I see the gypsy in your soul

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Illustration by Alan Aldridge.

Scanned by Miss Peelpants from Honey, July 1968.


Was Ophelia Pregnant?

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Queen cover image with model wearing a nightdress by Angela Gore.

Photographed by John Hedgecoe.

Scanned by Miss Peelpants from Queen, 17th July 1968.


Charlotte Rampling by Hans Feurer

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Plunge-necked green shaded Trice! crepe dress, by John Bates for Jean Varon, approx. 14gns.

What is she really like? Very much a domesticated and warm-hearted girl, she is preparing to set up home with the man she loves. Although she usually favours clothes collected from Antique supermarkets, 19 chose these daringly-cut dresses to emphasise the underlying tiger in her make-up.

At twenty-three, and with five feature films to her credit, Miss Charlotte Rampling is now engaged in what is seemingly her most important project to date – setting up residence in a fashionable Westminster two-storey house with film-maker Tommy Weber, and his two shaggy-haired sons, Jake, aged nearly six, and Charlie, aged four.
Charlotte has been with Tommy for a year now, and when his divorce comes through, they plan to marry. Charlotte feels this will be ‘mostly for the children’s and my parents’ sake’.

She returned to England from Madrid four years ago, when she received her first film offer, landing a starring role in a Boulting Brothers comedy, Rotten To The Core. Following this movie, Charlotte appeared as Meredith, the super-shrew of Georgy Girl – and probably produced the totally misconceived image as a girl much like the one she played.

Charlotte describes Meredith as a real bitch’ of Georgy she says; “She was pathetic, but two-faced – not an admirable character.” Lyn Redgrave, however, was ‘absolutely beautiful’, and the film set was a happy one.

Charlotte has recently completed two films; Three, directed by Jim Salter, from an Irwin Shaw story, is spoken of with less than relish. What apparently started out as a free, flowing movie about three students bumming their may across Europe, ended up as a contused, under-budgeted affair, in which the hardships outnumbered the freedom.

Her most satisfying film to date, The Damned, is still being shot under the direction of Italy’s Luchino Visconti and she feels this was an invaluable experience. It is the story of the Krupp family, who rose to power in Hitler’s Germany.

Charlotte Rampling is now in the enviable position of having completed a major role, and possessing the chance to choose what she wants for the future.

Photographed by Hans Feurer.

Scanned by Miss Peelpants from 19 Magazine, May 1969.

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Ribbon-trimmed plunge-necked blue shaded Tricel crepe dress, by John Bates for Jean Varon, approx. 13gns.

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Culotte dress in shaded beige to bream 7-ricel crepe, with tiny bodice and trans-parent nylon organza back, by John Bates for Jean Varon, approx. £17 6s. 6d. Gold sandals, by Ronald Keith, 5gns.

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Silk jersey black tie top and layered skirt, by Lizzy Carr, approx. 71/2gns. each.


Mirror, Mirror by Helmut Newton

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Wet-look cire bikini, also in red, with gilt link on bra top and belt of pants, 59s., from main branches of C & A. Paste tiger brooch from the Paris flea market.

Pause for reflection before you buy your swimsuit for this summer. If you’re going to be in the picture, you must get your exposure right : make it the most your shape will take. Because this is a narcissistic year. More girl, less swimsuit. Bikinis will be back with us again this summer — and they’ll be barer than ever. But the fabrics, not to be outshone, are glistening wet-look cires, metallic golds and silvers. And as adornments for the bare body, there is simple animal jewellery —snake bracelets, stalking-tiger brooches, that sort of simple thing.

Hair by Didier at Jean-Louis David, Paris.

Photographed by Helmut Newton.

Scanned by Miss Peelpants from The Observer Magazine, April 1969.

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Silver crochet bikini (also in other colours), £5 15s. 6d.; all cobweb crochet jacket, £5 15s. 6d.; both by Clobber, from Miss Selfridge, Oxford Street, W1 ; Just Looking, Kings Road, SW3; J. T. Parrish, Newcastle; Contrary, Burton Square, Manchester ; Silver cord lacing up jacket, 5d. yd. from John Lewis, Oxford Street, W1. Paste tiger brooch from the Paris flea market.

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Tobacco-brown bikini with fine chain straps and belt, by Tiktiner, £10 15s., from the Summer House at Simpsons, Piccadilly, W1. Gold leather sandals fastening above the ankle, f7 17s. 6d. from Elliotts, 76 New Bond Street, W1, and Kings Road and Knightsbridge branches. Snake brace-lets, 42s., frog ring, 12s. 6d.; by Corocraft, from Marrian-McDonnell, 45 South Molton Street, W1, and 80 Sloane Avenue, SW3; Kendal Milne, Manchester.

