus Legs and Co Christmas routine to 'Funky Town'. I would like a fairy dressed like them on top of my Christmas tree, as would, I suspect, most men...

Party Pieces

2011-12-19T00:54:00.002+01:00

Incredible illustration about hosting a party (I'm assuming by Malcolm Bird) scanned from Petticoat, December 1968.

Vintage Adverts: Velmar Girls

2011-12-18T00:36:00.000+01:00

Scanned from Vogue, November 1967.

Petals in Poster Colours

2011-12-17T00:41:00.000+01:00

Incredible clothes by Sally Tuffin, incredible photographs by Mr James Wedge; appealing to my interest in all things clown-ish. I love this photoshoot, even more because I have the blue cape on the picture above. Sadly, the pleats have somewhat fallen out (perhaps someone washed it?) and I have no idea how to put them back in again. Bums. Any advice welcomed...

Harpers and Queen, September 1972.

Inspirational Images: Bill Gibb, 1972

2011-12-16T01:58:00.000+01:00

Photo by Peccinotti. Flair Magazine, October 1972.

Mensday: Cue at Austin Reed

2011-12-14T13:21:00.000+01:00

Scanned from Men in Vogue, November 1966. Uncredited. Possibly Malcolm English.

Freddie - The Leggy Queen

2011-12-10T16:23:00.003+01:00

Scanned from the Supersonic Annual 1977.

"And there's no permanent bird on the horizon either...so you're all still available to be Freddie's '77 mate...a real supersonic hook-up!"

New Noosha-ness

2011-12-09T14:56:00.000+01:00

Oh thank you. Some beautiful person has found and uploaded a new-old Noosha Fox performance to Youtube. Wonderful to see her performing a Fox song on her own (Did the guys just not bother turning up that day?) and a perfect opportunity to make this a double whammy and upload a high-res scan from a rare Fox picture sleeve. How does one person manage to look so mousey, and yet so sexy at exactly the same time? Amazing...

Inspirational Images: Roxy Girl

2011-12-08T15:51:00.000+01:00

Photographer uncredited. Circa 1974.

Scanned from Bryan Ferry and Roxy Music by Dafydd Rees and Barry Lazell (1982)

A glint in the eye and in her garb

2011-12-02T19:53:00.000+01:00

Left: Striped lurex top and pants by Frank Usher, £28.25. Right: Lurex blouse, £11.50 and brocade Oxford bags, £13.50 by Miss Mouse

Scanned from Flair Magazine, October 1972. Photographed by Bill Klein. Hair by Howard of Vidal Sassoon.

"We photographed at The Club, the latest offering from those well-known restauranteurs Mario and Franco, who have branched out with this exclusive membership club in Belgravia."

Left: Sequin wrap jacket by Biba, £20. Right: Wrapover jacket by Biba, £18. Satin Oxford bags by Gillian Richard, £5.60.

Man's eye view of The Midi

2011-12-01T19:15:00.000+01:00

Hilarious two-page spread from Flair Magazine, January 1971.

It's easy to forget just how ludicrously over-hyped the whole mini, midi, maxi debate was as it "raged" through the United Kingdom in the late Sixties, early Seventies. Rather like similarly ludicrous 'debates' and 'trends' of the here and now, although I suspect I will feel more queasy when, in my Sixties, I'm re-reading articles about the merits of wearing pyjamas in public, skinny jeans (yes, they suit everyone...no, wait, they don't suit everyone. Bring back the flare!) and the whole harem pant (a.k.a Poo-catcher) debacle. Actually, wait, they all make me feel queasy now anyway.

I wish modern newspapers would always make sure to get the opinion of a 'freaked out hippie', a 'pipe smoker' and a 'retired boozer', it would make life far more enjoyable.

Who's Right?

Who's Wrong?

Mensday: Americana Sportswear

2011-11-30T19:42:00.000+01:00

Scanned from Vogue, December 1977

Both Mensday and Mild Sauce in one go. Who says I don't spoil you?

Inspirational Images: Oh, for a friendly milkman!

2011-11-29T14:49:00.000+01:00

"How abandoned can you get?"

Dresses by John Bates for Jean Varon. Scanned from Vanity Fair, December 1971.

Vintage Adverts: Hairsprays and Dressing Tables

2011-11-28T22:44:00.001+01:00

Advert for Wella. Scanned from Flair, October 1972.

This advert pleases me on so many levels. Her hair, her décor, her artfully jumbled dressing table, the Russian doll, the giant die, the solitary stick of chewing gum....

Best of all, I have that mirror! I occasionally see it in vintage/antique/charity shops for anything between £20 and £50. Mine was a charity shop score many, many years ago for a mere fiver. It currently resides elsewhere on semi-permanent loan (due to my having a beloved Thirties walnut dressing table with integral mirror) but it is still a treasured piece of Seventies haute naffness.

It's not the first time I've spotted it though; a near identical one appears in Blakes 7 as a mirror-come-communicator and is used suitably flamboyantly by the great Jacqueline Pearce. I must admit that I have never managed to contact anyone through it, so I cannot guarantee its efficiency. Ha!

Inspirational Images: Charlotte Rampling, 1974

2011-11-25T13:53:00.000+01:00

Photographed by Ewa Rudling, 1974. Domaine du Cap, South of France.

Scanned from Charlotte Rampling: With Compliments.

Who loves you baby? Ossie, that's who...

2011-11-24T16:04:00.000+01:00

Ossie Clark and Marie Helvin. Advert scanned from Ritz magazine, No.14 1978.

Incredible, rare late Seventies Ossie advert. It is of the greatest frustration to me that Judith Watt's otherwise fantastic book cuts off sharply at 1975. I know his final years were difficult, frustrating and ultimately tragic, but he didn't simply stop designing in 1975 - and I'm sure many of us would like to read, see and understand more about the later years.

Noosha Fox: Cheap at the price

2011-11-23T16:08:00.002+01:00

The vinyl hunting continues; I am currently having most luck in East Anglia, so thank you very much East Anglia! Six quid seems steep for a 12inch, unless you know who Noosha Fox is. In case you have never heard the song before, here's a rare Noosha performance:

Scanned from the back cover

Inspirational Images: Lady in the Dark

2011-11-22T13:00:00.000+01:00

Dress by Thea Porter. Photographed by Norman Eales for Harpers and Queen, December 1971.

Inspirational Illustrations: The year of the beautiful body

2011-11-20T19:19:00.000+01:00

Heavenly. And it's Wendy Buttrose again! Scanned from Vogue, January 1970.

The most nostalgic clothes of all...

2011-11-18T16:48:00.000+01:00

Rosalind Russell wore this soft grey georgette evening dress with cross-draped bodice, for The Velvet Touch.

