Go To Blazers

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Heavy red cotton blazer, red bows on white voile shirt, blue check shorts, all by Electric Fittings.

Five looks gone to blazers here, five separate ways to be wearing them all summer through – with baggy Oxford bags, check shorts, short trousers, pleated skirts. Other best things to go with blazers are fake flowers, cloche hats, shady straws, veiling, hair nets, print shirts, a bevy of built up shoes. Go get a blazer.

Photographed by David Montgomery. Modelled by Gala Mitchell.

Scanned by Miss Peelpants from Vogue, May 1971

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Long double breasted white cotton brocade blazer, fuchsia velvet cloche, petrol green crepe pleated skirt, all at Saint Laurent Rive Gauche.

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Navy denim blazer, navy, ivory and scarlet plaid seersucker bags, white polka dot scarlet acrylic shirt, all at Bus Stop.

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Navy denim blazer pin striped extra fine, white with navy stripe trousers, both by Alistair Cowin.

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Champagne satin blazer in bow print, blue print Chinese alphabet short dungarees, both by Electric Fittings. Sandals and tomato tights at Saint Laurent Rive Gauche.

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Get Shirty

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LEFT: Salmon pink crepe overblouse with short fluted sleeves, Marie France for Quorum £10 approx, from Quorum, 52 Radnor Wealk, SW3 and Heath Street, NW3 ; Quorum shops at all branches of Peter Robinson. Satin trousers, Alkasura £6.50, ,from Alkasura, 304 King’s Road, SW3. Apricot beads £5, amber bangles from 20p each, wide yellow bangle £2, all from Emeline. RIGHT: Crêpe shirred blouse. with tie neck, Alice Pollock at.Quorum £10 approx, from Quorum, 52 Radnor Walk, SW3 and Heath Street, NW3; Quorum shops at all branches of Peter Robinson. Green satin trousers, Jeff Banks £7.50, from Jeff Banks Shop at Peter Robinson, Oxford Circus, W1; City Stylish, Newcastle. Gilt dress clips, Universal Witness from 25p each.

The season of the shirt. Wild and waisted. Smart, sharp and snappy. Crisp, cuffed sleeves for the new tight and tailored look. Soft and slinky overblouses to revive the romantic 40s.

The first picture has got to be one of my favourite fashion shots of all time. Such joy in movement, perfect lighting, and harmonious colours from the most heavenly Quorum clothes.

Photographed by Dick Polak.

Scanned by Miss Peelpants from Honey Magazine, May 1973.

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LEFT: Crisp white crêpe pintucked overblouse £8.50, from all branches of Bus Stop (mail order 30p from 3 Kensington Church Street W8). Satin trousers, Alkasura £6.50, from Alkasura, 304 King’s Road, SW3, Thin patent belt, Gay Designs 69p; sea green waist-length bead necklace £4.50, short green necklace £3, and art-deco bangles £2 each, all from a selection at Butler & Wilson. RIGHT: Neat cotton sports shirt with patch pockets, Cacharel at Joseph £8.50, from Joseph, 33b King’s Road, SW3 (mail order 25p). White cotton trousers, Jeff Banks £7.50, from Che Guevara, Kensington High Street, W8 (mail order 25p) ; Jeff Banks shop at Peter Robinson, Oxford Circus, W1. Thin leather belt, Baggage Et General £1.10; plum plastic bangles, Adrien Mann 25p.

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LEFT: Finely striped cotton casual shirt, Ian Batten at Stirling Cooper £6.50, from Stirling Cooper, 94 New Bond Street, W1 ; Stirling Cooper shops at DH Evans, Oxford Street, W1 ; Peter Robinson, Oxford Circus, W1, Leeds, Norwich and Cardiff ; Escalade, Brompton Road, SW3; Kendal Milne, Manchester. Gaberdine Oxford bags, Alkasura £9.50, from Alkasura, 304 King’s Road, SW3. Long polka-dot scarf, Van der Fransen £1 ; wide amber bangle, Paul Stephens 25p; ebony clutch bangle, Adrien Mann £1 ; stretchy webbing belt, Gay Designs £4. RIGHT: Button-through striped cotton blouse with matching attached cravat and deep cuffed sleeves, Ian Batten at Stirling Cooper £7.50 (stockists as for shirt above). Cotton trousers, Jeff Banks £7.50, from Che Guevara, Kensington High Street, W8 (mail order 25p) ; Jeff Banks shop, Peter Robinson, Oxford Circus W1. Enamel dress clips, Universal Witness from 25p each; wavy webbing belt, Gay Designs £4; amder bangles, Emeline 20p each.

