IMAGE CREDITS
Image scanned by Sweet Jane from LOVING February 5th 1972, with thanks to Kirstin Sibley. Original article by Janice Collier, Hair styled by Harold Leighton, Photographer & Model uncredited.
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Let Colour Go To Your Head 1972
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Bata Shoe Advert 1970
IMAGE CREDIT
Image scanned from Elle Collections, 2 March, 1970 with thanks to Brad Jones. Artist uncredited.
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A & B GIRL 1964
Fashions and records...they've both got two sides. Here's the A side of fashion, flip the page and there's the B side...and Twelve steps To Loveliness.
'B' SIDE...How's this for contrast? But isn't it great! The suit, in grey flannel is just like a man's, pockets, trouser crease and all, and a half-belt across the back. But the price is girl-sized. It's £7 17s 6d. by Slimma. It's worn with over-the-ankle Chukka boots in brown suede by Saxone, £3 19s 11d. Right; 7 & 8 respectively His or her clothes? Both actually. The white-collar workers shirt is made by Her Tern in blue and white gingham. The cost £1 19s 6d. The second-skin trousers are made for men at His Clothes and cost £2 19s 6d. Heeps of girls are buying these trousers and having them shortened while they wait.
5 This is the only new dress shape since the shift. It's cut as simply as a child's smock, with long school-room sleeves. It's deceptively expensive though. Cost is £15 10s by Jane and Jane.
IMAGE CREDITS
All images scanned by Sweet Jane from Rave and Hit Parade No.9 October 1964. Fashion notes by Penny Vincenzi, All photographs by Anthony Rawlinson.
LINKS
Some Classic Old Print Ads by Sir Anthony Rawlinson here.
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Andre 1968
IMAGE CREDIT
Image scanned from Jours de France, 23 March, 1968. With thanks to Brad Jones.
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The Pop Market - A Raver's Guide to the Portobello Road Market 1966
It's just a narrow gulf of a street twisting down from the posh end at Notting Hill Gate - all antique shops and arty cottages - to the junk shops and vegetable stalls nearer Kensal Town. Nothing special during the week, you might think, but on Saturdays the joint is jumping! The Portobello Road is where ravers go to look for bargains, buy clothes, meet their friends and above all, to see and be seen. Early Saturday morning the dealers in antique clothes set up their stalls along the pavements, and the antique markets and arcades get out their stock: rows of swinging necklaces, cases of heavy rings, piles of plates and silverware, trays full of odd buttons and broken watches. By eleven o'clock it's crowded out, but not only with the trade dealers you might expect. Swinging London descends en masse into the hundred yards of narrow street to look for bargains.
It's getting to the decadent stage now. The French and Americans arrive by the taxi load to stand gawping at the capes, the scarlet jackets and the clashing mini-skirts. All just as they'd read in the Wisconsin Times or the Hooterville Gazette. Long-haired guitarists strum soulfully by the railings opposite Henekeys, one of the main pubs, and further down the street a young singer with a beard and no teeth collects money in a tattered old cap, while the swarms of photographers, who outnumber everyone else, shoot everyone that moves. Among the movers you might see Mick Jagger and Chrissie Shrimpton, or it might be John Lennon and Cynthia, or maybe The Who. There are very few pop stars who haven't bought stuff from the market.
''I Was Lord Kitchener's Valet'', purveyors of military and original Victorian gear, sells all manner of frills, furs and laces. Roger Daltrey of The Who bought some sailors white bell-bottoms there. Gary Farr of the T-Bones walked out with several American Navy tee shirts. Charlie Watts has bought jackets there and so have Ray Davies, Mick Jagger and John Lennon. But it is Eric Clapton of the Cream who is regarded as the real trend-setter, perhaps because he spends most time there. Fur coats go for five pounds down the Market. And jacket and capes go for two pounds or even thirty shillings. Long Victorian dresses vary in price from about a pound to three pounds. But in all cases, you'll get what you want cheaper if you bargain for it, and that applies especially to clothes more than jewellery. Rings and necklaces are more expensive, because their value doesn't decrease with age. Nevertheless, it's still cheaper than average, and probably the best selection of Victorian jewellery in London.
