Red, white and you

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Red and white striped halter neck sweater by Crochetta. Black cotton pants by Sujon. Shoes by Chelsea Cobbler. Red leather belt from Bus Stop.

Relax in these beautiful cruise clothes. Wear your white baggy pants with red and white striped tops, cotton berets or little ‘Forties’ pull on hats. Wear white leather shoes with bows or ruched fronts and high heels. White pearls and bangles look just right this summer. This is the year of the female female, so start purring…

Photographed by Karl Stoecker

Scanned from 19 Magazine, April 1971.

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Red and white striped beret by Titfers. Halter neck wool sweater by Stirling Cooper. White cotton suit by Sheridan Barnett for Simon Massey. White leather shoes from Biba. / White cotton beret by Titfers. Cotton windcheater by Lizzie Carr for Plain Clothes. White trousers by Sheridan Barnett for Simon Massey. Striped socks by Mr Freedom. White leather shoes from Biba.

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White sailor hat by Titfers. Red and white striped halter neck and Oxford bags all in one by Sheridan Barnett for Simon Massey. White leather shoes by Biba.

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White cotton hat by Herbert Johnson. White acrylic sweater by Harold Ingram. Blue palm tree with white lady and black tree print jacket by Stirling Cooper. White cotton bags by Sheridan Barnett for Simon Massey. White leather sandals by Biba.

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White cotton beret by Titfers. Red cotton shirt, red and white cotton blazer and white cotton bags all by Sheridan Barnett for Simon Massey. Red leather sandals by Chelsea Cobbler.

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White straw hat by Herbert Johnson. Navy acrylic singlet by John Craig. White cotton bags by Sheridan Barnett for Simon Massey. White leather shoes from Biba.

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White hat by Herbert Johnson. White cotton suit, top trimmed in tartan, huge wide clown pants by Sujon. White leather shoes by Biba. Red and white scarf from Herbert Johnson.

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White angora sweater by Crochetta. White cotton bags by Sheridan Barnett for Simon Massey. Red leather shoes by Chelsea Cobbler. Headscarf by Herbert Johnson.

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Day Trippers

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White dress with music and rose print by Miss Mouse. Snakeskin shoes from Bilbo. Red and white spotted dress with white trimming by Miss Mouse.

Photographed in Singapore by Harri Peccinotti.

Scanned from 19 Magazine, May 1975.

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Black and green floral print halterneck dress from Biba. Black and gold shoes by Sex. Green floral halterneck dress by Biba. Black and gold brocade shoes by Biba.

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Shocking pink pintucked cotton dress by Sheridan Barnett at Quorum. Black snakeskin shoes by Bilbo. Red cotton sack dress with hip pockets by Sheridan Barnett at Quorum. Red suede and snakeskin shoes by Terry de Havilland.

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Dusty pink sun dress with black piping by Strawberry Studio. Grey suede shoes by Terry de Havilland.

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Blue cotton dress with Dorchester motif. Coffee dress with Savoy motif, both by Jeff Banks.

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White cotton culotte dress by Stirling Cooper. White shoes from Secondhand Rose, Chelsea Antique Market. White cotton sun dress by Stirling Cooper. White shoes from Secondhand Rose.

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Navy cotton sundress with cross over straps by Gordon King.


A Moonlight Flit

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Floppy Treebark crepe trouser suit with wide straight trousers, waist sash and large frilled collar, by Foale and Tuffin.

Run barefoot through the grass or dance under the stars. Shades of Isadora Duncan* and free, flowing movement. Long, lithe limbs leaping through loose chiffon. Wild intensity in dramatic falls of fabric. The romance of long dresses, of floating frills in transparent fabrics is yours for the asking. Come, do a moonlight flit with us…. *Isadora Duncan. who moved in high society, and whose dancing shook Edwardian England, initiated free dance movement clad in clothes which emphasised her point. We can still thank her for the romantic-looking, drifting dresses inspired by the film revival of her life story — on release in the Autumn, starring Vanessa Redgrave.

Photographed by Al Vandenburg. Hairstyles by Derek Roe.

Scanned from 19 Magazine, August 1968.

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Dress in yellow embroidered voile by Biba.

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Transparent black and white spotted dress from Biba. Shoes by Ronald Keith.

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Tight waist-skimming jacket and knee length skirt in yellow crepe by Foale and Tuffin. Orange shoes by Elliotts.

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Flocked yellow full-skirted Dacron dress by Shelana.

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Romantic white lawn dress by Gina Fratini.  Silver shoes by Dolcis.


Where have all the flowers gone?

