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The Birdcage Boutique Nottingham

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Whenever the British boutique boom of the 1960s is mentioned, the focus is always immediately centred upon London and predominantly towards the Carnaby Street and King's Road areas, nevertheless the boutique phenomenon wasn't merely confined to the Capital. I'm pretty sure that there were equally influential and important boutiques in some unlikely location off the beaten track in just about every city, town and village throughout the land at some point and that their legacy still lives on in the memories of the teenage clientele who frequented them..and yet I feel that it is in someway a cultural loss that these boutiques (to my knowledge) have not been properly documented, apart from The Birdcage in Nottingham which was covered quite extensively by Marnie Fogg in her book about the boutique culture of the era, perhaps saved from obscurity while others were lost, through it's connection with the evergreen career of designer Paul Smith who played a pivotal role in it's origin and has therefore taken it through time with him.

The Birdcage was the brainchild of designer Janet Campbell, a native of Nottingham. On leaving college she spent some time working for other people in the fashion business in London, where she formulated her plan to open her own shop. Upon her return to the city in 1965, she gave herself a week to find a suitable property for her new venture and with the help of her friend Paul Smith she quickly found the ideal location in an old tailor's shop at the end of Bridlesmith Gate, paying twenty pounds a week for a six-month lease. The shop became an instant success with a queue of people three rows deep outside on the opening day admiring the window display by Smith. A year later in 1966, Janet Campbell expanded the business, moving the machinists from the first floor of the building to make way for a menswear department which she asked Paul to run, he travelled to London to source labels which were previously unknown outside the city and over the next four years built up an extensive customer base for the boutique throughout the midlands until 1970 when he made his departure from The Birdcage to open his own shop, and the rest as they say is history.

The story of The Birdcage ends in Marnie Fogg's book with the departure of Paul Smith and as far as I can gather it continued to trade at the same location until it moved elsewhere in the late 1980s, but I have no idea what became of Janet Campbell or any of the other key figures within the staff from that point onward or how far into the next decade that it continued to exist. However, while researching the information for this post I did find an amazing array of other boutiques from the Nottingham area which I wouldn't have been aware of otherwise, even though more boutiques opened in Nottingham during this period than in comparatively larger cities such as Manchester and Birmingham. The following are just a few names and details of what I have discovered so far.

Carnaby Styles which was situated in Wheelers Gate in the early 70s (sold Budgie Jackets, Tank Tops and Loon Pants); Pennnyfeathers owned by Mike & Shirley Benwell would later become known as Gladrags/Backstage; Peru run by a girl called Zena circa 1973;  Image Boutique in St Peter's Gate (sold Ossie Clark/Radley); Grapevine situated on Goldsmith Street next to Paraphernalia; Campus on Victoria Street (sold Jeff Banks & Mr Freedom); Madcap Boutique on Carrington Street circa '66 (ladies clothing made on the premises, shirts for guys made on request); Bus Stop (a Lee Bender outlet); Nonsuch situated in the Bridlesgate/Byard lane area (sold hippie clothing, afghan coats etc); Razzamatazz on Trent Bridge; Boogaloo (no details yet); I'll Leave It (high waisted flares, bowling shirts circa '73); and lastly Roxanne& Roxy Threads (1972) which were run by Robert Ivars Michailov-Mètra otherwise known as Roxy Rob, I've left this one until last because i've managed to unearth a little more information about it than the others which you can read for yourself here. And I suggest that you do, he's quite the 'character'! And the man has also made everything from loon pants in the late 60s to Oxford Bags in the early seventies for the Northern Soul scene enthusiasts.





                                      Advertisement for The Birdcage designed by Ian Longdon.






The staff of The Birdcage in Nottingham 1966: Ian Longdon, Paul Smith and Valerie Longdon. They're wearing graphic t-shirts, a new phenomenon sold through mail-order by the satirical magazine Private Eye. The shirts were designed by Nottingham art student Dave Humby.





Paul Smith photographed at his first boutique in Byard Lane, Nottingham, which he opened two weeks after leaving The Birdcage. It was a very small space measuring a minute 3 metres x 3 metres at the back of a tailor's shop, the rent was free for the first 3 months and fifty pence a week thereafter, the use of a damp basement was also included in the agreement, which Paul eventually turned into an art gallery called The Pushpin, exhibiting limited edition lithographs by Warhol and Hockney. He remained here for the next four years, opening for business two days a week (fridays & Saurdays). A full scale recreation of this shop is included in the current  Paul Smith exhibition at The Design Museum.