[Proving that nostalgia is nothing new...]

You are forgiven if you think the pictures on these pages are fashion circa 1971. In a sense, they are; but in fact, these are original Hollywood - the clothes of the stars, people like Bette Davis, Katherine Hepburn, Olivia de Havilland, Jean Seberg, Shirley Temple — worn in their films, coming up for a gala auction at Sotheby’s Pantechnicon in Motcomb Street at 7pm on December 1.

The man who made it possible is Michael Fish — Mr Fish, no less — who bought the whole collection of 30s, 40s and 50s creations from Max Berman & Son of Hollywood, and is putting them to auction in aid of Immigrant Community Services. So you could help to provide a new children’s playground in Brixton, say, while treating yourself to a great fashion original . . . like Jane Russell’s navy pleated chiffon coat over crepe culottes ; Bonita Granville’s pink chiffon dress with Alencon lace and fine pleating; not to mention the original mini worn by Betty Hutton in Annie Get Your Gun.

Patrick Procktor is contributing to the programme for Mr Fish’s ‘frock fantasy’. Ossie Clark’s sensational model, Gala, will wear some of the clothes, as she did for us in company with Barbara Trentham. Make-up here by Barbara Daly; hair by Smile; location, Mr Paul Hamlyn’s house.

Harpers and Queen, December 1971. Photographs by Tim Street-Porter

Square-shouldered 40s suits, as worn by Maureen O’Hara and Ginger Rogers.

Agnes Moorehead starred in this vampy black crepe dress with sequins and a matching shoulder cape fastened with jet.

Inspirational Images: Zandra and Ossie, 1970

2011-11-17T14:36:00.004+01:00

Scanned from Zandra Rhodes: Textile Revolution: Medals, Wiggles and Pop 1961-1971

Photo by Bill Cunningham.

Inspirational Illustrations: Fortnum and Mason, 1974

2011-11-16T12:10:00.000+01:00

Artist uncredited. Scanned from Harpers and Queen, October 1974.

Inspirational Images: Knickerbockers and Choppers

2011-11-15T14:42:00.000+01:00

Flair Magazine, January 1971. Photo by Tony Moussoulides.

Is there anything not perfect about this look? Knitted knickerbocker ensemble, striped tights, adorable shoes and nifty chopper bike? I think not...

Inspirational Illustrations: His 'n' Hers

2011-11-14T16:22:00.001+01:00

Illustrating a small article about patchwork. Petticoat, June 1969. Artist uncredited.

Old graces never die

2011-11-13T16:28:00.001+01:00

Hats from C&A. Racoon jacket (left) by Tuttabankem for Philip Hockley. Furs (centre and right) by Femina Furs.

Dress like a little old lady and bring back a little grace to your life. It takes thin little frocks in fabrics for all season, new or second-hand; warmed up with wooly things next to the skin, cardigans and old furs, all shoulders, or old-looking brand-new furs. Flapper hats, lace-up shoes, fine jewels and a handbag to hang on to for dear life.

Photographed by Sarah Moon. Nova, October 1972

I'm looking to bring back the term 'second-hand', or even just 'old'. Although I realise this is a hard one, given my website name. I like to wear things that are second-hand and/or old. Thank you Nova and Sarah Moon for such immense beauty...

Left: Second hand dress from Civil Service Stores and cardigan from Charley's. Centre: Fox cape by Femina Furs, dress by Jean Muir. Right: Jacket and skirt by Caroline Charles. Blue fox boa by Femina Furs.

Left: Second hand dress and cardigan from Charley's. Centre: Skirt by Sheilagh Brown for Coopers. Blouse and fur cape second-hand from Charley's. Right: Cardigan by Carroll at Joseph, second-hand dress and handbag from Virginia, blue fox boa from Femina Furs.

Left: Crepe wrap-around dress by Ossie Clark for Quorum, thermals by Damart, stockings at Donald Davies. Centre: Second hand blouse at Virginia, panties by Lux Lux. Right: Cardigan by Lil at Josephs, crepe skirt by Pierre Elegant, antique handbag at Virginia.

The Bump

2011-11-12T17:52:00.003+01:00

Any child of the Seventies or Eighties, growing up in the UK, will know who Floella is. To anyone else, I'm going to be lazy and link to the Floella Benjamin wiki page. Very exciting to see her doin' the bump in Cosmopolitan magazine in March 1975. I dare you all to try out the bump tonight, down your local discotheque or just in the comfort of your own kitchen with your loved one(s).

Photos by Monty Coles.

Guy Day: Alan Bates

2011-11-11T14:45:00.000+01:00

Clothes by Gieves

While Oliver Reed is my declared rugged-actor-of-choice, I must admit that Alan Bates looks pretty hot in this feature from Vogue, September 1973. Not only are the tweedy, wooly clothes damn sexy, but he's also got a red setter - my dream dog! Perfection...

Photos by John Vere Brown.

Alan Bates, photographed in his native Derbyshire, wearing the kind of country cashmeres and tweeds that the British do so well. He’s now in his first season with the Royal Shakespeare Company at Stratford playing Petruchio in The Taming of The Shrew. He had previously completed over two years in the title role of Butley—first in London, when he won the 1971 Evening Standard Best Actor Award, then in New York where he collected a Tony Award, and earlier this year shooting the film version to be released here after its premiere in the States in October.

Clothes by Burberry

Clothes by Jaeger

Vintage Adverts: Strictly for lids

2011-11-10T22:44:00.001+01:00

Aha!! So who really invented eye crayons, eh? Was it Boots or Mary Quant? Mary Quant or Boots? We'll probably never know, but I'm willing to place a bet that the Boots ones worked better*...

Scanned from 19 Magazine. September 1974

*I speak from experience. My nan worked in the factory where the Quant ones were made and I attempted to use them in my teens. They were, frankly, useless.

New listings: Cinnamon Girl

2011-11-09T23:16:00.000+01:00

Paul Nicholas & Co

True to form, once I start listing I end up with songs running around my head. This time it's been 'Cinnamon Girl' in honour of the Paul Nicholas & Co dress you see at the top there. I've also just listed a fabulous Antony Price, superb Ossie Clark, incredible Yuki, divine Miss Mouse and a stunning unlabelled piece in the most incredible psychedelic satin. Enjoy!

Cinnamon Girl - Neil Young

Miss Mouse

Yuki

Antony Price

Ossie Clark

Unsigned fabulousness

Vintage Adverts: It's a scream!

2011-11-09T03:55:00.001+01:00

Pirelli advert. Scanned from 19 Magazine, May 1974.

Vintage Adverts: Jourdan by Bourdin

2011-11-07T11:46:00.003+01:00

Advert for Charles Jourdan shoes. Photographed by Guy Bourdin, 1974.