But the wildest gear is on the people; yellow coat and pink tie, silver stockings and swirling green cloak. So if you fancy joining in before it dies the unnatural death of all ''in'' places, here are a few facts about where to go, how to get there and what to look for....
FRIDAY. The junk market. A lot of real rubbish..odd china, old books and kitchen sinks. But some real finds in the way of pictures, records and the odd antique, if you have the patience to look. All day at Kensal Rise end.
SATURDAY. The antique market. Lovely antique rings and stones. Lots of period clothes, mainly nineteenth and early twentieth century, at any price from ten shillings to five pounds. Starts early morning and goes on until early evening.
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Looks as though the girl above prefers antique jewellery - the market's speciality. Stones on sale tend to be onyx and agate rather than gold and diamonds, but if you fancy something more flashy, there are some fantastic copies of really old rings in very elaborate. |
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| Wild satin shirt in gold, bound with red velvet - modelled by RAVE girl Lesley Garner - sells in ''I Was Lord Kitchener's Valet'' for thirty shillings. Clothes like this make you wonder who wore them in the first place. If half the stock is Army and Navy surplus then the other half must come from a theatrical costumier! |
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| Look down into the crowd at the Portobello Road Market and you might pick out someone like Eric Clapton of the Cream, seen above shopping for rings. Hasn't he got enough already? |
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| This couple have found what they were looking for - an American tunic at fifty shillings, and the miniest of Guard's tunics in lime green for four pounds. Victorian dresses like the one on the model can be bought at the market for anything from one to four pounds, but be careful - dresses like this show their age far more than heavy capes and jackets. Lace and feathers tend to decay with time, so inspect them before buying or your dress might fall to pieces the first time you put it on. |
IMAGE CREDITS
All original information & images scanned by Sweet Jane from RAVE magazine December 1966. Original editorial by Lesley Garner, Photographs by Mark Sharratt, Portobello Road Market illustration by Alan Parry.
LINKS
The history of Portobello Road can be found here.
Great photos of the famous Pubs Henekeys and Finches on Portobello Road. London, 1966 and 1967 here. Denins Wilson & Al Jardine of The Beach Boys shopping on Portobello road, filmed in 1966 by Peter Whitehead. Edited to accompany the Spectrum's 1967 45 release, here.
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Champion Advert 1970
Take a tip from AMA Grand National Champion Mert Lawwill - always ride with spark plugs made by Champion! Send for Champion's #1 Cycle Poster. It's 17'' x 22'' big. Printed in full color. And it's just $1.00. CHAMPION #1, Department CP, P.O. Box 910, Toledo, Ohio 43601.
IMAGE CREDIT & LINKS
Image scanned from US CYCLE Magazine, October 1970 for the Sweet Jane blog with thanks to Brad Jones. Artist uncredited. Visit the official website of Mert Lawwill motorcycle racer here. Watch ON ANY SUNDAY the 1971 documentary on motorcycle racing featuring stars of the sport, including Mert Lawwill & film star Steve McQueen, a racer in his own right here.
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The Aubrey Beardsley Influence - Alan Parry 1967
I'm quite taken with this illustration by Alan Parry for RAVE, it was actually just part of a miniscule paragraph measuring around 2"x1¼'' on the editor's page announcing the 'Rave Of The Month' poster which was included in the december issue of the magazine that year as a pull-out Christmas present to the readers, but it caught my eye nonetheless so i've enlarged it to take a closer look...I think what drew me in was the very obvious Aubrey Beardsley influence, which was so prevalent around this time. The finished poster is an incredible full colour psychedelic version of the design, spread out over a double page, which I will scan in due course, but I think it works really well in basic black & white too. I also think that Alan Parry is fast becoming a favourite illustrator, he was a regular contributor to RAVE, as well as many other publications, but i've recently discovered that he also illustrated the Man About the House comic strip for Look-In, which has endeared him to me even more so.
IMAGE CREDIT & LINKS
Image scanned by Sweet Jane from RAVE magazine, December, 1967. Illustration by Alan Parry. Examples of Alan Parry's illustrations for the Man About the House comic-strip here & also here. View one of my previous posts featuring the artwork of Alan Parry here. And it would seem that i'm not the only fan of his work..here. The Aubrey Beardsley influencehere. And finally watch Man About the House, Season 1 Episode 1, first screened on ITV 15th of August 1973 here.