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LEFT Smartly striped square-necked. crepe-de-chine overblouse with set-in short sleeves, Suzy Craker at Roger Nelson £9.50, from Way In, Harrods, Knightsbridge, SW1 (mail order 25p) Che Guevara, Kensington High Street, W8 ; Crocodile, Kensington High Street, W8 and .branches. Lilac Trevira trousers, Jakie Ross at Jon Elliott £6.70, from D H Evans, Oxford Street, W1 ; I Spy, Oxford Street, W1 ; Sidney. Smith, King’s Road, SW3; Hendersons, Liverpool. Elastic and leather belt from a selection at Escalade ; bangles, Emeline £2 each. RIGHT : Rainbow striped loose overblouse with sweetheart neckline and puff sleeves, Ian Batten at Siding Cooper 16.50, from Stirling Cooper, 94 New Bond Street, W1 ; Stirling Cooper shops at D H Evans, Oxford Street, W1 Escalade, Brompton Road, SW3; Peter Robinson, Oxford Circus, W1, Leeds, Norwich and Cardiff ; Kendal Milne, Manchester. Gaberdine Oxford bags. Alkasura £8, from Alkasura, 304 King’s Road, SW3. Lime green patent belt, Gay Designs 69p; long bobble beads, Paul Stephens, 85p.


Miners want you to be a painted lady

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Vivienne Lynn modelling for Miners make-up. Looks like she might be wearing Mr Freedom as well. Divine…

Scanned by Miss Peelpants from 19 magazine, April 1972


Have Fun With Your Hair

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This feathered headdress by Pablo & Delia is exclusive to Leonards.

Get your hair all dressed up for Spring! Beauty girl Ann Morrow brings you the newest ideas for many a yer on the hair accessories scene. But no need to stop there all you want is a mop of hair and a little imagination to get a lot of head-turning effect.

Photographed by John Carter.

Scanned by Miss Peelpants from Petticoat, May 1971.

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Severe little buns and topknots look good with a snood added. This one came from Fenwick, and we added a bunch of cherries by Mr Freedom.

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With this painted slide by Pablo and Delia, John at Leonard gave model Chrissie an oriental look. Her hair is drawn back tightly to show off the coloured streak attached to the slide.

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These coloured streaks look like a bird of paradise – mail order them each from Annie Russel, 398 Kings Road.

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A slide with a feather from Miss Selfridge. Match your eyes to your slide.

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Play about with different slides. We found these in Miss Selfridge – apples that look good enough to eat.

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Evening hair goes all glittery with a headband from Fenwick and a Fortes-style slide with a sparkle from Boots.

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Flowered print are big news, so put some in your hair too  This lovely spring bunch comes ready attached to a comb from Miss Selfridge.


One Jump Ahead

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Be an exhibitionist. Entwine yourself with yards of machine-age screen printed scarf by Sylvia Ayton and Zandra Rhodes.

Why wait; be bold, be brave, stay cool! Now – before all the sheep latch onto the look for ’69. Ignore us if you like, but if we’re right (and we think we are) you could be way ahead of the crowd.

Janet Street-Porter modelling clothes by the immensely brilliant combination of Sylvia Ayton and Zandra Rhodes, whose short-lived Fulham Road Clothes Shop is one of the rarest and grooviest boutique labels.

Photographed by Tim Street-Porter.

Scanned by Miss Peelpants from Petticoat, January 1969.

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BE BOLD. Prints in 1969 owe nothing to the thirties; they look ahead, shout out bright new images and colours. Screen printed blouse by Sylvia Ayton and Zandra Rhodes.

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BE BRAVE. Dare to wear the most sensational raincoat we’ve seen for ages. Why wear mini coats when your knees are freezing and soggy. Plastivamp black PVC and snakeskin printed PVC raincoat by Sylvia Ayton and Zandra Rhodes.

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BE BRIGHT. Last year’s after-dark shiners are this spring’s day-time gleamers; pinky orange tricel jersey shirt dress with full sleeves by Simon Massey. Shoes by Lilley & Skinner.

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BE COOL. The new fabric cut the new way; clinging Tricel jersey frock with a neckline that mum would remember. Navy and white checked dress by Simon Massey.

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BE BRASH. Vulgar colours are carefully teamed and tastefully cut. Action-packed tweed trousers (with high fitted waistband and turn ups) together with waitsed and flared matching coat by Sylvia Ayton and Zandra Rhodes.

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BE WITTY. Dare to laugh at yourself a little; see the funny side of fashion as well s the serious. Mint green courtelle jersey dress with handy pockets for sweeties, by Travers Tempos.


Hang ’em on the wall

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Photographed by Carin Simon.