Inspirational Images: Harpers and Queen, May 1976

2011-11-06T21:17:00.000+01:00

Knockout, bareback dresses, draped and slung.

Above, dress by Yuki. Below, dress by Benny Ong.

Photos by Francois Lamy. Harpers and Queen, May 1976.

Body-hugging dresses on tiny straps.

Above, dress by Gianni Versace for Genny. Below, dress by Yves Saint Laurent.

The Colour Craze

2011-11-05T12:40:00.000+01:00

Green says Biba. Photo by Caroline Arber.

All the top beauty talent is currently colour-crazy - and we're very much for it; it's a fabulous enlivener of the grey winter scene. Your party look could be a variant of any of the gloriously off-beat ideas you see here - and anyone who considers green lips unnatural might dwell, briefly, on the knock-you-down naturalness of bright plum or orange ones.

Vanity Fair, December 1971

Violet says Pablo - Elizabeth Arden's ebullient young creative director.

Rainbow hair says Michael at Crimpers. Photo by Steve Hiett.

Any colours you like says Vanity Fair, using Mary Quant's crayons. Photo by Didier Duval.

Guy Day: J. Antony Redmile

2011-11-04T01:05:00.001+01:00

Would you buy 'objects' from this man? Is this the worst advert of all time, or the best? My answers would be 'yes, indeed' and 'the latter', but clearly my taste cannot be trusted where the Seventies are concerned (judging by a few snarky comments I've had regarding my blog over the past year...). J. Antony Redmile, I like your style (but not your beard).

Scanned from Harpers and Queen, October 1974.

Legs and Co

2011-11-03T13:27:00.000+01:00

This is actually one of my most favourite things in the whole world right now. When I found it the other day, I texted Mr Brownwindsor to gloat that I had found the best LP ever. I still stand by that statement, although with adjustment to the best LP cover ever. Because the songs contained swing from sublime to ridiculous; from Roxy Music to Phil Collins, from The Teardrop Explodes to Bucks Fizz.

I love the haute Eightiesness; the hair, the bacofoil clothes, the clumsy crotch shots, the make-up, the headbands! Absolutely the best £1 I've ever spent.

(for the uninitiated, Legs and Co were Flick Colby's follow up to Pan's People and Ruby Flipper...)

How to Charm Prince Charming

2011-10-30T12:24:00.000+01:00

The intricacies of the make-up details and advice don't particularly interest me in this article, but the photographs are simply incredible. Apologies for the creasing, sometimes things (and people) get a little crumpled over the years.

Honey, December 1972. Photos by Alain Vivier.

+++

Just an Old-Fashioned Girl


Old rose printed satin halter dress by Van der Fransen, £10. Shawl from Chelsea Antique Market. Shoes by Leicester, £10.99

+++

Fifties Fan

Shimmering lurex 'cigarette girl' halter top with pussy bow and pencil slim taffeta skirt from Crowthers, £10.95. Shoes by Sacha, £12.99.

+++

Instant Heiress

Jersey and candy stripe satin dress by Gillian Richard, £8.75 from Pinocchio. Shoes by Leicester shoes, £9.99.

+++

Pretty Little Thing

Forthy net and taffeta skirt with tightly ruched stone-studded strapless top by Miss Mouse, £10.50 and £7.

+++

The Lady is a Vamp

Tiger striped satin dress, £12.50 from Biba. Shoes by Sacha, £12.99.

+++

Little Girl Lost

Short moire dress by Simon Massey, £12.75.Spotted bow fronted shoes by Samm, £7.95.

Inspirational Illustrations: What You'll Be Into

2011-10-28T14:12:00.007+02:00

Illustration by Michael Roberts. 19 Magazine, January 1973.

. . . in 1973. Life is beautiful, the girls are beautiful, the clothes are beautiful. In fact, life, 1973-style, is a cabaret and here we present the cabaret-girls, with a few tips - picked up at the Paris fashion shows - on how to dress the part without using up too much money

LEFT TO RIGHT: Martine in a chemise dress inspired by Roland Chakkal at Mendes. Make one yourself from a ‘Twenties‘ slip. She amuses herself by.toying with her cigarette holder (held just for show), while listening to the jangling of her nine A bangles. Her drop-earrings glitter, her tight bead choker sparkles and one arm is snug in its elbow-length glove.

Janine tangos giddily with her partner. but nevertheless looks chic in a little soup-plate hat, perched jauntily over a printed scarf inspired by Karl Lagerfeld at Chloe. Thrown into a state of ecstasy by the Jap Collection, she has naturally teamed a long striped jumper with a neat box-pleated skirt.

Her partner, in pinstriped suit (inspired by designer Dorothée Bis), white-wing collar and bow tie (available in father`s top drawer), wears drop-earrings as a concession to femininity.

Neatly fandangoing into the spotlight - Katherine and Margaret. Katherine’s favourite designer is Karl Lagerfeld at Chloe. How right then for her to be attired in printed bra top and skirt. But paradox, paradox. She also fell in love with the stripey pixie hat seen at Dorothee Bis. Happily, she’s thrown caution to the wind and wears them together.

Margaret looks soulful. That is the only way one can look in an eye-shading, pull-on hat, all the rage for lovers of designer Emmanuelle Khanh

Zizi, as always, simply had to be different. A monocle. Only she could get away with this, but the rest of her accessories should be simple to copy.

Book review: The Faces 1969-75

2011-10-27T14:27:00.002+02:00

Ok, so this can't possibly be a proper book review, because I don't own the book. The reason I don't own it, is because it costs £345. It's £345 well spent, if you have the money, in my opinion. But it's still £345. You pay for superior materials, lush production and great exclusivity; it's bound (ha!) to hold/increase its value. It also contains a lustworthy amount of photos of rockstars in beautiful clothes.

I did, however, get to see a preview at the launch, at Genesis HQ in Guildford, on Tuesday night. Once the crowds had cleared somewhat, the feather-headed pseudo-mods had drifted away, I had spotted Peter Blake (again!! It's the Zandra Rhodes effect; you start feeling bored of seeing them everywhere!) and gobbled up as many canapés as I could find, I carefully flicked through the book and tried to take some lousy phone shots of the photos up on the walls. I was in heaven. Men in satin. Men in flares. Men in feather boas. Men in platforms....

Rod in an Alkasura cherry jacket.

The Bus Stop blouse.

Men in blouses. Fantastic.

Funny Faces

Plonk!