Ian Longdon outside The Birdcage in Bridlesgate, the original Edwardian facade was reworked in maroon and gold to suggest that a trendy boutique now lay beyond the traditional tailor's shop. The Boutique sold garments designed and made by several people under their own label. Ian Longdon not only manufactured the clothes for the shop but also designed the publicity and packaging, constantly updating the style and presentation.





     Birdcage swing ticket 1971, with thirties and forties cinematic references, illustrated by  Ian Longdon.





                                                     Designs by Ian Longdon for The Birdcage.




Paul Smith *outside the London Electricity West End power station which was situated on the eastside of Carnaby Street and Ganton Street, 1965. Paul is  wearing a shirt made from Liberty's Tana Lawn print (a small floral print formerly used  for children's clothes), his boots are from Annello & Davide.




                                                              IMAGE CREDITS
All relevant information/images scanned by Sweet Jane from Boutique-a 60s cultural phenomenon by Marnie Fogg. *Additional location information in the final photograph courtesy of Robert Orbach.



                                                                       LINKS

The current collection of Liberty's classic Tana Lawn prints as worn by Paul Smith in the final photograph can be found here.

'Hello, My Name Is Paul Smith' a major  exhibition celebrating the career of the designer which spans a forty year period runs at The Design Museum from the 15th of November 2013 - 9th March 2014. Further details can be found on The Paul Smith blog here.

'Hello, My Name Is Paul Smith-Fashion And Other Stories' the accompanying book to the exhibition is available to preview and purchase here.

Watch Design At Work by Paul Smith  a video podcast from Apple Inc here.

Roxy Threads original Northern Soul Oxford Bags here.

I'll Never Forget What's 'Isname: Carol White's Biba Wardrobe 1967

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I came across this snippet of information in the february 1968 issue of RAVE earlier this year while reading the "Today's Raves" section of the magazine. And i've been intending to take some screen shots of Carol White in her outfits from Biba ever since, I finally got around to it last night, so here they are!



                                                       
                                                               TODAY'S RAVES

Dressing a star  for a film can be a costly business for the film company, but not so when she chooses her clothes from London's swinging boutiques. Young actress Carol White, star of the film "Poor Cow" and the television production of "Cathy Come Home", did just that! When she went shopping for her latest film, "I'll Never Forget What's 'isname", she went straight to Biba Boutique in Kensington Church Street, London W.8. And instead of the bill running into thousands of pounds it only came to £80. None of Carol's outfits cost more than £8! 









































































































                                                              IMAGE CREDITS

All images scanned by Sweet Jane from I'll Never Forget What's 'isname. Directed by Michael Winner. Original release date 18 December 1967, Starring Carol White, Oliver Reed, Marianne Faithfull, Wendy Craig, Edward Fox and Orson Welles. Carol White's outfits from Biba Kensington Church Street, Original text from "Today's Raves"RAVE magazine february 1968.





Gebrauchsgraphik International Cover Art 1971

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Yet another striking cover from Gebrauchsgraphik International Advertising Art, this one is from the september 1971 issue.







                                                               IMAGE CREDITS

Image scanned by Sweet Jane from Gebrauchsgraphik International Advertising Art September 1971 B 3149 E. Artist uncredited.

Christmas Clobber From Carnaby Street 1966

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                                                                IMAGE CREDIT

                                Image scanned by Sweet Jane from RAVE Magazine December 1966.

Dresses by Polly Peck 1969

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It's Courtelle jersey we're talking about. Highly recommended whether you want to live it up or just relax. And especially if you're not quite sure. The printed one is Courtelle single jersey. Fine, light, warm. Very soft and comfortable. The plain one is Courtelle Neospun jersey. Which is beautifully smooth and supple. And they're both washable. Book early to avoid disappointment as they say.











Left: Shirt dress by Polly Peck in Courtelle Neospun jersey. Style 617. About £6.19.  Right: Wild-for-buttons dress by Polly Peck in Courtelle single jersey. Style 6750. About £12. 15.



Left: Pussy-cat-bowed dress by Polly Peck in Courtelle single jersey. Style 6819. About £11. 16. Middle: Belted shirt dress by Polly Peck, in Courtelle single jersey. Style 6748. About £10. 16. Right: Cowl-neck dress by Polly Peck, in Courtelle single jersey. Style 6749. About £12. 15.




                                                                IMAGE CREDIT

                   All images scanned by Sweet Jane from Flair magazine October 1969, Artist uncredited.