Scanned by Miss Peelpants from Cosmopolitan, March 1975.

Sarah Drummond talks to six talented people about their highly original hang-ups.

CHRISTINE MARTIN hangs shawls in her shop Razzmatazz (12 North End Rd, London W14, 01-603 0514) where she sells ‘Twenties and ‘Forties clothes, and also in her home. Both places are diminutive, but that doesn’t stop Christine from fanning shawls on walls, canopying them over lamp-shades, draping them as bed curtains. “I like shawls because they’re dramatic —but they can be overpowering, too; you must be careful. I like variety, which is why I change them about all the time. I like to make different moods. If someone comes to dinner for the second time, I’ll certainly swop the shawls about for them. I’ve never hung pictures—they’re too expensive. and too many other people hang them. My husband Christopher is an antique dealer specialising in icons so, of course. I hang them. I hang handbags sometimes. too.” Most of Christine’s shawl collection is nineteenth-century oriental, heavily embroidered, made in the East specifically for the European market, not to wear, but to cover pianos and tables. Christine also buys cut velvet shawls. “… and I’m just reaching the stage where if I really like something I don’t want to sell it.” Where do the Martins pick up their stock? “Oh anywhere, everywhere … we’re always tooting about in junk shops. I’ll pay up to £40 for a good shawl now I’ve got the bread.”

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KAFFE FASSETT makes needlepoint hangings of magical intricacy and originality. If you see a handsome bearded young man doing petit point on the tube. it’s bound to be Kaffe. His creative energy is astonishing: currently he is working on an exhibition of his paintings to be held in New York, designing knits for Bill Gibb (a job he’s ‘done gloriously for the last six years) and for Ritva. And he’s doing knitting and tapestry designs and patterns for Women’s Home Industries and Tapestry Bazaar—and designing the needlepoint hangings which are made at Weatherall Workshops (Coleford 2102) in Gloucestershire. The day I saw Kaffe. a half-finished jacket was hanging pinned to his studio wall, chrome pins keeping an outstretched arm in place next to the body of the jacket, the pattern infinitely more complex than any piece of marbled paper, all plummy earthy tones. “I’m working it on fourteen needles: it’s good to see the balance of the design, feel how it’s going, and seeing it unfinished spurs me on to continue.” Kaffe is relatively new to actual needlework, though he’s been designing tapestries for some time. “Pamela Harlech who writes for Vogue asked me to design some slippers for her, and they looked great stitched up. Suddenly I thought I’d have a go. I’d always imagined those tapestry chairs you see took a lifetime —I was amazed how easy and how quick needlework can be.” To prove his point, he designed and worked backs and seats for a set of three winged chairs. marvellously mysterious in misty shades of grey, blue and green, based on forests and corals. As we talked Kaffe was stitching a doll’s-house chair, another exquisite forest design, which would set you back £10. whereas a big scale wallhanging could cost up to £2,000. “I’ve always been terribly influenced by the Orient,” Kaffe says. “I can look at patterns on some rugs for hours. Scotland has influenced me, too: there’s an affinity between Scotland and the Orient somewhere.”

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JANNIE GOSS is an Australian model, who has lived for the last eight years in London with her architect husband, Ian, their eleven year old daughter. Mini, and a cat. Their flat in Camden Town is big and airy, with white walls. high ceilings and potted geraniums twelve feet tall. Jannie hangs her jewellery on the walls: the effect is bold and beautiful. It’s also highly practical. “The great thing about pinning up jewellery is that I can find it so easily—it’s not just for show: of course I wear the stuff, too. I used to keep my necklaces around a mirror, hopeless because everything became knotted. and you couldn’t get at it in a hurry …I like organised clutter—great areas of space, then areas of things; it makes dusting easier, too. And Ian and I are both keen on a functional as well as decorative environment. I move my jewellery about, to change the shapes and patterns they make, which is fun. I just use ordinary pins. the very long dressmaking ones—anything heavier, like a nail, would mark the walls. I’m a collector by nature, I was buying up Art Deco jewellery before it became fashionable, when it only cost a few bob. I’ve never bought from the antique market, but sometimes at Portobello Road and Oxfam shops; mostly I just nose about in junk shops and jumble sales. People say I’m clever at finding things but for every four looks, only once will You find a piece you really like and want to buy.