Personally I'm a Ronnie Lane kinda girl. Rod Stewart is fine in this period, and he wears some of the most brilliantly bonkers gear out of all of them. Ronnie Wood is tolerable, but he doesn't float my boat. Ian McLagan has instantly gained major points in my book for being seen wearing a Bus Stop Forties-lady print blouse throughout the book. And Kenney Jones is....there. But put them all together, and it's just magical. The photos are largely unseen; vivid, candid and energetic.

I'll just have to keep hoping for that windfall so I can buy the damn thing! The Faces: 1969-75 is available here:

http://www.genesis-publications.com/faces/default.htm

Mensday: Ian McShane

2011-10-26T23:52:00.003+02:00

Mensday isn't just for the men, you know. Sometimes there's a little something for the laydeez...

Ian McShane. Cosmopolitan, June 1973. Photo by David Steen.

For Ian McShane, there’s nothing remarkable in being photographed sprawling across a bed. He’s spent much of his career doing just that, but instead of a dachshund, his bedmates have included lovely ladies like Ava Gardner, Raquel Welch, Dyan Cannon and Gayle Hunnicut. And if you take a leisurely tour round that muscular torso and inspect those what-are-you-waiting-for eyes, you’ll understand why he’s picked for all those torrid love parts.

Despite those Latin features, thirty-one year old Ian was born in Blackburn. His father, Harry McShane, played for Manchester United and Ian grew up expecting to be a footballer until somewhere his ambitions changed direction and he went to RADA. Immediately afterwards he was given the lead in a film called The Wild and the Willing and since then his career has advanced steadily if not spectacularly. He’s appeared several times in the West End theatre, acted in, on average, one television play a year and taken major parts in about eight films including Sitting Target, If it’s Tuesday it Must be Belgium and The Last of Sheila, co-starring Raquel Welch and Dyan Cannon, which should be released in the late summer.

His performances have been consistently praised and there’s little doubt that, if he chose, Ian could turn out twice as many films. He admits, however, that he doesn’t like working too much. "The good thing about making a bit of bread is that you can do what you want to. I hate the thought of work for work’s sake."

Instead, Ian likes to play the dilettante . . . commuting between pub and home, reading, listening to music, playing squash and football. He lives in an elegant Edwardian house in Roehampton, South London, with his wife Ruth, an ex-model from Manchester, their three year old daughter Katie and Nicky, seven, Ruth’s son by a previous marriage. Their two dogs, Morrie, a neurotic dachshund (that’s him preserving discretion in our photograph) and Wolfie, an extrovert, over-sexed mongrel, are regarded as third and fourth children.

Perhaps because his first wife, Susan Farmer, was an actress, Ian displays an almost total disenchantment with the breed. "I don’t like them very much, I don ’t know why they do it. An actor I can understand . . . but an actress is quite a different species. They’re too aware of what they are . . . always discussing how they should do the part, actresses are very full of that."

He’s still recovering from tussles on location for The Last of Sheila where, according to Ian, the leading ladies were continually jockeying for first place. "It was all right when they were in front of the camera. The problems were about extraneous things like who took the longest , to get their lip gloss on. He describes his first encounter with Dyan Cannon. She, chewing gum, sizing him up quizzically: "What’s your name ‘?" "Ian McShane." Chew. Chew. "You married‘?" "Yes." Chew. Chew. “Got any kids ‘?" "‘Yes." Chew. Chew. "See ya."

His black list includes Elsa Martinelli ("an Italian spaghetti”), Senta Berger and Virna Lisi who all came in as guest artistes on one of his films and "were terribly blase about their roles. I suppose they had a right to be. But you feel that terrible anger, you think ‘how dare you come on this set for two days messing about’." Yet, if you accuse Ian of being too hard on women, his wife immediately defends him. "He’s the most easy-going, tolerant man, not even grouchy when he’s out of work."

He admits he has enjoyed working with some actresses, notably Ava Gardner, "A knockout, totally larger than life", and Gayle Hunnicutt, "A lovely lady and a very good actress". As for those passionate love clinches: "They’re very clinical because it’s all worked out beforehand. My most pleasurable ones were with Ava Gardner on Tam Lin—that was a big laugh. But these scenes are always enjoyable. After all it’s just acting."

Many actors would shudder at that word "just". But Ian, although he takes his acting seriously enough, has kept a rare sense of propor- tion. His real life—driving his 1957 blue Rolls, taking his wife to gambling clubs ("She plays roulette, I stick to the fruit machines"), or doing nothing in particular at home—takes a high priority.

He’s delighted, though, about his next film. He plays Bramwell in Bramwell Bronte, a part he has wanted for several years. "I have a lot of naive confidence. I always hope that the next one will be the best film, the best people, the nicest wine. It’s very important that you should have a lovely time when you’re working."

Having a lovely time seems to be a pretty good ambition and it’s nice to talk to an actor who isn ’t all tortured anguish. On screen, Ian McShane can be brutal, arrogant or passionate to order, but look again at that impudent half-smile and you’ll find the humour and animal warmth that make him such a huggable Libran.

Preston and Who?

2011-10-23T19:53:00.003+02:00

When you collect and devour as many vintage magazines as I do, there are a few important life lessons you begin to realise. The first is that regardless of what they may say, all photos now are airbrushed. You can tell this because all photos in vintage magazines are not airbrushed. People have blemishes and bumps, you either re-shot the entire editorial or you put it in, warts and all. The second is that people's major life problems and desires are no different now to how they were then. There might be a little more of a whiff of old-fashioned values, but, ultimately, people just want a rewarding job, sizzling sex life and somewhere nice to live.

A more interesting and less generic lesson is this: Not everyone who has a large magazine feature about them and their talent is guaranteed any level of success. Surely most people are somewhat susceptible to that green-eyed monster, when they see a rival (or, worse, someone they've never heard of) featured heavily in a magazine article about 'up and coming' talents or 'renowned authorities'. You wish nothing but success for fellow human beings, naturally, but you may wonder why you have been overlooked or fear you have missed some vital step on the road to becoming a major player in your chosen field.

But the number of magazines I read, which feature 'up and coming' new fashion designers who even I have never heard of (me, boutique-geek, not the foggiest....), is astonishing. This particular article from 19 Magazine is one of the most striking. The incredible photo, the incredible clothes, the fact that they are the main feature in an article which also covers Wendy Dagworthy. Tell me, who on earth has ever heard of Preston and Saunders? I've googled, and googled. Unless I'm missing something, there's nary a trace of them anywhere.

Laverne Preston wears a hand-sprayed and beaded jacket with print designed by Jane Wealands. Sue Saunders in her hand-sprayed Egyptian printed kimono.

Which is a shame. Clearly they had talent. But what happened to them? Where are the Preston and Saunders clothes? Why is this the only reference in any magazine I've ever seen?