The Rave Trouser Suit - December 1966

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Want to be in the swing of things this winter? Then you must have this fabulous ready-to-wear RAVE trouser suit, in military-style corduroy in either French navy or chocolate brown for only 5gns, postage and packing paid! Complete the form opposite stating your size 10, 12 or 14, and post it, with a cheque or postal order for £5 5s made payable to George Newnes Ltd., to: RAVE Trouser suit offer, 136 Long Acre, London W.C. 99.








                                                

                                              IMAGE CREDITS                
All images scanned by Sweet Jane from RAVE magazine December 1966. Photograph by P.L. James. Featuring Ace Kefford from The Move.




It's a White, White Christmas..Rave Fashion 1967

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Be the centre of attention this Christmas by wearing sheer, bright, white! It's the stunning colour that ALWAYS gets you noticed and admired. At parties, on a date, white makes everyone look! Here's RAVE fashion girl Lee's choice of dresses and accessories in pure, pretty white. So make it a white, white christmas. Get dressed from head to toe in the newest rave colour.



White wonderful dresses! On the left, in satin with ribbon shoulder straps, 69s. 11d. from Art Galore, 6 leapale Road, Guildford, Surrey. By post, 2s. 6d. extra. On the right, a chiffon dress with lace trimming on front panel and sleeves, by Simon Ellis, 8½ gns.



Snow white pretty chiffon shirt dress with see-through sleeves and daisy lace trimming, by Seventh Avenue, £5 19s. 6d. For a really cute look, an all-over lace mini dress in nylon, by John Marks, 7½ gns.



Sugar white and just as sweet, two lace dresses in purest white. On the left, a guipure lace shirt dress by Blanes Young Junior range, approx 10½gns. On the right, a Victoriana-style dress with diamanté buttons and frilled collar and cuffs. By Polly Peck, £11 15s.



All things white and wonderful in these two super white party dresses! On the left is a crêpe dress with 'V' neckline and chain belt by Shelana, 5½gns. Dolly types will go for the shirring topped satin dress with coffee coloured lace frills round neck and cuffs, by Art Galore, 5gns.



For special dates, a long dress in nylon seersucker with a band under the bust, by Polly Peck, £9 5s. The long chiffon shift with beaded edging and split side is by Seventh Avenue, 7gns.



                                                              IMAGE CREDITS

                         All images scanned by Sweet Jane from RAVE magazine, December 1967.

Psychedelic Christmas poster: D.H Evans Oxford Street December 1967

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                                                             IMAGE CREDIT
Image scanned by Sweet Jane from Swinging Sixties - Fashion in London and Beyond 1955-1970, V&A publications. The full sized original poster can be viewed via the V&A online collection here. Illustrated by Juliet Glynn Smith.

Husband Hunter 1967

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As soon as she puts on this weddingy-sort of nightie, with it's tier after tier of ruffles on lace, she starts feeling like she's all dressed up for a wedding. And where's the groom, for heaven's sake? (Oh, he'll come along. Someday. Soon.) In white and five other colours. Price 42/11.







                                                                             IMAGE CREDIT

                              Images scanned by Sweet Jane from Intro magazine September 1967.




"L'histoire de ma coiffure" par Mireille Mathieu - 1967

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                                                               IMAGE CREDITS

All images scanned by Sweet Jane from Mademoiselle Age Tendre, August 1967. Illustrations by Hélène Majéra.

Walric Fabric: Vanity Fair 1965

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WALRIC HAS DESIGNS ON YOU...and in the nicest possible way, because prints are IN...and what a pretty profusion of patterns there are, showing in the new collection of WALRIC fabrics. Way-out, with-it or just quietly smart, there are designs galore on the Linen-Look, Tricels, cottons and other easily-tubbables. And where are they? Almost everywhere that good fashion fabrics are sold by the yard.

■ ON THE HANGERS, LEFT TO RIGHT, a Tricel surah at about 10/11; the Linen-Look heavily textured at about 11/9; another Tricel surah at about 10/11 ■ BEHIND THE CHAIR: An example of toning, plain colour in the heavier Linen-Look at about 8/11; and the printed Linen-Look in a finer texture about 8/11 ■ ON THE CHAIR, FROM FRONT: a screen-printed cotton about 8/11; a cotton surah about 7/11; a Tricel surah about 10/11 ■ all fabrics shown are 35"/36" wide and priced per yard.





                                                               IMAGE CREDIT

                                     Image scanned by Sweet Jane from Vanity Fair, March 1965.