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Blooming red peonies on a navy rayon georgette dress, Florrie Carr. Flower trimmed straw hat, Crowthers. Shoes, Sacha. Rose print crêpe de chine dress, Crowthers. Straw hat, Bermona. Shoes, Sacha.

…To the seaside, where they’re blossoming out all over flimsy crêpe de chine summer dresses. So, if like most of us, you’re searching the shops for cool holiday clothes, now is the time to take your pick from our bunch.

Photographed by Richard Selby.

Scanned from Honey, August 1971

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Fruit and flower crêpe de chine dress, Crowthers. Orange suede cork soled shoes, Sacha. Pastel tulip printed crêpe de chine skirt and matching blouse, Crowthers. Criss cross suede shoes, Crowthers. Plastic and raffia choker, Adrien Mann.

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Swirling sunflower print dress in cinnamon and cream, Biba. White raffia sunhat, Herbert Johnson. Blue and white daisy patterned crêpe de chine dress, Ossie Clark for Radley. Burgundy straw hat, Biba.


Julie Christie in Fortuny

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Apricot pleated tunic with green sleeves and cross-gartered leggings. All around, some of Fortuny’s wealth of hand-blocked velvets.

Fortuny dresses have always been collected by women who are beauties and/or intellectuals: Eleanora Duse, Sarah Bernhardt, Isadora Duncan, The Marchesa Casati Stampa, Consuelo, Duchess of Marlborough, Marie-Laure de Noailles, Mrs Gloria Cooper Vanderbilt, Anjelica Huston, Monica Vitti, and now Julie Christie, who bought Fortuny’s pink and silver dress with pleated silk side and glass buttons at a recent auction at Christie’s. Here Julie Christie borrows Fortunys from another collector, Mrs Liselotte Hohs Manera, Austrian painter and ceramist, who is married to an Italian lawyer, and one that belong to Eleanora Duse from Vern Lambert’s collection. Castaldi took the photographs in Venice, where Mariano and Henriette Fortuny lived and worked in the Palazzo Pesaro, which is now the Fortuny Museum, and where Julie Christie has been making the film Don’t Look Now, directed by Nicholas Roeg. She’ll next be seen in Uncle Vanya, on Broadway, an extraordinary production to be directed by Mike Nichols with George C. Scott an Nicol Williamson.

Photographed by Castaldi.

Scanned from Vogue, July 1973.

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Antique violet tunic and skirt pleated like a mushroom: inspired by a visit to Delphi, Mariano Fortuny and his wife, Henriette, created the fabric: Isadora Duncan was the first customer.

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Eleanora Duse’s black velvet dress printed in silver with pleated silk side panels.

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Fortuny’s velvet cloak over a pleated dress of terracotta by St Mark’s and the Doge’s Palace where it must hav swept many times before.


April Flower Evenings

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Primrose silk georgette camisole top and handpainted satin jacket by Bellville-Sassoon.

Delicate flower evening dresses, in silks and chiffons… Beauty far beyond the English flower garden…

Photographed by Toscani. Make-up by Richard Sharah.

Scanned from Vogue, April 1975.

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Honey coloured silk dress by John Bates. Sandals by Saint Laurent Rive Gauche.

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Silk chiffon by Zandra Rhodes. Pink sandals by Rayne.

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Banana silk georgette printed with apricot flowers by Yuki.

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Pale peach silk chiffon with sheer sleeves by Thea Porter.

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Snow orchid chiffon by Sue & Helen. White sandals by Rayne.

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Drift of frilled white silk organza printed with snowdrops by Gina Fratini. Sandals by Rayne.

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Blackberry printed organza by Gina Fratini.

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Cream lace jacket and skirt by Bill Gibb.

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Palest pink silk chiffon by Bill Gibb.


Edina Ronay in Emmerton Lambert

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The style’s the same, but no two shirts are identical – they are made from 1930s remnants: £8 10s from Emmerton Lambert, Chelsea Antique Market, 253 King’s Road, London SW3.

Edina Ronay modelling some incredible pieces by Emmerton Lambert, one of the cult labels which emerged from the Chelsea Antique Market in the late Sixties. A classic example of the plundering of the 1930s by designers of the time but unlike those creating garments ‘in the style of’, they were instead using period fabrics to create a new, thrown together, patchwork kind of look. I think these have become my favourite kinds of pieces in recent years: perhaps because there’s a tangible link to both periods when you handle them.

Photographed by Hans Feurer.

Scanned from The Sunday Times Magazine, June 14th 1970.

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Flashy rodeo look: all from Emmerton Lambert, Chelsea Antique Market.