Every designer is saying it loudly, clearly, boldly, prettily… the hand-made look is here. Maybe it started as a reaction against the badly-made, thrown-together, hotch-potched dolly era; maybe this reaction set the tide running for antique markets where painstaking workmanship could be picked up still; maybe it’s that elusive feeling in the air that a designer’s sensitive seismograph picks up and translates in his own distinctive handwriting. Whatever it is – it’s here.
Jorn Langberg of Christian Dior – London plots it out in warm brown velvet, got together with a brief, embroidered waistcoat and a deeply embroidered peasant skirt… at the other end of the scale the Dress Den at Kensington Antique Market tops a thick aubergine cotton skirt spilled with bright wool flowers with a scrap of bolero, pictorially embroidered over every centimetre of the scalloped front. If you’re skilled with a needle, have a good eye for colour and shape there’s no reason why you can’t put yourself ahead of the game. But this is a painstaking look, a one-off original look that can’t be tossed off in an evening by a hopeful but bodgy amateur needlewoman.
Both shirts by Jeff Banks; all accessories from Kensington Antique Market.
Fashion by Lorna Cattell.
Photographed by Frank Horvat.
Scanned by Miss Peelpants from Vanity Fair, January 1971.
At last, at last, British designers have realised that underwear is worn to be seen – and this season sees the prettiest, sexiest lingerie for some time. Nonsense undies are still with us – those barely-there bras, more supported than supportive, but shapelier ladies can now choose from a wide selection of really beautiful things.
Photographed by Paul Harris.
Scanned by Miss Peelpants from Harpers and Queen, November 1975.
An incredible editorial, photographed in and around Nice. I dream of returning to Nice with a wardrobe full of these frocks…
Photographed by Bill King.
Scanned by Miss Peelpants from Cosmopolitan, November 1973.
The new Liberty silks by Bernard Nevill are quintessential summer—sprigged or swagged with flower from the cornfield, the garden the riverbank, in primary colours on tinted grounds. For a hot sun day, a slate blue trellised blazer over a dress with sprigged pleats, for a sunshine evening, a dress of all sorts of flowers and paisley gathered into long skirt and round puff sleeves. The first look to make, the second to buy.
Prints from Liberty’s Chameleon range designed by Bernard Nevill.
Photographed by Barry Lategan.
Scanned by Miss Peelpants from Vogue, July 1971.
Quilted jacket and wildflower pleats, left: Slate and black blazer, Vogue Paris Original Pattern 2499, designed by Ungaro. Blue flowered beige dress with long sleeves, long torso. Vogue Pattern 2469. Panama hat, by Diorling, from Debenham & Freebody. Suede shoes by Pedro Garcia.
Scanned by Miss Peelpants from Vogue, May 1971.
This is Paris, Spring ’70, though to the uninitiated it might look more like the Wild West than the Right Bank. Some designer are familiar, some so beyond the fringe as to pass without comments, and some so beautiful that you’ll stop at nothing to get your hands on them. High on the wanted list are suedes with Aztec-Indian embroidery and tiny, chin-knotted scarves and long-line boots. There are extra-bulbous knickerbockers with tunic tops that halt firmly at the buttocks, midi-length satin or silk-jersey, pintucked or slit way to the waist, spotted suede, squaw fringing, lace-up sleeves — in every length from mini to maxi!
Fashion by Sue Hone. Illustrated by Leslie Chapman.
Scanned by Miss Peelpants from Petticoat, 4th April 1970
Photographed by Sarah Moon. Originally published in Votre Beauté.
Scanned by Miss Peelpants from Photo, June 1970