The Coloring Book Look 1971

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Pick your colors! Red/Yellow/Navy (as shown) or Purple/Yellow/Brown. Soft velour, knit or Arnel triacetate and nylon. Sizes 5-13. Outfit on the left $15.00, outfit on the right $16.00, available at most large Penneys Stores.


                                                          
                                                   IMAGE CREDITS
       Image scanned by Sweet Jane from Seventeen magazine July 1971. Additional illustration by K.W.

Twiggy Models a Wardrobe Designed by Seventeen - July 1967.

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The eyes, flick of blond hair, shy smile - It's the splendid splinter, straight from London with the news to Stitch! So what are the news? 
You-hugging shapes! Skirts of all kinds! Men's stripes! Mad details like pockets, buttons, buckles! All yours,come fall, if you thread your needle now. So peek and pick in July. 



Regimental stripes are the order of the day, above: a Bermuda pantsuit with a newsy long-fly-front jacket over lean shorts. From McCall's pattern 8873, of Valtex cotton, about $2  a yard. Scarf by Glentex. Bonnie Doon white knee socks-your fall signature. All shoes are by Sbicca.





A glittery belt, right, lightly clasps the waist of a sunny hammered satin stunner of Avisco rayon, Estron and nylon. Cohama; about $3 a yard. From McCall's pattern 8860. Lillian Barkow earrings. Snowflake stockings: Beautiful Bryans. These and the other Celini shoes are the latest fall frippery: tarnished silver!




Newest look, newest fabric! The dress: hugged tight to the midriff. The fabric: downy-rabbit hair knit, blended with wool and nylon, then bonded. Heller; about $5 a yard. From McCall's pattern 8887. Laguna earrings, Prestige net stockings, Sbicca shoes. Whats the newest party plan? Dresses like Twiggy's that hug at the waist, a little or a lot. Chevrons print a tent turned close-hugging dress with a tie that wraps, wraps, wraps. Of Orlon challis, about $3 a yard. By Stehli. McCall's pattern 8848. Earrings by Hattie Carnegie, Monet bracelet, stockings by Bonnie Doon, Cellini strap-topped shoes.




The London lass thinks tops are tops, likes skirts that pleat every which way!  All of these are made from a single clever pattern: McCall's 8880. Pimento twill, far left, about $2 a yard, for a flicker of pleats buttoned over matching Danskin tights. The cropped blazer is a diamond print, about $3 a yard. Rosewood fabrics of bonded rayon and Celanese acetate. Betmar hat. Like a man's regimental-striped polo shirt: the T of Celara knit, about $4 a yard. Here it tucks into the buckled-on polo belt (the midriff look of your future) of a kick-pleated skirt of Bemberg rayon blend, about $3 a yard. Fabrics by Crown Fabrics. Richelieu earrings, Adler knee socks.



On loan: the stripes, the sleek-fitting fly front. The look: Twiggy, top to toe. A coat? A dress? It's an either/or in long, lean navy pinstripe wool and acrylic fiber(about $6 a yard) with the shock of blazing wool (about $5 a yard) for facings, the kerchief. Twiggy's hems? The highest. But she's always off-campus. For you? Top of the knee for class, that long-legged look elsewhere. Shift:McCall's pattern 8862. Fabrics by Stevens-Forstmann. Beautiful Bryans Swiss cheese stockings. Berets to knit, these and the following two pages: Coats & Clark.




Plaid pleats of wool loomed in America, about $6 a yard, kilted over gold shorts that match the high-pocketed top of bonded Acrilan jersey, about $3 a yard. Carletex Fabrics. The first three tops: Mc Calls pattern 8849. Tights by Danskin. Gold shirt, belted low down, is cotton and acetate twill, about $2.50 a yard. Boy-shirt of cotton challis, about $1.50 a yard: McCall's pattern 8609. Concord Fabrics. Napier ring, Sorella bag, Berkshire socks. Shoes by Sbicca.


                                                            IMAGE CREDITS
All images and original text scanned by Sweet Jane from Seventeen Magazine July 1967. Photographs  by Carmen Schiavone.




Sew Your Own Boot Camp 1971

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Go from goofs to glory in our gaiter put-ons. Duplicate any leg-look here with just one yard of fabric. Add liberal doses of ribbons, appliques and such. Slip 'em on. And your shoes just become 8 kinds of gorgeous! Get a leg up on the leggin' thing now at Singer Sewing Center, with a free How-To folder, fabrics galore, and trims to sew up these looks and inspire your own.