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OLIVER HOARE‘s house gives you the feeling you’re in the Middle East. You are surrounded by carpets—kelims, to be precise—a dazzling juxtaposition of highly organised patterns and colours. Divans, steps, floors, cushions and wall are all covered with oriental rugs. When people hear about it, they imagine that so many patterns and colours clash. They don’t,” says Oliver. He’s right: the rugs harmonise, like music, and one of the reasons is that all the kelims’ colours are vegetable dyes, so the tones are constant—lots of brick and all the earthy colours. Oliver used to work at Christie’s where he ran the carpet department, but this summer set up on his own to sell Islamic works of art to the Middle East. and Far Eastern objets to Europe and America. “I was brought up with carpets, my father bought masses in Constantinople in the ‘Twenties, and always hung them up. Although I wasn’t terribly interested, something about them had rubbed off on me, and when I went to Christie’s I was immediately put into the carpet department. I became fascinated. I like kelims best of all. These are flat woven rugs, which have always been made by tribes, and it’s a tradition that hasn’t been interfered with or commercialised.” Buying carpets of any kind in the Middle East is an immensely ritualistic business: potential buyers sit for hours in carpet shops sipping tiny cups of Turkish coffee and tea endlessly. Bargaining goes on all day. Although Oliver enjoys this ritual. his business methods are Western. His dealing life means he must travel constantly though he spends as much time as he can in Iran where his caravanserai, on the old silk route, has just been nationalised by the government. Kelim prices have shot up, particularly now that so many are going back to their countries of origin. “Five years ago. you used to buy the really good kelims for £30 or £40. Nowadays, the best are £1,000 or £2,000 —but you can find decorative kelims for between two and three hundred pounds.”

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GRAHAM WATSON makes bead curtains that swish exotic-ally as you pass through, like a ‘Twenties shimmy dress, beaded strands trailing in your hair and on your shoulders. His beads can depict your portrait. a fantasy landscape, cinema curtains, an old poster—whatever you want. The curtains are hung in doorways. on walls, around baths. Graham’s clients in-clude Chris Squire of the rock group Yes, photographer David Bailey, and film director Joe Losey. “I started off bead-work when I was at drama school . . . act-ing’s an overcrowded profession, and I found it demoralising,” Graham explains. “I saw a play on television one night, and in the background there was a beaded curtain that looked as though it had some-thing painted on it, I couldn’t quite see. But it intrigued me.” . . . To the extent that the very next day Graham started threading beads him-self. But beads are hard to find in England. and Graham traced the best bead sources to Germany (for wood) and Czechoslovakia (for glass). He declared himself a registered company, and went to work three years ago. “I still import the beads, but we dye most of the colours our-selves, otherwise you’re landed with all the shades you don’t want. I often mix glass and wooden beads, because glass alone is too heavy.” Currently, Graham is working on a huge black and silver portrait of Buster Keaton, and he’s planning a three-dimensional number. If you want a curtain made, and they cost around £120 (door size), you can reach Graham Watson at 13c Cunningham Place. London NW8 (01-286 0891).

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PIP RAU is hooked on folk tradition, on the embroideries, colours, prints and patterns of Central Asia and the Middle East. Home is like a bazaar, her shop like a souk where she sells dresses, waist-coats, robes, great pieces of faded cloth, incredibly bright embroideries. Her walls are jam-packed with treasures. and Pip’s body is covered with clothes of tribal designs, too. “I’d never put up pictures.” she says, “hangings do so much more for a room. They’re vibrant and vast and warm. Infinitely cheaper, too. I’ve been collecting ever since I can remember. I love markets. I lived in Israel for ten years. I was married to an Israeli. and travelled all over the Middle East. and now we’re separated I’ve come back to live in London.” So it seemed a natural move to open a shop (Rau Gallery, 36 Islington Green, London N1, 01-359 5337) selling all the things she loves, and it means she can justify her passion for travel. “I plan to go away three or four times a year to find stock,” she says. “My last trip took six weeks; I drove all through Eastern Europe, buying in Romania and Yugoslavia, and on to Turkey and Iran. and then Afghanistan. There are always difficulties at frontiers—you need all the invoices and endless bits of paper. Prices are going up and up. sources are drying up, too, as increasing numbers of people get interested. My customers are very mixed—specialist collectors, or people who fall in love with something. I don’t think clothes like these should ever be altered. Just buy what fits.” Pip hangs dresses and the lighter hangings with drawing pins, and uses tacks for anything heavier. Dresses can cost as much as £50 —an antique, hand-woven heavily embroidered Palestinian wedding dress, for example—and wallhangings vary enormously from small Persian cottons at £4 to kelims and Bokharas (large-scale embroideries on silk) at £230, or kelims for £400.


The Long, Lean Look: Smocking

Smocking

Elegant full length dinner dress in champagne Trevira with a matching tie belt, the yoke and shoulders lavishly oversmocked in bright colours. By John Bates at Jean Varon, £23.

Photographed by Jim Lee.

Scanned by Miss Peelpants from Flair, February 1970