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L'Homme Qui Ramassait Les Épingles 1968
This is a double page illustration from Plexus which accompanied an overview of L'Homme Qui Ramassait Les Épingles by Pierre Boulle, a short story by the author originally published as part of a collection of fictional work under the title Histories Charitable (1965), although he is probably best known for two of his earlier novels The Bridge over the River Kwai (1952) & The Planet of the Apes (1963). There is quite an amount of information about Boulle and his work online, much less so regarding the illustrator, i've searched but nothing definite has surfaced so far, unless i've somehow misread his signature, I'm pretty sure it's signed as Panos, but i've included a close-up for your perusal in the final scan ...in the meantime i'll keep searching!
IMAGE CREDIT & LINKS
Image scanned by Sweet Jane from PLEXUS issue No. 12. 1968. Illustration by Panos (?) for an original story by Pierre Boulle. I have previously featured the work of many the Plexus illustrators, some of which you can view here& also here and via any of the associated labels at the end of these posts. Read about Pierre Boulle The French spy who wrote Planet of the Apeshere. A review of The Bridge on the River Kwai (film adaptation) here. A complete history of Planet of the Apeshere and finally a Pierre Boulle bibliography here.
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Tonia Advert 1971
IMAGE CREDIT & LINKS
Image scanned for the Sweet Jane blog from Jours De France, November 1971, with thanks to Brad Jones. Photographer uncredited. Advert designed by the Havas Conseil Agency. Discover more about the history of the Havas agency founded by Charles-Louis Havas in 1835 here. Read about the heritage of the Aigle footwear company founded in 1853 by Hiram Hutchinson here & also here. Discover more about Charles Goodyear, the inventor of vulcanized rubber here.
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Seeing About Your Eyes 1965
Why do model girls have such lovely eyes? Because they know how to make them up. Now we're going to tell you the secrets of making eyes that everyone will notice. It doesn't matter what shape or size your eyes are - read on and discover what you don't know about making eyes into beautiful eyes....
Suggested products: Rimmel Cake Eye-Liner (1s. 9d.), Leichner White Stick Make-up (about 2s.), Gala Matte Eye Shadow (5s. 6d.), Eyelure Fake Lashes (from 9s. 6d.), Revlon Liquid Liner (9s. 6d.), Max Factor Liquid Liner (6s. 9d.), Max Factor Mascara (block 2s. 9d.), Outdoor Girl Eye Pencil (1s. 6d.).
IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from RAVE magazine issue No.20 September 1965. Photographer uncredited. Model also uncredited. Discover more about Max Factor, the pioneer of modern cosmetics here. Read a fantastic review of Max Factor: The Man Who Changed the Faces of the World by John Updike for The New Yorker here. Vintage Max Factor tutorials here. Discover more about Eugène Rimmel founder of Rimmel London here. Read about Ludwig Leichner, founder of the Leichner Theatrical Make-up brand here. And finally, something more thought provoking on the subject of Seeing About Your Eyes, here and also here, plus The Importance of Staring out the Window here.
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Lejaby 1969
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Spring Combines 1970
Spring pants are soft and sheer, like a thin tissue over the leg. They will be made up of the same limp fabric as the new, long slinky dresses., as well as from velvet, slippery satin ciré, crocheting and laced up suede. All right day and night, the year round. And look for combinations: blouses half-cached under short sleeved silk T-shirts, anchored by some sort of dripping sash or heavy, elaborate belt, and head scarves trailing over one shoulder. More rights of spring: Veronica Lake hair and low boots.
Softly cuving jersey tunic tied at the shoulder and sashed at the waist with wide-legged pants. By Giorgio di Sant' Angelo, $199.50 at Saks Fifth Avenue.
Chiffon cardigan cut bare and bathroby over pants of the same print. Lizard sandals. All by Halston. Available in the Halston boutique, Bloomingdale's, $300.
Extremely well-seamed mid-calf dress which fastens with snaps and studded belt. Worn above matching pants and black suede boots. Dress, $80; pants. $35. All designed by Luba. At Bloomingdale's.
Skin colored tunic and flimsy pants. In the background, loose chemise dress, gathered at the waist. By Gayle Kirkpatrick. Linguini strapped sandals by Capezio. Dress, $145; blouse and pants, $240. All at Lord & Taylor.
IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from New York Magazine 26 January 1970. Original editorial by Caterine Millinare. Illustrations by Barbara Nessim. Discover more about designer Gayle Kirkpatrick here, view other examples of his work in some of my previous posts here& also here. Read about the designer Giorgio di Sant' Angelo here. Visit the website of the artist Barbara Nessim here to view an amazing selection of her work from the 1960s to the present day and much more (a must see for any illustrator). View a video interview in which she discusses her work and the inspiration behind it here. Discover more about the heritage of Halston here and finally, read about the Russian designer Luba Marks here.
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Bermubas de Rosy 1968
IMAGE CREDIT & LINKS
Image scanned for the Sweet Jane blog from Jours de France 17th February 1968 with thanks to Brad Jones. Hair by Elrhodes, photographer uncredited. Read about the history of French Lingerie here, Discover more about the heritage of the Rosy Lingerie brand which began in 1947 here. A link to further information about the hairdressser Jean-Yves Elrhodes here and finally a photo of his salon in Paris here.
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A very moving idea for Christmas... 1967
IMAGE CREDIT & LINKS
Image scanned for the Sweet Jane blog from original BSA advertisement postcard 1967 with thanks to Brad Jones. Photographer & model uncredited. Discover more about BSA Motorcycles-the final evolution by Brad Jones published by Veloce Publishing Ltd here & also here, View some Dolly Rocker inspired gear from 1968 in one of my previous posts here, more biker inspired looks from this period here & also here. Beyond Rebellion: Fashioning the biker Jacket-an online exhibition at FIT New York here and finally, 31 biker movie trailers from 1953-1973 here.
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Goodbye, Hello!
Goodbye 2015! & Hello 2016!
Wishing you all a very Happy New Year & thanks for stopping by the Sweet Jane blog! xo
IMAGE CREDIT
Image scanned by Sweet Jane from Carnaby Street by Tom Salter, published by M & J Hobbs 1970, illustration by Malcolm English.
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BONNIE: Fashion's New Darling 1968
BONNIE COMES ON WITH A STYLISH BANG!
Actress Faye Dunaway, the gun-toting Bonnie Parker in Bonnie and Clyde, has already done for the beret what Bardot did for the bikini. Now the fashion world's newest Darling is the stunning inspiration for a full-blast return to '30 styles, both here and abroad. Though revivals have cropped up before it took the impact of the film to bring about a new synthesis that (as shown in Gayle Kirkpatrick's outfits $100 and $125) blends the softness and droopy fit of the '30s with the swing and legginess of the '60s.
Left; This polka-dot cocktail dress ($185) is silk georgette (a'30s fabric). It has the characteristic limp flutter of the era, but a contemporary above-the-knee hemline. Dots on stockings match dress. Right; Resort outfit ($115) -as well as the other on this page - is from a '30s-inspired collection designed in Italy by Krizia and imported by Bendel. Period mid-calf length is styled for poolside luncheon.
Left; Stripe knit outfit ($110) combines typical '30s-style cardigan with a V-necked dress. The big-brimmed hat and the crochet edging used on the neckline are also straight out of the period. Right; Simplicity of a Depression era housedress is glorified in mid-calf length dinner dress ($650) of rickrack sequins for drop-dead chic. The little linen collar is in keeping with the tongue-in-cheek poor look.
Above; Switching roles, Bonnie becomes Clyde. She wears pin-striped gangster suit from Geoffrey Beene ($495). Clyde, too, is making an impact on the girls; a return of tough tailoring as a change from the bias softness. Faye digs both looks.
Decades away from Bonnie and Clyde, Faye has a current movie-star look in mini-dress by John Moore ($500). Her whipped up curls are a wig arrangement by Kenneth, who often does her hair.
