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Illustration - Eye Candy - 1969

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                                                           PHOTO CREDITS
All images scanned by Sweet Jane from Plexus Magazine, Issue No. 30, December 1969. Illustrations by Tito Topin for an original story by Don Mitchell.



Plexus Magazine 1969

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                                                         IMAGE CREDITS

All Images scanned by Sweet Jane from Plexus Magazine, Issue No. 23, April 1969. Cover art title "My Best Friends" by Robert Lewis, illustrations by Wojtek Siudmak.

The British Boutique Boom 1965 (Part 2)

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As promised, this is the second part of the  RAVE magazine  'British Boutique Boom' editorial which I first posted about a couple of weeks ago. You can find my original post here.




                                                                   ADAM  W.1.

29 Kingly Street, London W.1. - Owned by Mr Stanley Adams who designs boy's gear clothes that girls buy, too. Reasonably priced gear exclusive to Adam. Our choice is a pair of tweed Courreges inspired trousers with tweedy blue shirt. 79s. 6d, and 49s. 6d.




                                                                    TOPGEAR
         
135 King's Road, London, S.W.3 - Owned by model Pat Booth and hat designer James Wedge. Fairly expensive but really terrific gear. Our choice is crepe trousers by Foale and Tuffin, 6½ gns., Terrific hats designed by James Wedge and some way-out stuff by R.C.A students. It is a tiny slip of a boutique but packed with shoes, hats, bags, suits and dresses beneath it's striking bullseye canopy.




                                                      PALISADES  
   
26 Ganton Street, London, W.1. - Owned by Paulene Fordham. Sells lots of pop art gear at all prices. Some of the clothes are exclusive to them; others are bought from the fashion houses. Our choice is a culotte dress in printed cotton, £8 8s., full of badges with "I like  Boys" and "Superman" written on them; space-age hats and a terrific old 1930s Juke Box that really works!



                                                                   
                                                                    THE SHOP

47 Radnor Walk, London, S.W.3 - Owned by photographer Terence Donovan and designer Maurice Jeffery. Inexpensive exclusive gear. Our choice (exclusive to RAVE) is this black and white crepe dress, 4gns. The Shop is known for it's terrific trouser suits in black and white prints, costing £6. 10s: matching hats and bags that they do are also a favourite of the 'in' crowd. There is a terrific wart-hog skull in the dressing room.


                                              

                                                            PHOTO CREDITS
All images and original text scanned by Sweet Jane from RAVE magazine, issue No. 20, September 1965. Photographs by P.L. James, Fashion Notes by Trilby Lane, Fashion Sketches by Alan Parry.

Illustration - Eye Candy - John Alcorn.

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Yet another great illustration by John Alcorn, this is one of the many party invitation cards that he designed for Morgan Press, Inc. I've managed to collect quite a few of them, measuring 3½" x 5¼", they were sold in packs of ten along with envelopes and originally cost $1.00. You can view another example of one of these cards in a previous post here.



                                                             IMAGE CREDITS
 Image scanned by Sweet Jane from my personal collection of John Alcorn Party Invitation Cards published by Morgan Press Inc.

                                      

Male Plumage: Dandyism has returned! Wear Ruffles! Buy yourself a purse (1970)

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The peacock days are coming back. A man in a bright leather suit or snakeskin coat might still rate a hard stare, or an approving one, but he would no longer cause consternation in the city streets. Paradoxically, most designers credit the distinctly un-dandy hippies with making possible the return to dandyism, simply by proving that a fellow can wear almost any outlandish costume in public - if he has the nerve. Designers in London and Rome, working from the far-out, far-gone glories of  Restoration styles, gave their imagination rein. The old promise that ordinary man is finally to be liberated from dull clothing has flowered brilliantly in outfits of every fabric and color. Men's boutiques now do a brisk trade in necklaces, purses and earrings. Health spas find a demand among business and professional men for mud packs, hair tinting and skin creams - all once the exclusive province of women. Most men find the new styles extreme - not to mention expensive - but so long as dandies are as attractive to women as they seem to be, the "Peacock Revolution" - illustrated here by partisans wearing their own versions of the fashion-will continue to spread it's feathers.




Top left: In a photograph hand-tinted by a technique popular in dandier days. Los Angeles musician and tennis teacher Larry Piller shows off his leather Captain America suit.  Centre: A customer in Carlo Pallazi's Rome Salon gets a fitting for a handmade suit in a setting of chandeliers, tiled floors and antique furniture. Top Right: Tokyo's Kansai Yamamoto, a 26 year-old fashion designer, wears a beaded choker and an appliquéd T-shirt with his snakeskin suit.