I must admit, I'm really hoping that either will google themselves and find me. I really want to know what happened to them! I also think this is a very good quote, and remains an important point to make in 2011.

"There is no reason why we can’t do hand embroidery just because we’re living in 1974"

19 Magazine. May, 1974. Photo by Graham Hughes.

Leading Ladies with Designs on You

Laverne Preston and Sue Saunders have just formed Preston & Saunders with no capital at all. They’ve been offered backing, but it’s a case of once bitten, twice shy.

Of the designers we interviewed, we found that Laverne had the most 'experiences'.

"l’ve lost thousands of pounds . . . people I’ve done collections for that have made a fortune out of me, and, of course, names! I’ve made two companies complete, you know, names, and earned very little money out of it for myself.

So we decided to eliminate such people. That’s why we really don’t want backing, a few thousands, yes, but not real backing. Once you get that, you make a name for the company, you get masses of Press, you get a story for them—and then, that’s it. "I had four years at art college, a year in Paris making tea, before I became a designer for Maggy Rouff under an architect called Serge Matta. This had the biggest influence ever on my designing because he was so pure and I was very into architects, anyway.

"Then I went to Kiki Byrne, Young Jaeger, Consortium, C&A Modes and, finally, Maudie Moon, which was great fun. I then decided to give up the whole rag trade, buy antiques, study embroidery, etc. I tra- velled all over England looking at different handicrafts.

"After this, I worked again for another company and was nearly had up for assault—I blackened an eye—so I left, called Sue and said, `Why don’t we get together. because I can’t keep blackening people’s eyes’, and that was it."

Sue Saunders has had gentler experiences. She spent eight years at art colleges, start- ing in the provinces and end· ing up at The Royal College of Art. then she taught silk-screen printing in the graphics department of East Ham College of Technology for two years, and freelanced.

"I started up the printing studio with a company called Luckies, which used to do pop furniture. It went bust so I got out of that. Then I met Jane Wealands, whom I was with at college, and we set up OK. Textiles, which was just short runs of our designs, We could not get them into production as nobody wanted to buy that sort of thing. We started off wanting to do furnishing fabric, but it ended up with most of our designs being used for things like men’s shirting.

"We did lovely stuff for Johnson & Johnson and Alkasura, and have done jackets for Rod Stewart and Marc Bolan and people like that. It was at that time that I met Laverne. "Jane wanted to go into graphics and I was left on my own. I wanted to do something worthwhile and design for an end product. I had no control over the things I sold - what they were used for.

"They were usually men’s things and I thought it would be nice to do things for ladies for a change. It also gave me an outlet for my sprayed fabrics, which are hand··sprayed with spray guns, as well as printed. I would much rather do one-off things than produce yards and yards of fabric.

"I can do any print I want, but I do change things for Laverne if it doesn’t fit the pattern of the garment. The kimono I’m wearing (it had a beautiful Egyptian print) was done for my boyfriend, Jeffrey Mitchell. He’s just got a new band called Hollywood, and I guess we’ll be doing things for them. It’s nice to do special things for people. This is specially for Jeffrey, because he’s into Egyptian things and so am I."

Did she think that art colleges helped one to get jobs in a practical sense?

“No, I don’t think they do. They are good in that they give you some time to be able to learn certain things and be able to experiment. One can’t do that once out of college and into a set-up like ours. College gave me the opportunity to do mad, inflatable things which I wouldn’t be interested in doing now. I’ve got it out of my system. I think students should spend a month a year working for a commercial company and then go back to reassess their thinking."

Preston. & Saunders will be a fairly expensive label to start with. They have done a range to sell exclusively at Elle shops, and all the garments will be a mixture of tamber beading, hand embroidery and hand-padded flowers in relief on velvet.

Laverne adds: "The more money we earn, the more staff we can employ, and the prices will come down. I don’t want to use factories. All they want to do is shove through an order for 800 garments at a time. “There are masses of women at home who have children and can’t go out to work because of them, and this gives them a chance to do something interesting.

"There is no reason why we can’t do hand embroidery just because we’re living in 1974. I always wear antique clothes and love anything with embroidery or texture. One of the reasons I went into this is because the really beautiful antique clothes are completely out-priced . "

Legendary Beauty

2011-10-21T13:41:00.001+02:00

By Alice Pollock at Quorum*, 19gns. The settee is covered in the original William Morris Bird Design.

There's a marvellously romantic feeling about the Pre-Raphaelite look. It starts with your hair...soft, natural, framing your face in a ripple of tiny waves. It touches your skin...pale, delicate, un-made-up looking. It colours your clothes...crepe, chiffons and satins in rich hues. Start wearing this great, romantic look today - who knows, he might just start being very romantic to you!

Scanned from Vanity Fair, May 1970. Photographed by John Kelly at Wightwick Manor.

*This is a misattribution, the dress is actually an Ossie.

Dress by Simon Massey, £15. Photographed against a Burne Jones tapestry.

Dress by Fashion Mouse, £22. Photographed against the Kempe stained glass windows.

Dress by Bus Stop, £5. Photographed against a painting by Rossetti pupil Treffry Dunn.

Inspirational Images: Marie Helvin, 1971

2011-10-20T02:21:00.000+02:00

Marie Helvin in a Jeff Banks dress, 1971. Photo by Tony Moussoulides.

Mensday: Bowie and Jagger

2011-10-19T02:41:00.000+02:00

Illustration by Terry T. Burton, from an article titled "The Further Shores of Love" about same-sex attraction.

Scanned from Cosmopolitan, March 1974.

Wild about prints

2011-10-17T15:42:00.001+02:00

Jacket by Kleptomania

The season of mists gets shattered into life in the riot of autumn's wide-awake prints in all the colours of the rainbow.

Petticoat, October 1969. Photographed by Paul Misso.

Dress by Georgina Linhart from the Victoria and Albert Boutique, W.8. Silk printed scarf by Kleptomania.

Patchwork print trousers and tie top by Clobber. Blue and white print dress by Quorum.

Black and white flowery dress by Angela Gore. White boots by Sacha. Red and orange cord dress and scarf by Angela Gore. Jacket by Kleptomania.

Dress by Sujon.

Inspirational Illustrations: How to improve your memory, 1975

2011-10-16T14:05:00.001+02:00

Scanned from Cosmopolitan, September 1975. Illustration by Reynold Ruffins

Tweedy Autumn Perfection

2011-10-14T13:53:00.004+02:00

Skirt by Sujon. Polo by John Craig. Beret by Kangol. Scarf from Van der Fransen.

This spread is everything I love about Autumn and Winter, and how I am often attired. Interesting clothes: textures, colours and embellishments; hats, scarves, tights etc. But sometimes I seem to forget to post more daywear spreads, I suppose because they were often less interestingly photographed and displayed; sometimes even borderline chaotic. But I don't see why that needs or needed to be. Daytimes can be the most expressive times for me...