IMAGE CREDITS & LINKS
All original text/images scanned by Sweet Jane from LIFE magazine January 12 1968. All photographs by Greene-Eula. Watch the original trailer for Bonnie and Clyde here. Read Roger Ebert's 1967 review of the film here. View the 2009 BBC Timewatch documentary about The Real Bonnie and Clyde here. Discover more about Blanche Barrow here. Explore images & artifacts from the Dallas Police Department Historical Records and Case Files on the Clyde Barrow Gang via their collection here. And finally Serge Gainsbourg & Brigitte Bardot - performing Bonnie And Clyde (1968) here plus Bonnie Parker's original poetry & inspiration behind the lyrics here
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Les Gilets Juniors 1969
Thousands of vests were, this year, sold with pants : long and buttoned, they camouflaged hips : co-ordinated, they suited all silhouettes. For a change, and because they are not afraid to focus on their slim torso and hips, juniors will prefer the very short, heavily patterned knit styles this winter. Turn the vest into the star and organize one of these very young tomboy style outfits around it with wool knee socks, pants, shorts and frilly skirts.
Above: Woolmark gilet in shades of blue (Agnes B. pour Limitex, 75F, chez Mouche), Pure silk blouse, finely striped (Dennet Barry). For long legs only: flannel shorts to the knees (Etam, 45F), Thick wool socks (Dépositaires Pingouin Stemm), Sunglasses (Lissac).
Small irregular striped wool vest ( Harry Lans, 105F, from Galeries Lafayette) Funny and refined, the coordinated blouse, speckled with small horses (Emmanuelle Khanh for Le Bistrot du Tricot, 98F, chez Turlututu). Buttoned pants in pure new wool (Agnes B. pour Limitex, 110F, à la Gisquette ), Wool Hat (Lil), Boots with flat heels (Shop 22), Big round glasses ( Lissac).
Main photo: Cheerful little vest in pure new wool Jacquardé (Agnes B. pour Limitex, 75F, à la Gaminerie), Mini skirt in wool check, which gathers into V shaped yoke (Berluc, 89F, chez J.N.S, 3), jersey blouse (Dennet Barry).
Top: Dog Collar blouse (Boutique Berge). Kid gloves (Gants Lux). New: socks above the knee, natural wool (Dépositaires Pingouin Stemm). Varnished laced shoes with round toe (Jocelyn). Bottom: exception here - the top is Scottish, English plaid open V sweater, (Kingsbury, 85F, Au Printemps). And the skirt is replaced by the grey flannel straight legged trousers (Arvel, La Gaminerie 119F). Socks match the sweater (Kingsbury). Victorian style brown leather laced pioneer boots (Tilbury).
IMAGE CREDITS & LINKS
All images scanned for the Sweet Jane Blog from ELLE Magazine 16th August 1969 with thanks to Brad Jones. All photographs by Peter Knapp, original fashion editorial by Catherine Rousso for Elle. Photographs taken on location at Vèlodrome de la cipale, à Vincennes . Discover more about the origins of the Agnès B. label here. Further details about the history behind the Argyle pattern here. View one of my previous posts featuring the work of designer Emmanuelle Khanh here & visit her website here, Tomboy Style: Beyond the Boundaries of Fashion by Lizzie Garrett Mettler here and finally view more examples of photographer Peter Knapp's work here.
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The Nouvelle Wave 1967
Curls are with us - and wild! So are crimps, floppy ringlets and waves. All because Vidal Sassoon permed his short cut into the Greek Goddess style. Hot in pursuit were top-poppers, Jimi Hendrix and Eric Clapton with wild, wild perms. Then the girls latched on - swapping their short cuts for curls. Why are curls so great? They're crazy, gay, the new fun way to look. So who's looking new?
I don't entirely agree with the Jimi Hendrix reference, as Jimi had made his trailblazing London debut on the 24th of September 1966 (almost a year to day before this magazine article went to print) and was already sporting a version of the natural total look! but below are two examples of the Vidal Sassoon hairstyle mentioned in the piece, which he created at the beginning of 1967 (sometime in January by my calculations). Although it was known as the 'Greek Goddess' this name was the second choice for the style, the first being 'Harlem' as it was originally inspired by his many trips through the neighborhood while in New York. He had greatly admired the closely cut but defined curls as worn by the black American community there and was determined to recreate a similar look for Caucasian and Asian hair. However, at this particular point in time, Vidal, recovering from a recent illness, found himself under strict doctor's orders to take it easy, but ever the workaholic he was nonetheless eager to pursue this goal as soon as possible, so enlisting the talents of his salon staff he developed the style along with them in an advisory capacity using two separate models, Jane Johns and Jenny Fussell. The creative team for this endeavor included hairdressers Roger Thompson and Christopher Brooker with technicians Annie Humphries, Clare Hamilton and Allison Benson, they began the process on Friday morning at the Grosvenor Salon and continued working on it relentlessly over the entire weekend, by Sunday they finally made a breakthrough and the revolutionary new style had been created. Photographs were taken immediately, and after a quick phone call to fashion journalist Felicity Green on the monday it was featured in the next day's Daily Mirror, by the following day American Vogue were interested! It's probably difficult to fathom how or why a hairstyle could cause such a sensation but at the time it was groundbreaking on many levels. Further information about the style & Vidal Sassoon can be found via the links at the end of the post.