1. Be a glitterbug. Sew on rows of buttons over black jersey.  2. Stitch on butterflies for a felt fantasy. 3. Glorious gaiters are rickracked and starred. 4. Red Singer duck is your bright easel, Poster paint it!

5. Go Grecian in ribbon-laced persimmon suede. 6. Tapestry velveteen-for Victorian verve. 7. Satin-stitch the Indian geometrics-it's easy with a Singer zig-zag machine. 8. Comic strip chic! Simply snips of felt and trim sewed or glued on to the gaiters.


                                                            IMAGE CREDITS
             Image and original text scanned by Sweet Jane from Seventeen Magazine January 1971.



Dolly Girl Fashion: Queen Magazine 1968

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Navy jersey waisted dress with white-striped V-neck and white-buckled belt, short sleeves and flared skirt, by John Marks; 7gns at Way In, Hans Cresent, SW1. Navy net socks with navy and white striped tops , by Echo; £1 7s 6d at Fifth Avenue, Regent Street, W1. Navy sling back shoes with white diamond fronts, by Andrea: 9 gns at Footnote, Symons Street, SW3.




Navy dress with pleated skirt and white organdie trimming, by Polly Peck; 11 gns at Polly Peck Boutique, Bond Street, W1. White tights by Mary Quant; 19s 11d at Bazaar branches. Navy court shoes; 10 gns at Charles Jourdan, Bond Street, W1.




Left: White knitted dress with blue stripes on sleeves and under bust, by Jandy Lesser; about 10 gns at Harvey Nichols, Knightsbridge, SW1. White lacy socks with blue band around tops, by Echo; 7s 11d at Lillywhites Piccadilly, SW1. Navy and white shoes; 9 gns at Footnote, Symons Street, SW1.  Right: Beige wool dress by Susan Small; 16 gns at Debenhams & Freebody, Wigmore Street, W1. 




Yellow ochre jersey wool dress with high neck, long sleeves and hip belt. And sleeveless waistcoat with pockets and all edges in brown; 11 gns at Wallis, Knightsbridge, SW1, Stretch knee-socks by Morley; 6s 11d at Gamages, Holborn, EC1. Black high-vamped patent shoes, each with tortoiseshell buttons; 12 gns at Kurt Geiger, Bond Street, W1. 



                                                               IMAGE CREDITS
All images and original text scanned by Sweet Jane from QUEEN magazine 27 March 1968. Photographs by Patrick Hunt. Additional illustrations by Barry Zaid. Hair by Harold Leighton at Dorothy Gray. Elation make-up by Dorothy Gray.

Barry Zaid Illustration: Mademoiselle Age Tendre 1967

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                                                    IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Mademoiselle Age Tendre, August 1967. Illustration by Barry Zaid. Some more examples of Barry Zaid's work can be found in one of my previous posts here. Further examples & information about the illustrator can be found on the Barry Zaid website.           

 
  

The Lady is a Vamp...Again! 1968

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When Bonnie Parker and Clyde Barrow were robbing banks, when Fred Astaire was putting on his Top Hat and Flying Down To Rio with Ginger Rogers, when Jean Harlow was vamping Ben Lyon in Hell's Angels, the look was elegant - and elongated. Just as it is now. And the influences are almost the same: Bonnie and Clyde robbing banks (but only on film), and the revival of all those mid-calf movies for television.








ABOVE: Green satin dress with crossed straps on low back, by Bob Schulz; 44 gns at Harvey Nichols 31 shop, Knightsbridge, SW1. Curved green sequin and bead earrings; diamante coloured bangles; matching double-bobble ring; all from a selection at Harrods, Knightbridge, SW1. T-strap sling-back shoes, by Andrea, in striped green and yellow lurex; 10 gns at Footnote, Seymond Street, SW3.





Wrap-over V-necked dress by Jean Muir in beige crepe with raglan sleeves, pleats over bust, and large bow trimmings; £31 15s to order from Harvey Nichols 31 shop, Knightsbridge, SW1. Brown Fitches; at Calman Links, Magaret Street, W1. Fine white glitter stockings by Mary Quant; 7s 11d at Galeries Lafayette, Regent Street, W1. Cobweb paste ear-rings; £12 10s at Ken Lane, Beauchamp Place, SW3. Extra long transparent plastic beads; long black cigarette holder with diamante; adjustable black cigarette-holder with gold rings; all from a selection at Harrods, Knightsbridge, SW1.