This shoot is particularly beautiful and, for me, inspirational.

Photos by Bill Klein. Petticoat, November 1974

Skirt by Wallis Shops. Polo by John Craig. Beret by Kangol. Scarf from Van der Fransen. Shoes by Saxone.

Skirt by Wallis. Sweater by Mushroom. Beret by Kangol. Scarf from Van der Fransen. Sox by Kickers. Saxone shoes.

Skirt by Left Bank. Sweater by John Craig. Beret by Kangol. Scarf from "208" SW10. Shoes by Saxone

Skirt by City Swingers. Sweater from Leaves. Quant sox. Shoes by Elliott.

Tweed skirt and hat from Bombacha. Polo from Dorothy Perkins. Shoes by Saxone.

Velvet skirt by Stirling Cooper. Shirt by John Craig. Waistcoat from Dorothy Perkins. Beret from Marida.

Duffy (finally)

2011-10-13T00:45:00.008+02:00

Queen magazine, 1963

Although you'll all have long since forgotten that I promised to review the fantastic Duffy book (published by ACC. RRP £45 but currently £31.98 on Amazon.co.uk), I certainly haven't and it's been rather weighing on my mind. In fact, I'm troubled by the fact that I rarely seem to have the energy to type long, rambling blog posts at all these days.

So, as I often do, I will largely leave the photographs to do the communicating. Which is rather the point of the book itself. It is not a weighty tome about the life of the man, rather it is a weighty tome about the talent of the man. The talent which made him world-famous, but eventually left him feeling so trapped he had to [pretty much literally] destroy it in order to escape it. Page after page of gorgeous women, swinging dudes of the highest and lowest order and generally Interesting People. But it also covers the later period, the advertising and the selling-out, or 'prostitution' as he honestly described it.

I have to admit, I'm always on the look out for new Duffy shoots in my magazines because I'm almost rather bored of seeing the same ones shown again and again. And to be fair, of course, in Duffy's case there is the genuine problem with the complete lack of original source material. His son Chris has spent years reassembling the archive, and I have to respect the labour of love that this project has become. Thankfully, the book is more varied than the exhibition I attended earlier this year would lead you to believe. I have scanned a few of my personal favourites, which I hope will communicate the beauty of his work.

A pet hate must be noted at this point, which is that these books rarely identify the designer of the clothes worn in the pictures. I know it doesn't seem like much to a non-clothes obsessive, but I want to know if that dress really was by so-and-so and I find it infuriating for such information to be left out when surely it must be known?

Obviously, luxuriously printed and sized books such as this require the highest calibre of image quality for reproduction purposes, but it would be nice, in a few years time, to see a book which features more obscurities, more magazine tear-sheets and clippings; covering the lesser-known styles and techniques he used. For there are many. I mean, David Bailey has had enough books about him to last a lifetime; Brian Duffy certainly deserves another one.

Definitely one for the Christmas list. And watch out, because I'm going to be reviewing more books to put on your Christmas list over the next few weeks. Yes indeed.

Amanda Lear, 1971

Sweet, 1970

Unidentified, 1960s

Jean Shrimpton, Vogue 1962

Average White Band album cover, 1979

Michael Sarne, 1962

Pirelli, 1965

Pierre La Roche, Aladdin Sane make-up artist, 1973

Alphasud Car, Henley on Thames, 1974

Mike Henry and Nancy Kovack, 1964

Mensday: Shagpad

2011-10-12T03:03:00.001+02:00

Mmmm. Sensuous carpet. I suspect it was this immensely sensuous carpet which lured the silver platform-wearing lady in the last Bremworth advert I scanned in...

Barbara Hulanicki: Art Deco W14

2011-10-11T02:53:00.001+02:00

A section of the studio. Beneath the gallery one discovers a sink, kettle. cooker below a thirties' Grecian frieze. Art Deco chairs in peach moquette. Screen, with beaded shawl. purple plastic grapes behind a delicate nasturtium-leaf lamp hung with beaded fringe

Barbara Hulanicki at home in one cavernous studio which she found three years ago and filled with Art Deco from floor to ceiling. Walls, ceiling, stairs, all painted a rich matt brown, merge into the shadowy interior; angles and lines are softened and blurred. Colours, not walls, mark out living areas, a different shade for each section of space. Light is filtered through the brown-tinted glass of the high, patterned perpendicular window and a long fanlight in the roof. A brown spiral staircase, leafy with plastic twisting plants, leads to a long gallery which forms the dressing-rooms. Everywhere, an endlessly intricate arrangement of colour, pattern, space; a deep, dark brown jungle of the ornamental, the exotic, the glittering.

Photos by James Mortimer. Vogue, October 1975.

The dressing-room. Shades of peach and deepest brown, Creamy lighting from bulbs set behind opaque glass. Peach mirrors hung with beads, the dressing table, a darker shade of smoked peach, made up of tiny individual drawers. Stool topped with smoked peach glass.

The bath, a riot of peach and plastic flowers. Ornate brass taps, Art Deco screen. Brilliant blue glass, candlesticks and pearly plastic grapes.

Barbara Hulanicki in the sitting-room, the window open to reveal a jungle of climbing plants outside. In the background, a collection of Art Deco glass below the enormous mirror, at least six feet in diameter. Everywhere lamps, small, fringed or mushroom-topped on long, slender stems: everywhere figures, ferns, flowers. In foreground, a set of black/silver/turquoise vases and modelled head on decorated brass tray and glass-sided table: replica of a twenties' cigarette girl, now bearing a tray of jewellery.

Looking down from the gallery into the studio, arranged into its separate “rooms"

The bed, above, hung with shawls, scattered with sequinned brocaded cushions. Barbara Hulanicki reflected in the bedside mirror on the writing desk and in the centre of the mirrored bed-head. On the right, a peach mirror flex set of shelves, with photographs, figures, eight Art Deco plastic handbags.

Mild Sauce: Even little girls need support

2011-10-09T16:38:00.003+02:00

Margit Brandt for Femilet. Stockings by Charnos. Suspender belt by Rosy of Paris.

Ignoring the slightly dodgy undertones in the title of this fashion spread, it demonstrates why I love the Seventies look so much. I'm a petite girl, with petite curves, and while I'm perfectly capable of going braless, I love bras. Sadly, very few styles appeal to me. I honestly wish I could go shopping in Janet Reger, in the early Seventies.

Photographs by Tony Moussoulides. Flair Magazine, January 1971.

Janet Reger. Stockings by Mary Quant.


Janet Reger. Tights by Wolsey.