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Barely one-piece swimsuit, cut away at the back like a bikini, in sand-coloured towelling, and in other colours too, by Jersea, £4 15s., from Harrods, Knightsbridge, SW1 ; Lynette Claire, Kensington High Street, W8; Marshall & Snelgrove, 24-30 New Street, Birmingham; Darling & Co., Bath ; Impact, Salisbury. Gladiator boots, by Mary Quant, 89s. 11d., from Lilley & Skinner.

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White Nylon Helanca and Antron bikini with clear perspex links, by Ruben Torres for Tweka, 5gn., also in lilac, black, pink, turquoise or gold, from D. H. Evans, Oxford Street, W1 ; Lady Jane, Carnaby Street, W1 ; Birn & Son, Southend-on-Sea ; Rackhams, Birmingham; Reid & Todd, Glasgow. Summery boots laced up the back by Mary Quant, 89s. 11d., from Lilley & Skinner, 360 Oxford Street, W1. Gilt snake chain around waist, by Corocraft, 2gn., from Way In, Knightsbridge, SW1 ; Kendal Milne, Manchester.


Honey, you’ve gone too far!

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The gist of this editorial seems to be that only the tinest breasted ladies can wear the Ossies, but I have to respectfully and fundamentally disagree. The Ossie tunic on the cover was, along with some matching trousers, later chosen as The Fashion Museum‘s Dress of the Year 1969.

Blonde model photographed by Mike Berkofsky.

Brunette model photographed by Steve Hiett.

Scanned by Miss Peelpants from Honey Magazine, November 1968.

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Fluffy frilly blouse by Quorum.

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Tunic by Ossie Clark.

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Red chiffon blouse by John Craig.

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Ruffled black dress by Francis Ford.

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Low, plungey-neck dress in red satin by James Moncur.

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Black crepe sleeveless dress by Susan Barry.


Believe it or not, this is rainwear

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Showerproof cotton drill jodhpur suit by Biba. Fake snakeskin hat by Herbert Johnson. Black crocodile boots by Anello & Davide.

Since PVC, macs have been exotic… now the real exotics are turning waterproof. Weekend Telegraph photographed some of the unlikely new water-shedders in Jamaica, beside the Rio Grnde and in the Land of Look Behind.

Photographed by Burt Glinn.

Scanned by Miss Peelpants from The Telegraph Magazine, July 1967.

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A PVC zip-up jumpsuit by Hilary Floyd modelled in Dunn’s River, Jamaica. Watch by Old England.

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Waterproof pigskin culottes by Cordoba Suedewear. Silk shirt by Annacat. Snakeskin waistcoat by Quorum.

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Hand knitted bikini by Spotlight. Trenchcoat by Weathergay.

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Showerproof cotton drill bermuda suit by Biba. Mock croc hat by Herbert Johnson.

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Canvas jacket by Andre Ledoux for Sidwall.

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Waterproof snakeskin brocade three-piece trouser suit by Susan Small. Crocodile Dior shoes by Charles Jourdan.

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Terylene and cotton cloak and hood by Burberrys. Tricel jersey evening dress and scarf by John Bates for Jean Varon.


Meet Simon and Marijke – Two of The Beautiful People

the-fool-1The world of pop artists Simon and Marijke is indeed strange—their philosophy is to spread the influence of art over every aspect of civilized society, to produce a world throbbing with colour, light and beautiful things—but are we ready for them and their way of life? Will they make it, or will they disappear into the realms of history? Jeremy Pascall visited them to find out!

Officially the street nameplate says “Montague Square”. Unofficially it says “George Harrison is the best Beatle” in felt-tip pen. Just up the road Patti Harrison’s orange and yellow mini is parked. Beneath the sun-hot pavement of the quiet London square is a cool basement area. Set into the wall is a blue-painted door with gold stars scattered across it. A small sign says “Love, special delivery!”

Behind the door is a large, calm flat, at the centre of which is a big, open room, bright with rainbow paintings, fragrant with incense and flowers, loud with music, and alive with happy, talking, laughing people.

Here two young Dutch painters, Simon and Marijke, hold court. Their boon companions are Barry and Josje. Their courtiers include the Beatles, Mick Jagger, Graham Nash, the Cream and the rest of London’s most beautiful people.

But this is not just a court, it is a painter’s power-house, a beauty factory. Simon, Marijke, Josje and Barry are part of a new generation of artists. Pop artists who are using pop music and stars and fashion to bring their work before us. If you’ve ever seen the Cream, opened the “Sgt. Pepper” cover, or bought the latest Hollies’ album you’ll have seen their work. And you’ll be seeing a lot more of it in the future.

Simon (pronounced Simone) Posthuma is twenty-eight. He was born the year that war broke out, and remembers the Germans being kind to him. “I turned them on”, he said and smiled. This is Simon’s mission, to turn everyone on to beauty and colour.