Jane Johns modelling one of the first Greek Goddess styles, a short tousled look, in which Vidal Sassoon proved that by using his precision cutting technique, hair could then be permed and left to dry naturally without the aid of rollers or pins, this new technique also liberated many women from the routine weekly appointment of having their hair set. Hair styled by Roger Thompson. Photographs by Stephen Bobroff, 1967.
Jenny Fussell also modelling the Greek Goddess style, Hair styled by Christopher Brooker. Photograph by Stephen Bobroff, 1967. Courtesy of Rex Features.
IMAGE CREDITS & LINKS
All illustrated images scanned by Sweet Jane from Intro Issue No.1 23rd September 1967, artist uncredited. Jane Johns modeling 'The Goddess' scanned from Vidal - The Autobiography by Vidal Sassoon. Listen to a BBC Radio interview with Vidal Sassoon from 2010 here. A closer look and further details about the Greek Goddess haircut on the excellent 'Personalities in the revolution of hair design in the 60s 70s ' forum (with contributions from the original Sassoon stylists) here. Watch Bouffants, Beehives and Bobs: The Hairstyles That Shaped Britain here and also When Hairdressers Ruled - a very informative short documentary about some of the people that made Sassoon's the phenomenon it became, from 1963 ~ 1978 here. A dedication to hairdresser Roger Thompson by Gerard Austen here. Harlem street style in the 1970s here. Jimi Hendrix Private Performance at the Marquee Club, March, 1967 here. Jimi Hendrix arrives in London here. and finally, rare movie footage of Jimi with Johnny Hallyday & friends in France (October 1966) here.
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Love Whispers 1966
IMAGE CREDIT & LINKS
Image scanned by Sweet Jane from RAVE Magazine, November 1966. If you're ever in Dublin you can visit the Shrine of St Valentine, Patron Saint of Love here, if you're 'In Love with the New York Dolls' you can read an extract from Any Old Way You Choose It: Rock and Other Pop Music, 1967-1973 by Robert Christgau here, or listen to a radio promo for The New York Dolls St. Valentines Day Massacre concert in 1974 here, Watch the New York Dolls Lipstick Killers Gang promo here, On a much darker note, you'll find the bloody and brutal tale of the real St Valentine's Day Massacre here, Don't Mess With Cupid here, and last but not least, Woody Allen on Love and Death ...''I hope you're getting this down''here, Happy Valentine's Day!
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Young Pacesetter 1965
YOUNG PACESETTER DIGS THE CRAZY SCENE
Get the mood of the young pacesetter. She's thrown caution and convention to the winds; she's witty and with it; she's carefree, untrammeled by fuddy duddy fashion rules. She chooses her clothes for fun, she lets them dictate the mood, and it's a mood she throws her whole self into: she wears her clothes with confidence and a high sense of fun. She knows she looks different - and she revels in it. For her life is a bowl of cherries and she doesn't take anything too seriously, least of all herself. She treats her clothes as an extension of her own gay, witty personality. Get in the mood. Get the clothes and let spring fever spill into your life. Slough off your neat, efficient, businesswoman personality as you cover your typewriter. These are the clothes for crazy evenings when you could dance all night, for wild weekends and long, carefree holidays when the world is yours to go mad as a hatter.
IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from Vanity Fair February 1965. All photographs by Sandra Lousada, photographed on location in the new building at The Economist, St James's. Visit Sandra Lousada's website here & view more examples of her work at The National Portrait Gallery here, discover more about designer Martha Hill here and view some later examples of her work here & also here and finally, view another example of the Mary Quant hessian pinafore with halter-neck fastening here.
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