Abecita. Tights by Mary Quant.

Inspirational Images: Pre-Raphaelite hair

2011-10-07T16:29:00.000+02:00

Photographed by Barry Lategan. Hair by John at Leonard. Make-up by Barbara Daly.

Vogue, February 1975

Inspirational Illustrations: The Swaggers

2011-10-06T19:14:00.001+02:00

From 19 Magazine, September 1974. Left and right coats are by Biba. Illustration by Paul Leith.

Mensday: Advertisements, 1969/70

2011-10-05T16:33:00.000+02:00

It's been a while since I posted some sharp menswear adverts. All are culled from Telegraph Magazines from 1969/70.


"..designed for men to get birds in sight and girls over barrels." -Yikes!

And, finally, he's really not the most swinging of dudes, but I have to admire a man who wears a bri-nylon shirt and tie on a tropical island...

The Latin Look in English Clothes

2011-10-04T23:58:00.001+02:00

Coat by Biba

Scanned from The Telegraph Magazine, October 1969.

Photographed by Jean-Loup Sieff. Edited by Cherry Twiss.


Top and skirt by Ossie Clark for Quorum

Top and skirt by Biba

Dress by Jean Varon

Dress by Jane Walker at the Royal College of Art

Skirt and waistcoat by Marrian McDonnell

We're Not Going Away This Year

2011-10-02T19:57:00.000+02:00

Black ciré jumpsuit (£14 12s) by Harriet

So instead of getting into a frenzy of bikinis I've been able to concentrate on the way to look this autumn. Black and rather Dietrich. Masses of sequins; velvet, chiffon, moiré. And shiny, slinky ciré, like satin come out from under a shower. To wear this black sheer tights; to spark up with silver, jet and diamond.

Incredible shoot from Queen, August 1969. Photos by Helmut Newton

Culottes and matching jacket (27gns) by Alice Pollock at Quorum.

Black moiré suit and white moss crepe cravat (£19 13s) by Sybil Zelker for Polly Peck

Sequined skirt (£19 13s) and chiffon shirt (£7 12s) by Sybil Zelker for Polly Peck

Ciré dress (£12 13s) by Harriet

Inspirational Illustration: Pretty Polly, 1971

2011-09-30T18:54:00.001+02:00

Scanned from 19 Magazine, May 1971

Inspirational Images: Making up to Autumn

2011-09-29T19:42:00.000+02:00

Illustrating an article titled 'We're Making up to Autumn' from 19 Magazine, September 1974.

Photo by Peccinotti

Prêt à regarder

2011-09-27T22:44:00.001+02:00

Alice Pollock

Phew! That was a long break. I've finally got the first batch of Autumn/Winter clothes up over at Vintage-a-Peel, and there are some KILLER items for you. I'm very excited to be offering Ossie Clark, Alice Pollock, Aristos, Biba, Terry de Havilland, The Chelsea Cobbler, Janice Wainwright and two incredible hats by Edward Mann (and those are only the big names!). Plenty more to come, so stay tuned and, meanwhile, enjoy!!

www.Vintage-a-Peel.co.uk

Hilary Floyd

Biba

Aristos of Carnaby Street

The Chelsea Cobbler

Huguette

Pussy Cat by Carla Jane

Ricci Michaels

Terry de Havilland

A Downs Model

Biba

Ossie Clark for Radley

Edward Mann

Frank Usher

Edward Mann

Janice Wainwright for Simon Massey

Wallis

Inspirational Images: Lipstick print trousers, 1969

2011-09-19T23:42:00.001+02:00

I showed off my beloved Fulham Road Clothes Shop trousers, by Sylvia Ayton and Zandra Rhodes, the other day. But I've been waiting to show you the original photograph I have from a copy of 19 Magazine, July 1969.

Mild Sauce: Bowling Ball Bum

2011-09-18T14:25:00.001+02:00

I actually couldn't resist the brilliant awfulness of this cover. I'm not convinced it's going to become a staple part of my vinyl collection, so if anyone would like it to adorn their retro pad, then let me know and I'll probably just send it to you!

p.s Ohhh I bet it was 'Daddy's' property alright...

Shrimpton Supernova

2011-09-16T15:43:00.000+02:00

Dress by Thea Porter

Absolutely breathtaking spread from Nova, December 1970, featuring Jean Shrimpton in some mouth-watering pieces by Ossie Clark, Jean Muir, Foale and Tuffin and Thea Porter.

Photos by Hans Feurer.

Dress by Ossie Clark with print by Celia Birtwell

Blouse by Laura Jamieson at The Sweetshop

Blouse by Jean Muir, gaucho pants by Foale and Tuffin.

Pop Pop Pop

2011-09-15T18:35:00.003+02:00

John Bates for Jean Varon crepe panelled dress

I have finally found a moment to blog about the Pop Art exhibition at The Lightbox in Woking, which is only open for a short while longer. The Lightbox is a tremendous space; airy and light, quiet and tranquil, and it has been transformed (briefly) into a repository of incredible Pop Art paintings, sculptures and....things. The 'things' are what I'm most interested in; as the exhibition draws you into the central space in the gallery, you are shown the influence of Pop Art on everything from clothes, to homewares, right down to the groceries you could buy from Sainsbury's in the Sixties.

The fabulous Katherine Higgins has co-curated Pop Art, and very kindly got in touch with me about loaning some pieces. Well now, I can't resist an exhibition and I can't resist a good rummage in my personal collection and so I delivered four pieces (and a bonus extra which I just happened to have on me at the time). The fourth and final has only just been put on display this very day, and so I do hope you are able to go along to The Lightbox and have a look. It really is an incredible collection of works by some undeniably iconic British Pop artists; including Pauline Boty, Allen Jones, Peter Blake and, now rather poignantly, Richard Hamilton.

Mr Freedom halter neck skater outfit with hidden surprise...

Saucy! (I'm allowed to do this because it's mine, but you might get told off!)

Fulham Road Clothes Shop trousers with Zandra Rhodes lipstick print
(please note the perfect pattern placement on the crotch)

Foale and Tuffin 'Chrysler' mini dress c.1966


Last minute addition: Original plastic lip sunglasses

There are some covetable clothes (as well as mine, of course), including the legendary Mr Freedom baseball suit, several Ritva sweaters, a superb Lloyd Johnson jacket and the most adorable novelty print Mr Freedom dungarees loaned by Jan De Villeneuve. Who, I'm afraid, has now been scuppered in her alphabetical superiority because of my earlier omission. Sorry Jan!

Pauline Boty

Richard Hamilton: 'Swingeing London'

Sweaters by Ritva

Jacket by Lloyd Johnson

Allen Jones

Grocery packaging

Mensday: Chick-Appeal Pants

2011-09-14T18:02:00.002+02:00

Nova, December 1970. Photo by David Reed.

