Go to a party

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Wonderful in white… snowy crepe, sleeves long and ringed with Irish thread work. By John Bates at Jean Varon. Jewellery by Adrien Mann. Man’s shirt to order from Thea Porter.

Photographed by Paul Orssich.

Scanned from Vanity Fair, November 1968.

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Glamorously Grecian… pure white crepe, beautifully braided. By Young Ideas at Rhona Roy. Jewellery by Adrien Mann. Man’s black braided suit is from Just Men.

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Beautiful in black seductive plunging rayon jersey. By Foale and Tuffin. Jewellery by Adrien Mann. Shoes by Lilley and Skinner. Man’s evening suit and shirt all from Take 6.

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Stunning in satin… timeless dress as bewitching as a glimmer of midnight. By Bernard Freres. Man’s velvet jacket from Take 6. Man’s be-ruffled shirt from Kleptomania.

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Perfect in pink… sugared almond crepe falling soft to the wrist and waist. Designed by Anne Tyrrell at John Marks. Jewellery by Adrien Mann. Man’s red velvet jacket and silk scarf from Trend at Simpson.

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Reassured in red. Skimmy shaped wool crepe party-goer cut away at the shoulders. By Sujon. Jewellery by Adrien Mann. Man’s evening suit and polo shirt both from Club 92.

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Clothes to Have a Fight In

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Black gabardine raincoat by Foale and Tuffin. Black suede double strapped boots from Russell & Bromley. Rainbow striped sweater by Stirling Cooper.

Reasons why Vanity Fair is one of the best fashion magazines ever #29847: A fashion editorial inspired by a fighting couple, photographed by Saul Leiter…

Scanned by Miss Peelpants from Vanity Fair, January 1971.

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Maroon jersey coat and plaid skirt by Stirling Cooper. Sweater by Sonia Rykiel for Browns. Boots by Elliott’s.

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Brown beige and orange flecked wool gauchos worn with thick brown shetland sweater, leather studded belt and appliqued bag all from Feathers. Cap from Way In.

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Brown and beige tweed suit with Borg trims by Mansfield. Floppy woolly hat from Browns. Brown suede shoes by Pedro Garcia for Jack Hinton.

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Midi skirt and matching muffler by Maxwell Croft. Brown polo necked sweater by Sonia Rykiel from Browns. Dark brown leather boots by Chelsea Cobbler.


The Folk Art Craze

The Folk Art Craze - Frank Horvat - Jan 71 b

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.

The Folk Art Craze - Frank Horvat - Jan 71 a


Boring Party

Boring Party

If the invitation is really dread and you feel a creeping paralysis of boredom days ahead, there are only — two ways out. One is to behave so badly that you are never asked again; the other is to look so outrageously glamorous that you rivet the attention of every man in the room. Revive nostalgia for the unattainable Hollywood style, in a luscious apricot satin evening dress, correct with every Forties detail — sweetheart neckline, wedding dress, buttons, even an artificial flower on the shoulder. By Bus Stop, about 89s:6d. Rippling Rita Hayworth hairstyle by Hugh at Cheveux, W.S.

Photographed by David Stanford.

Scanned by Miss Peelpants from Vanity Fair, December 1968.


Happily Ever After

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White lawn dress printed with butterflies and flowers by Thea Porter. Straw hat by Buckle Under. Red wedge shoes by Kurt Geiger. Belt by Shape.

There’s a good reason why Vanity Fair is possibly my favourite magazine of this period. They were relatively conventional in the 1960s, and would ‘merge’ with Honey magazine around 1972, but in their death knells they were just about the most innovative magazine in the UK. Issues were often themed around ‘issues’, for example this one is entirely themed around break-ups and divorces (including a story on what a divorced man should wear when taking his kid out for the day).

Nor did they shy away from more expensive designer names, such as Thea Porter and Zandra Rhodes here, mixing them happily with the more affordable but still iconic boutique names like Stirling Cooper and Mr Freedom. Adding Foale and Tuffin, Pablo and Delia and Terry de Havilland into the mix for good measure, and all those stunning illustrations by Michael Foreman… this is one of my favourite editorials of all time.

Vanity Fair is also, frankly, a nightmare to scan because it falls apart at the binding with the lightest touch, which is why I don’t scan them as often. So enjoy the heaven of Harri Peccinotti’s work while I gently shuffle all the pages back into the magazine…

Photographed by Harri Peccinotti.

Illustrations by Michael Foreman.

Scanned by Miss Peelpants from Vanity Fair, April 1971.

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Long grey crepe dress patterned with purple, green and red birds by Shape. Pablo and Delia suede thong necklace. Blue suede shoes at Sacha.

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Beige suede skirt with applique shapes and matching shawl by Mary Quant. Necklace from Buckle Under. Beige suede boots by Guy Humphries.

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Blue and white feather printed chiffon dress by Zandra Rhodes.

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Left to right: Chiffon blouse and multi-coloured skirt by Foale and Tuffin. Painted rainbow shoes from Mr Freedom. Painted belt by Shape. // Cream and red jersey catsuit (top only showing) and banded red and cream skirt both from Stirling Cooper. Red shoes by Kurt Geiger. // Cream, yellow and red jersey dress by Stirling Cooper. Pull on hat by Janice Peskett. // Red cotton t-shirt by Erica Budd. Cream dungarees from Stirling Cooper. Red python sandals at Elliotts.

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Above: Mauve satin cotton pinafore dress and blouse by Gladrags. Right: Bottom half of Alistair Cowin calico trousers with green printing. Green and yellow shoes by Terry de Havilland. Far right: Black velvet dungarees with white satin applique heart from Mr Freedom. Chiffon blouse from Foale and Tuffin. Mauve canvas boots at Charles Jourdan.


Inspirational Images: Shaggy, colourful, zippered and buckled…

Going Away From Coats - Vanity Fair - August 71 - John Bishop

Coats by Daniel Hechter.

Photographed by John Bishop.

Scanned by Miss Peelpants from Vanity Fair, August 1971.


Inspirational Editorials: Take Cover

take cover - vanity fair - november 1968 - david stafford - foale tuffin

Warm and cuddly coat to brave a winter’s night. Belted and snug double-breasted fur fabric maxi-style to wear over anything except gala gear. Great with trousers. Foale and Tuffin, 18gns long or 16gns short. Long white kid boots by Anello and Davide, 12gns.

Nothing is more depressing than dolling yourself up to the nines – and putting an everyday coat over your party hear. Mink stoles are too ageing for words and short coats over long dresses look awful.

Photographed by David Stanford.

Scanned by Miss Peelpants from Vanity Fair, November 1968.

take cover - vanity fair - november 1968 - david stafford - biba

If you go out a lot and wear long or short evening dresses or lots of trouser suits, a full-length velvet coat looks marvellously dramatic. This one in scarlet or black has a great romantic collar and elegant arum lily sleeves. At Biba, 8gns. Knitted dress by Jean Allen.