The son of a policeman (he admits to this with an ironic chuckle; his later life has shown that he and the police don’t always see eye to eye), Simon was an early drop-out, leaving school because “we didn’t under-stand each other”. He then went through every conceivable job. For a time he was an art student, “but they threw me out because they said I had no talent!”

Despite this set-back he continued to paint. “I’ve always painted, experimented, progressed, tried to find what I want to say.” At first his work was conventional landscapes and portraits, but he soon evolved his own highly individual (and now much copied) style of brilliant rainbow colours and patterns.

Four years ago the gently rebellious artist met Marijke (pronounced Marracca) Koger, than a commercial, but not very happy, artist working in an advertising agency. They clicked in every way and started creating happenings with the help of their growing circle of friends consisting of musicians, writers and artists.

Between them Simon and Marijke really stirred up Amsterdam. “We did some crazy, beautiful things, man,” Simon said in his soft, Dutch accent. “We organised evening happenings when we took over a house, and had music and dancing and action painting. One day we went out into the street and painted it gold. Crazy!”

Simon and Marijke were joined in their “rainbow circle” by Josje (pronounced Yosha) Leeger. Josje, an old school friend of Marijke, was already established as a designer in Holland, and her clothes reflect the beautifully bizarre, freely fanciful ideas of the group. The clothes are made of different coloured fabrics and materials. Like styled patchwork quilts and up-dated gypsy costumes, jesters’ motley and troubadours’ shreds and patches.

And so they were three—Simon, Marijke and Josje. They had good things going for them in Amsterdam — a boutique and exhibitions — but they wanted to get out and so Simon and Marijke went to Morocco and Greece and then decided that London was for them.

But at first London wasn’t sure if they were right for it! They weren’t readily accepted. “We got very annoyed about it at first, but then we got to know the people at ‘Granny Takes A Trip’, and through them we met hip P.R. man Barry Finch, who was looking for someone to design the programme for the Saville Theatre.”

Simon and Marijke came, he saw, they conquered, and that was the start! They designed the programme cover for the Saville, started meeting the most influential people in pop, fell under the patronage of the Beatles and never looked back.

Barry became manager of the romantic duo. The Beatles asked them to submit designs for their “Sgt. Pepper” cover. They did the full job, including a fearsome cut-out mask, but only the inner sleeve design was used.

Simon, Marijke, Josje and Barry have created their own little world, a prototype for what they want us all to have. It’s a sprawling, open flat, centred around a long hallway and communal room. Most of the business of living is carried on in this room, where visitors are made welcome. Unlike the classic picture of an artist’s home, the apartment is remarkably clean and tidy.

In the main room, be-decked with samples of their work, Simon and Marijke hold court. A record player in the corner drones Ravi Shankar, “a present from George”. Marijke hands round sweet little Indian cakes—”A present from Ravi”. Somehow the tiny community seems utterly cut off from the bustle of London and it is no surprise when Mick, Marianne and Patti wander in to savour the tranquillity.

Surrounded by the things and the people they love, they gently, persuasively expound their philosophy, and outline their plans.

It is a philosophy based on love. “The essence is love. Love will grow, spread until the whole world is turned on to it. Love will not die. Everybody must turn on.

“There are people who don’t understand and walk away, but the next day they find out a new part of what is happening. To them it appears that it’s all happening at once, but in fact it’s the culmination of years. People react to us; in Paris they shouted rude words at us and we smiled back, but it didn’t happen in London. Anyway we’re in a different society, we mix with people who think like us, we stay in our headquarters all the time, work all the time.

“What is the ultimate? Paradise, living for each other. No dirty cities. We will change back to country communities where money won’t be necessary, we’ll work for each other. Who’ll do all the work? Computers. Eventually computers will show we don’t need computers!

“The old leaders are dying. Soon there will be new leaders. No, not leaders — spiritual mentors. This is the divine plan,” said Simon.

The philosophy sounds muddled and naive but it’s spoken in all sincerity. Simon speaks wonderingly of Eastern mystics who can perform miracles, produce castles out of the air. Charmingly childlike, but they have exciting plans afoot.

There will soon be an exhibition of Simon’s work, followed by the opening of a boutique and a film or theatre venture.

Boutique isn’t quite the word. The shop will be more of an environment. Simon and Marijke think that pop, fashion, art and design have been too separate in the past. They want to bring them all together under one roof. It would be nice to see people walking around in their fabulous clothes, hanging their beautiful paintings on the walls (posters will soon be available) and accepting their philosophy. But are we ready for it yet?

All colour, fun, love, beauty. Gold streets! Why not? That’s how it feels to be one of the beautiful people!

Some wonderful photos of The Fool which I hadn’t seen before. Interesting to read about their plans for their boutique (the-here-unnamed Apple Boutique) which would open only a couple of months after this was published and closed six months later.

Photographer uncredited.

Scanned by Miss Peelpants from Rave Magazine, September 1967.

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