I didn't know Mr Fish did undercrackers as well! I have to agree with Caroline Baker about the unpleasantness of the bikini pant for a man. My preference (which is all that matters, of course) is for tight boxers. Can't be dealing with too baggy, or too skimpy!

"And when he pulls his frilly nylon panties right up tight, He feels a dedicated follower of fashion."

Too bad you're so beautiful...

2011-09-13T00:57:00.001+02:00

Real bassists sweat

Two years ago, I doubted I would ever actually want to see Duran Duran live again. Not because they were any kind of disappointment, quite the opposite. I simply doubted that I would ever see them so 'up close' again, and I'm no fan of the stadium rock gig. Then Simon Le Bon came down with a very scary-sounding throat infection this summer. It postponed all of their UK gigs, but luckily for me it meant that they decided to ease themselves back into gigging with a handful of small, intimate gigs in some slightly obscure venues.

My ladies Senti and Charley were my trusty companions for the third, and penultimate, gig at the Trinity Centre in Bristol; a venue so unassuming it was almost unbelievable. I can safely say that I NEVER thought I would EVER see Duran Duran in a tiny, grubby, sweaty little venue in a dodgy part of Bristol. Sweaty, seriously sweaty. As Le Bon himself said when he came blinking onto a tiny stage, which was once the altar of this former church, they haven't played gigs like this since 1981!

He tries to hide, but I finally managed to get a photo of Roger!

As a largely fan-orientated and populated gig, it was also an almost unique experience of people actually wanting to hear the band's new music. Of course you could almost sense people wetting themselves at the performance of obscurities like Tiger Tiger, Shadows Are on Your Side, Secret Oktober and [the less obscure but I'd never heard it live...] Union of the Snake, but everyone seemed to know and love their new album, All You Need is Now, which is a definite return to form under the producership of Mr Mark Ronson.

Despite standing still most of the time, this was the only non-blurry Nick shot I got. I apologise. He has also attempted to blend completely with the background. Perhaps to avoid being attacked with badges and shoes...

As much as I wished to coo over my third favourite man in the world, John Taylor, I was also aware that the poor guy has some seriously scary fans and I feared for the safety of my hair and my eyes. So I opted to stick with my girls over on the right hand side of the stage. We decided that it was right and proper that Nick Rhodes had three stylish girls to look out at (although Charley and I were still talking about attacking him with badges and shoes as revenge for our whole Lovebox experience) and we ended up being right at the front, bags and coats on the stage. No barriers? At a Duran gig? Are you serious?

Rowr. Etc....

Actual view without zoom and without flash.

Proximity to Duran equipment and slight Bowie-fangirl moment...

It was definitely one of the best gigs I've ever been to and I'm praying that they decide small warm-ups are worth continuing with. I feel very fortunate.

Sweaty Le Betty

Further adventures inside The Hollywood Clothes Shop

2011-09-08T18:30:00.001+02:00

Shirt and jumper by Erica Budd. Blazer and shorts by Clobber.

Scanned from 19 Magazine, May 1971.

See earlier adventure (with Edina Ronay and witterings by me) here.

Inspirational Images: Portrait of a self-portrait

2011-09-07T17:03:00.000+02:00

The boots are by Terry De Havilland. How do I know? Because I have a pair in blue which I will be selling on Vintage-a-Peel very soon!

Photo by James Wedge. Scanned from Hot Shoe magazine, November 1979.

Short and Sweet

2011-09-06T20:12:00.002+02:00

I feel sad for the summer which never quite came to these shores. We had some nice days early on, but nothing consistent. I'm no sun worshipper, and I freely admit to preferring autumn, but it would have been nice to have been out and about a little more frequently in a little less clothing. I'm considering a little seaside jaunt in October, so I'll just have to wear this kind of gear with some thick tights, hat and a coat over the top.

Stunning illustrations from 19 Magazine, May 1971, by Michael Roberts. I did a little reading up on Roberts, and he seems like a fascinating, Renaissance-style man. I pay far more attention to the names of illustrators these days, for obvious reasons, and it's always nice to discover something about these all-too-often unsung artists.

I come to lay flower dresses on the grave of Biba

2011-09-05T13:21:00.001+02:00

The wondrous Affendaddy, over at Flickr, has uploaded lots and lots of amazing street photos from his visit to London in 1976. Inadvertently, he has also captured the immediate aftermath of the death of Big Biba on Kensington High Street. These photos make me want to weep a little...

Gotta Lotta Totty

2011-09-03T18:06:00.011+02:00

As a great lover of milk, peanut butter, cream and raisins (and as a complete sucker for being sold something through the medium of vintage glamour and sex) I feel I must try this drink soon. I wonder if I can insert some rum somewhere along the way as well?

Advert from 1979.

It's one of those slightly lost concepts, which must seem bizarre to modern eyes. The government protecting and promoting a basic product like milk or eggs, without it being for a particular brand? Madness! My godfather even worked for the Milk Marketing Board, which is now sadly defunct (although The Dairy Council still exists). I still covet a replacement set of 'Gotta Lotta Bottle' glasses, which were a staple part of my childhood. Needless to say, all the heavy advertising must have worked well on my impressionable young mind, because I still drink far too much of the stuff.

Hunting around for an example advert, I discovered that the gorgeous Legs and Co were in one and, of course, I simply have to post it here.

Before they were famous: Joanna Lumley

2011-09-02T14:00:00.001+02:00

Spotting old Joanna Lumley modelling shots could become an addictive pastime, and yet I keep forgetting to scan them in when I see them. No longer! From October 1968.

I'm not sure I know anyone who has inhibitions about jersey, but perhaps it was a big social problem in the 1960s?

We are the dreamers of dreams

2011-09-01T16:08:00.000+02:00

By Biba, £6 10s

We are the music makers,

And we are the dreamers of dreams,

Wandering by lone sea-breakers,

And sitting by desolate streams;

World-losers and world-forsakers,

On whom the pale moon gleams:

Yet we are the movers and shakers

Of the world for ever, it seems.

Arthur O'Shaughnessy

I've been having incredibly vivid, bizarre dreams lately, and I'm in the middle of watching Twin Peaks, so anything dream-related is fascinating to me. Some beautiful, dreamlike images from Honey Magazine, August 1968. Photos by David Hurn.

By Veronica Marsh for Hunt & Co., 5½ gns

By Veronica Marsh for Hunt & Co., 79s. 11d.

By Angela Gore, 39s. 6d.

But in a dream the other night

I saw this coastline from the sea

And felt the breakers plunging white

Their weight of waters over me.

Greenaway by John Betjeman