LEFT: V-necked maxi-dress by Marrian McDonnell in White crepe with square paste buttons; 10gns at Marrian McDonnell, Sloane Street, SW1. White foxes; at Calman Links, Margaret Street, W1. Silver glitter stockings by Mary Quant; 7s 11d at Galeries Lafayette, Regent Street, W1. High silver-gold platform shoes by Roger Vivier; 22 gns at Rayne, Bond Street, W1. Silver Victorian belt; about £25 at Gemstones, Hatton Garden, EC4. Damante chain ear-rings with tortoiseshell bobbles; diamante double-bobble ring; both from a selection at Harrods, Knightsbridge, SW1.   RIGHT: White crepe culottes by Marrian McDonnell; V-necked cardigan wth square paste buttons; transparent silver halter-neck shirt with thick white trimming around neck and armholes; 21½ gns at Marrian McDonnell; Sloane Street, SW1. Silver glitter stockings by Mary Quant; 7s 11d at D.H. Evans, Oxford Street, W1. High silver-gold platform shoes by Roger Vivier; at Rayne, Bond Street, W1. Cobweb paste ear-rings; £12 10s  at Ken Lane, Beauchamp Place, SW3. Man's tall suit and accessories; 4 gns to hire from Moss Bros, Covent Garden, WC2.





LEFT and RIGHT: Beige giselle shirt, by Ossie Clark, with full sleeves and tie front; 11gns; black jersey four-seamed maxi-skirt; 6 gns; both at Quorum, Radnor Walk, SW3. Beige crepe tights by Mary Quant; 18s 11d at Bazaar branches. Black kid shoes; 10½ gns at Charles Jourdan, Bond Street, W1. Long jet beads; long era-rings of sequins and jet; both from a selection at Harrods, Knightsbridge, SW1.  HIS: Close-fitting marled green Shetland tweed double-breasted coat from France, with matching cape; 42 gns; matching wide-bottomed trousers 12 gns; yellow silk gauze shirt with long colar and buttoned cuffs; 12 gns; all from Browns, South Molton Street, W1. Wide silk tie in green, yellow and rich brown; 2 gns at Turnbull & Asser, Jermyn Street, SW1. Redish-brown leather shoes with squared-off toes and two buttons on vamp; £12 1s 6d at Russell & Bromley, Bond Street, W1.  Silver-topped wide Malacca cane; 6 gns at James Smith, New Oxford Street, W1. Wide-brimmed brown felt hat, 5 gns at Blades. 


                                                           
                                                   IMAGE CREDITS
All images & original text scanned by Sweet Jane from QUEEN magazine, 17th January 1968. Photographs by Patrick Hunt. Men's clothes selected by Erica Crome.



Dandy Fashion: Vogue 1967

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



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



The Five Faces of Twiggy 1968

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                                                THE FIVE FACES OF TWIGGY 
What is The Face of Sixty-Eight! It's a face from the past, a face from the history-books of movies, a face from Garbo and Harlow - The Face of The Great Days of Hollywood. We let Twiggy loose among a pile of faded film-stills and a collection of cosmetics. We said: 'Give us the once-and-for-all, the ultimate Hollywood Look.' This is Twiggy's reply...she composed her own make-up, and Leonard styled her hair with wigs...unfortunately, this post was almost in danger of becoming  the 'The Four Faces of Twiggy' because the previous owner of the magazine took it upon themselves to remove a couple of pages!.. the very two which contained the Greta Garbo look and also Twiggy's interpretation of the silent movie star Theda Bara. However, I have managed to salvage the finished Garbo look, as it was also reproduced in Twiggy's autobiography from 1975, which i'm thankful for, as she made a particularly amazing job of it! The original finished 'Theda Bara look' is completely lost though, apart from one tiny postage stamp sized photograph from the introduction to the editorial which I have enlarged, even so it doesn't do her justice or the backdrop for that matter which was designed by Julie Hodges, who also created the wallpaper used to decorate the interiors of Biba in Abingdon Road and Kensington Church Street.




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


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








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








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








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






                     

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






                                                              IMAGE CREDITS

All images & original text scanned by Sweet Jane from QUEEN magazine 8 May 1968, except for Twiggy's 'Garbo' look which I scanned from TWIGGY BY TWIGGY, an autobiography, published by Mayflower Books Ltd.  Original Beauty editorial by Joan Price for QUEEN, all photographs by Justin de Villeneuve.

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

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




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



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


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



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





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

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

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