Posted: June 22, 2018 Filed under: 1970s, Boston-151, clive arrowsmith, Inspirational Images, Kansai Yamamoto, marie helvin, Sachiko Shibayama, Vintage Editorials, Vogue
On our left, this page, the satin Samurai appliquéd on a satin polyester T-shirt, £18; with sashiko—pure black cotton,–hip shorts. Black raggedy jacket of peacock feathers, with feather chaps buckled to the legs. Black patent boots on red satin platform soles,£28.
Centre, copper satin coat covered with navy and white cotton discs filled with butterflies, zipped up side, round the armhole to the collar and down the other side. Right, sashiko with a plaid of coloured lines, a violent satin hara kiri committed on the back (switched round here), £75. Black patent boots with turquoise satin platforms, £28. Wooden comb in the hair.
… and his marvellous painted circus of clothes. Twenty-seven years old, from Tokyo, he sells these unique clothes at Boston-1.51 where they hang like brilliant puppets, all the tradition of the Japanese theatre behind them. All clothes at Boston-1 51. Kansai Yamamoto oversees them in traditional kabuki stage manager’s kimono. Make-up, by Sachiko Shibayama, who has studied kabuki make-up for eight years.
Photographed by Clive Arrowsmith.
Scanned from Vogue, July 1971.
Above left, scarlet, black and white kimono blouse, wide skirt with dragon teeth hem, big curved belt that says “fireman!” about £95. Black patent boots on scarlet satin, £28. Centre, “Fireman’s boss” sashiko vest with scarlet words, about £30. Sashiko tied leggings. Right, spiral zipped coat flared through six orders of plaid, all crossed again with quilting, in brown, rust, blue, dark red, lined with black cotton, £30.
Posted: August 17, 2017 Filed under: 1970s, Browns, charnos, david bailey, Inspirational Images, John Kloss, lingerie, loungewear, marie helvin, Uncategorized, Vintage Editorials, Vogue
Pale violet nightdress from Browns.
A heavenly combination of slinky nightwear, mid-Seventies tech and a very welcoming looking bed arrangement. Oh, and Marie Helvin of course. This is very much how I would like to spend the next few weeks, months… in fact, a third of my life!
Italian ‘Cifra’ bed by Vittorio Rossi & Luciano Bertoncini from Heal’s.
Photographed by David Bailey.
Scanned by Miss Peelpants from Vogue, July 1974.
White satin de lys pujamas by Liliane Dreyfus for Vog.
Pale beige crepe nightdress by Stan Herman for Charnos.
White nightdress by John Kloss for Cira.
Posted: December 29, 2014 Filed under: 1970s, graff, Inspirational Images, marie helvin, Vintage Adverts, Vogue
Marie Helvin in a Vogue Promotion for Graff. Photographer uncredited.
Scanned by Miss Peelpants from Vogue, December 1977
Posted: January 17, 2014 Filed under: 1970s, barry lategan, Boston-151, Coty, Inspirational Images, japonisme, Kanei Orimono, Kansai Yamamoto, marie helvin, Vogue
…in a leafy glade – the green and woody scent of Coty’s Emeraude. Short beige silk kimono, £35, scarf, £8, printed with figures by Kansai Yamamoto, matching umbrella by Kanei Orimono, £5 from Boston-151.
Modelled by Marie Helvin. Photographed by Barry Lategan.
Scanned by Miss Peelpants from Vogue, August 1971
Posted: January 6, 2012 Filed under: caroline baker, Harri Peccinotti, marie helvin, mild sauce, nova magazine, seventies fashion
Some sizzling photos of Marie Helvin. Scanned from Nova, March 1975. Photos by Harri Peccinotti.
Images scanned by Miss Peelpants
Posted: November 29, 2011 Filed under: Inspirational Images, jean varon, john bates, marie helvin, seventies fashion, vanity fair
"How abandoned can you get?"
Dresses by John Bates for Jean Varon. Scanned from Vanity Fair, December 1971.
Posted: November 24, 2011 Filed under: david bailey, marie helvin, ossie clark, ritz magazine, seventies fashion
Ossie Clark and Marie Helvin. Advert scanned from Ritz magazine, No.14 1978.
Incredible, rare late Seventies Ossie advert. It is of the greatest frustration to me that Judith Watt’s otherwise fantastic book cuts off sharply at 1975. I know his final years were difficult, frustrating and ultimately tragic, but he didn’t simply stop designing in 1975 – and I’m sure many of us would like to read, see and understand more about the later years.