Above: In a London shop called Granny Takes a Trip, a young man inspects a $60 velvet brocade jacket.
  






Top Left: Best-selling French novelist Francois-Marie Banier has on a velvet suit designed by Cardin. Bottom Left: As women learned years ago, proper accessories are crucial. Thus, hats for men are staging a comeback, particularly in Rome, where Remo Argenti's shop does a brisk business in straws. Centre: In the U.S., body jewelry, like the necklace above, sells well. So do the inexpensive but flashy rings. Top Right: Franco Piscardi, who is 17 and works as an automobile mechanic, wears a nylon print shirt he bought for $5 in a Rome flea market. Bottom Right: Because the new tight pants are likely to have no pockets, many Italian men carry keys and money in purses like the one above.



Above: In a London boutique, a potential customer tries on boots, including a multi-starred design made popular by rock singer Joe cocker.



Top Left: New York's Eric Cruz, 19, a student in fashion design, wears an Afro hairdo, a hooded African dashiki and a necklace from Kenya made of seed pods and animal teeth.  Bottom Left: In Manhattan, a man seeking just the right complexion to go with his Italian outfit tests a skin base at the grooming bar in Bloomingdale's.  Bottom Right: Businessmen from Los Angeles relax in a muscle toning whirlpool bath at a health club called The Sanctuary and above that, At La Costa, an expensive spa near San Diego, a patron has a skin tightening mint compound applied to his face by a woman attendant. Top Right: Canadian Paul Stooshnoff bought his Yves Saint Laurent safari shirt in Paris and his leather pants in London, where he is directing a movie.

Above: Hairdressers at Sweeney's in London give herbal shampoos and razor haircuts, then use hand driers to accentuate any natural curl.




Top Left: Giorgio Sciommer, 43, a hairdresser and boutique owner from Rome, wears $200 worth of silk evening suit, and a silk jersey shirt with foulard scarf, all by Palazzi.  Centre:(main picture) While in Rome a businessman hurries to an appointment, carrying a small purse. Top Right: French photographer Patrice Calmettes festoons his 18th Century Afghanistan wedding tunic with several necklaces, pendants and an ornate Greek belt.  Bottom Right: A man in an upholstery-patterned coat ambles down a New York street.












Above: The new fashions are not exactly ubiquitous, but they are spreading fast. On London's King's Road, a fellow with an *ice cream cone appliquéd on his back strolls with his girl. 



                                                          IMAGE CREDITS
All images and original text scanned by Sweet Jane from LIFE Magazine, September 1970. Photographs by Enrico Sarsini. *Although the purple satin jacket with the appliqué design wasn't credited in the original article, I have it on very good authority that it came from Mr Freedom and the leather patchwork/star design boots are from Granny Takes a Trip. 

Design for living 1968

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Some interesting attitudes and opinions in this piece regarding what was considered to be suitable attire when attending a job interview in the midst of 'Swinging Britain'. Tom Salter of Gear in Carnaby Street definitely wins the the commentary prize hands-down. You can also view Tom's book about Carnaby Street, illustrated by Malcolm English in one of my previous posts here.













                                                          IMAGE CREDITS

Image and original text scanned by Sweet Jane from the Sunday Times Magazine January 1968, original article by Jill Tweedy, illustrations by Alan Manham.

Biba Artist & Interior Designer Antony Little

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Antony Little, artist and interior designer, first became associated with Biba in 1965 through his connection with Julie Hodgess, whom Barbara Hulanicki had commissioned to create a wallpaper design for her shop in Abingdon Road.  Upon moving to her second Biba premises in march of 1966, she once again hired the two designers to decorate the new shop.  Prior to this, Little, who's work at this point in time was heavily influenced by the renewed interest in Art Nouveau, had painted the window of Michael Rainey's Hung On You boutique in Cale Street using the beautifully fluid, organic Nouveaustyle. The continuation of this influence can also be seen in the window design that he created for the Kensington Church Street shop, he painted the Biba name above the shop in gold lettering on a black background, then decorated each window with gold leaf circles (which served as portholes), surrounding them with an expanse of black Art Nouveau swirls. The design proved itself to be incredibly popular, attracting not only the curiosity of every passer-by but also the attention of  many photographers who liked to use the windows as an interesting background feature in their photo shoots. An adaptation of the design also became the new Biba logo, which featured on bags and other printed materials. Although he continued to work with Biba in an interior design capacity on further projects, by 1968, Little had opened a small showroom in Chelsea and co-founded a wallpaper and fabric company with his brother in-law Peter Osborne, producing some of the most striking hand-printed designs of the decade. For those of you with a penchant for interior design from this period who would like to decorate accordingly, it will undoubtedly be welcome news that Osborne & Little are still active and that quite a lot of their early work is currently available again.




Shop  manager Eleanor Powell, wearing a suit from Biba, the photograph was taken across the road from the Kensington Church Street premises.



                               Antony Little and his wife Jenny at their London home circa 1970. 
                        




 
Aubrey Beardsley inspiredIllustration by Antony Little which was sold in Biba, Kensington Church St.




                              Hung On You, 22 Cale street. Window design by Antony Little 1966.





The interior of Hung On You, 22 Cale Street. A blow-up of a poster design for the shop by Antony Little decorates the wall in the background, the backdrop was also used on the cover of LIFE magazine in 1966 for a feature about the  rise of  the 'Swinging Revolution' in London.



Close up of the exterior of Biba, Empire House, 19-21 Kensington Church Street, W.8. Nouveau window design detail by Antony Little.




Shop manager Kim Wilmot photographed in the window seat of Biba in Kensington Church Street, one of the many photographs which used Antony Little's Nouveau window design as a backdrop.




                                 * Illustration by Antony Little, which sold in Biba  circa 1967.





Part of the conservatory area in Biba, Kensington High Street, designed by Antony Little, using stained glass windows which had been reclaimed from St Paul's school. (1969).




















                             Size, colour and price labels  designed by Antony Little for Biba.








Osborne & Little's 'Chinese Dragon' wallpaper, designed in 1968 by Antony Little, inspired by  the Royal Pavillion in Brighton, you can view a fantastic example of the paper as it was intended to be seen here. And, if you have fallen in love with it, you will be happy to know that the paper is available again in six different colourways from various stockists, along with some other incredible wallpaper designs and matching textiles from this period, as part of their Vintage Collection




                          Packaging from stockings, with logo designed by Antony Little for Biba.




Yet another example of the Antony Little Nouveau window design used as a feature by a photographer, on this occasion by Frank Habicht.



                                                           IMAGE CREDITS
All images scanned by Sweet Jane from the following publications: The Biba Experience by Alwyn W Turner, 70s Style & Design by Dominic Lutyens & Kirsty Hislop, Boutique a 60s cultural phenomenon by Marnie Fogg, Look Magazine 1967 photograph by Douglas Kirkland and In the Sixties by Frank Habicht. *except for photo No.8 which is courtesy of the Alwyn Turner website via Antony Little.

                                                                      LINKS

                                         The Osborne & Little Website can be found here
                          The Osborne & Little Vintage Collection of wallpaper can be found here
              The Restaurant & Champagne Bar owned by Biba's former interior designer Julie Hodgess,
                                 which  has been  in business since 1969 can be found here.   
                           

Vintage Advert: Miss Disc & The Yardbirds 1966

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She's the chick among the Yardbirds. She goes for groups. They go for her. She has her very own group too. Named after her. Miss Disc. A very 'in' group indeed. Led by the most sensational, fab, new kind of hair spray. Tames her hair when it's wild. But just enough. No more. Great. Everything under control. Yet breathtakingly alive! Miss Disc has you kind of group for your kind of person. Get together. Soon!  



                                                                  IMAGE CREDITS
                   Image and original text scanned by Sweet Jane from RAVE Magazine, December 1966.

Vintage Advert: John Bates 1967

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Pop-popular dresses by John Bates at Jean Varon in pure new wool crepe. Halter-neck 'Flash' is about 9 guineas. 'Tiller' is about £10. 19s. 6d.










                              

                                                               IMAGE CREDITS

          All images scanned by Sweet Jane from RAVE magazine extra fashion supplement April 1967.


Today's Raves: Kleptomania 22 Carnaby Street (1968)

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Some charming illustrations from a regular RAVE Magazine feature which was called 'Today's Raves' (This is where you read first about new ideas and  gimmicks on the rave scene!)  There's always lots of snippets of information about the latest trends, new boutiques etc plus some pop and movie gossip, in this particular issue they discuss the fact that Carol White star of the film 'Poor Cow' and the television production 'Cathy Come Home' headed straight to Biba in Kensington Church Street when she was choosing the outfits for her latest film role in "I'll Never Forget what's is'name", so instead of  the bill running into thousands of pounds, her entire wardrobe for the film cost a mere £80!  I actually own a copy of it on dvd, and she does look fantastic, so I will get around to doing some screen shots and I'll post them here at some point in the future. In the meantime I'm quite taken with these illustrations, unfortunately they're uncredited, but it's always good to find something from Tommy Roberts' Kleptomania boutique. You can read more about Kleptomania in one of my previous posts here.

















                                                                







                                      
                                                               IMAGE CREDITS

                      All  images scanned by Sweet Jane from RAVE Magazine February 1968.
                       

Dandy Fashion: Les Assassins du Bodygraph - lancent le prêt - à - choquer 1967 (part one)

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Part one of a fantastic editorial first published in 1967, which pays homage to those who were determined to step out in true 'peacock style' regardless of the general conformity in menswear that still surrounded them at the time. The original article is in French, which unfortunately I do not speak...so I shall refrain from doing the language an injustice by attempting to translate the intro to the piece or any of the quotes from Baudelaire  via google translate. Thankfully, the photographs are strong enough to speak for themselves....there are definitely some superb examples of dandy finery on display here!




                                               Gérard Silvi, modéliste, habillé par Dean.




              
                                    Jean Manuel Guyader, art director, habillé par Renoma.





                                               Gilles Rimbault, peintre, Habillé par Cardin.





                                                             Pablo Mesejean, peintre.




                                                             IMAGE CREDITS

    All images and original text scanned by Sweet Jane from PLEXUS issue No.9 1967. Photos: Chantal Wolf.


Vintage Advert: Yardley Slickers (1966)

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                                                             IMAGE CREDITS

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



Julie Driscoll - Jeff Banks - Clobber! 1968

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                                                                  MISS JULIE

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





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






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















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




                                                         IMAGE CREDITS

All images and original text scanned by Sweet Jane from The Sunday Times Magazine, May 12th 1968. Report by Meriel McCooey. Photographs by Just Jaeckin.



Vintage Advert: Dandy Fashion - Mr Fish 1968

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



                            
                                                               IMAGE CREDIT

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

Vintage Illustration: John Alcorn - Wenching & Merrymaking!

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                                                            IMAGE CREDITS

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

Dandy Fashion: Dandy of Brook Street 1969

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Brian of Brook Street, on the corner of Brook Street and South Molton Street, was opened just under two years ago by Brian Landau. He designs all the clothes; they have an up-dated turn-of-the-century look about them. The shop is filled with modern versions of the stock or cravat shirt, plus masses of stylish suits for day and evening, and a rich jewellery selection.                             




Leisure suit in cream needlecord  with a single button fastening at the waist, long centre vent; £28 10s. The high cut trousers have slightly-flared bottoms. Light tan cotton twill shirt, 5gns, it fastens with pairs of buttons, has two-button cuffs, and a welted patch breast pocket. Fine silver chain with tasselled amber detail, from the jewellery selection.




For a party - light grey slubbed silk shirt, stock style cravat tied in a knot, with very full puffed sleeves. Matching flared trousers and irregularly-pleated cummerbund. £30. Circular brooch, from the selection.




Grey flannel three-piece suit with a long flared jacket; two button, long centre vent. The six-button waistcoat has two flapped pockets, the high-cut trousers have slightly flared bottoms. £42. White cotton stock style-shirt shirt, Tattersall checked in red and black, with button cuffs, 5gns. Silk handkerchief, £1 2s 6d. Gilt filigree brooch, from a selection.




                                                             IMAGE CREDITS
All images and original text scanned by Sweet Jane from Queen magazine March 1969. Original article by Erica Crome, photographer uncredited.

Get Ready For Rain: Everywoman Magazine - March 1966

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      Coat and hat in PVC designed by Karen Møller for Soukh. Photographed by John French Studios.




                                                              IMAGE CREDITS

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

The Observer 1967: Who's who in the underground

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                                                     THE NEW SOCIETY

                                 Who's winning the battle of the generations?


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

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

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

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













                                                 IMAGE CREDITS & LINKS
                                
                                            Caroline Coon's website can be found here
                                       John 'Hoppy' Hopkins website can be found here.  
                                 You can read more about The Fool Design Collective here.
                          The Psychedelic Poster Art of Hapshash and The Coloured Coat here.
                      The complete archives of the International Times are available to read here.
                           

    All images and original text scanned by Sweet Jane from the Observer Magazine 3rd December 1967.

Caroline Smith Illustration: Queen Magazine 1965 (James Wedge, Deliss, Moya,Top Gear,King's Road)

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




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





                                                    IMAGE CREDITS

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

Rave Magazine 1966: How We Made Princess Anne A Mod...

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                                                              IMAGE CREDITS

                              All images scanned by Sweet Jane from RAVE magazine August 1966.
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