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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Come Up and See Me Sometime

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FRONT: Granny vest-slip in pink rayon stockinette, by Walker Reid, 11s. 6d.; Persian love-ring by Corocraft, 7s. 6d.; opera-length pearl strand by Corocraft, 9s. 6d.; hairslide from a selection by Adrien Mann. LEFT TO RIGHT: Art Nouveau print slip in chocolate and black by Biba, 28s. 6d. Southern-belle lace-trimmed dressing gown by Angela Gore, 15 gns.; satin bra by Emmanuelle Khanh, 89s. 6d.; little boy boxer shorts by Etam, 5s. 11d.; silver buckle bracelet by Corocraft, 31s. 6d. Black satin smoking jacket with gold facings by Bus Stop, approx. 5 gns.; see-thru tulle bra by Emmanuelle Khanh, 55s.; black oval ring by Adrien Mann, 22s. 6d. Baby blue nylon nightie with high gathered waist at Separates Centre, 22s. 6d.; silver bracelet by Maxine Northwood, 35s. Black jersey-crêpe dressy-coat with spotted cummerbund sash and cuffs by Foale & Tuffin, 131 gns.; jet strand necklace at Fenwick’s, 21s.

… I’m always at home … it’s such a bore going out when there are such fabulous slink-at-home clothes … well, I mean … who wants to get oyster-satin wet? I’ll just cuddle up in a clutch-close wrap in front of the fire… and sling on a few jewels, and how’s about it, pal-sie ? See you soon soon…

Illustrated by Philip Castle.

Scanned by Miss Peelpants from Honey Magazine, November 1968.

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LEFT TO RIGHT: Taj Mahal print hall-slip by Warners. 23s. lid.: relax-line bra by Lovable. 9s. 11d.: strands of jet beads by Fenwicks, 21s. each. Play-around coat•dress in pink satin by Bus Stop. 89s. 6d.; jewelled cross brooch by Paul Stephens. 15s.60. Sail-away lounging pyjamas in white rayon jersey by Foale & Tuffin. 12gns.; Maltese cross by Corocraft, 37s. 6d: black oval ring by Adrian Mann. 22s. 6d.: wide silver bracelet by Adrian Mann, 57s. 6d. Velvet print lounging gown with satin trim by Angela Gore. 12 gns. Jean Harlow nightie with pin-tucked bodice in powder blue by Walker Reid, 43s. 6d. At Home gown in oyster satin, 96s. 2d.; matching bra, 41s. 10d.: matching little•boy pants, 51s. 4d. All by Alice Pollock FRONT: Casual nothing while stretch lace bra by Biba. 21s.: white stretch lace bikini pants by Etam, 4s.11d.; oval hair slide from Harrod’s Way In. 7s.60.: hoop ear-rings by Corocraft, 15s. 6d.; armful of narrow gilt bangles by Paul Stephens. 27s. 6d. each.


For Anybody Who Has Any Body

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Artist and designer Alan Aldridge first discovered the charms of the female body as a canvas when he painted his wife four years ago for a book poster. Since then it has become quite a habit with him, and his model on this occasion — actress and singer Jane Birkin — was one of a growing line of his painted girls. For her, however, it was a new experience. “I had flowers painted on my face for a film in India,” she recalls, “but the heat just melted them and they cried down my face. Apart from that, the girls I’ve seen in London with their faces painted tended to look pretty sordid and sweaty. When you think of it, there’s such a lot you could do,” she said. “It would be marvellous, for instance, to have bracelets and necklaces painted on. Mind you, the actual experience of being painted takes some getting used to. The sensation of the brush is like being crawled over by a wet snail. And I never realised how much I laughed with my stomach.”

Who are the people who go in for body painting, and does it really exist? Bodies are not the easiest or the most obvious things to paint. And yet as party decoration, and a more exciting way of modelling clothes and jewellery, painted bodies seem to be definitely fashionable.

Though the recent vogue was first adopted by the hippies (where better to put your flowers than painted on your body?) the artist and designer Alan Aldridge is credited with having started the trend in London. In 1964, when he was named Art Director of Penguin Books, he designed a: publicity poster using his wife painted in bright colours as a model, with the caption: “We can’t offer you girls, but we can offer you Penguins.”

“We got a pretty fantastic response,”-says Alan Aldridge. “And then I started doing it commercially in a big way. Too much in fact. The break came when I painted a girl all over but I had to get her drunk on brandy for the occasion.”

Since then sporadic parties have featured painted bodies. Public relations director David Wynne-Morgan had the idea of launching a book, The Exhibitionist, by using cheerfully painted models. The book had a painted girl on the cover, and models at the publicity party sported the title in luminous paint across their backs. Later, guests were encouraged to join in the game, and splattered their dates with paint.

At one of his last collections fashion designer Ungaro showed his models with vivid designs painted around their eyes; and it has now become fairly common in the model world to wear a sparkling snake wound round your leg, or a flower imprinted on yourforehead. Full body painting is a more esoteric art. Jim O’Connor, a graduate of the Royal. College of Art, is one of the artists who took it up ; he recently painted a body in the new landscape style now popular for fabrics: his back view of a girl showed a house rising above a fence, and. clouds floating off behind some trees.

As usual, the advertising world has been quick to catch on. A poster for Ultra’s Bermuda colour television set shows a girl lying on her stomach, naked except for a rough map of Bermuda sketched over her back. The caption invitingly reads: “Win two weeks in Bermuda”. 

Another person to use body painting was Andrew Grima, the Jermyn Street jeweller, who commissioned an Italian artist, Alberto Villar, to paint a naked model in wild colours; afterwards she was scattered with jewels. Though the result was exotic, Grima has not repeated the experirnent: “It was a bit too poppish for us; the paint did not show up the jewellery to its best advantage.”

Several London shops now cater for this new trend. Joan Price, of the Face Place, 26 Cale Street, SW3 is prepared to body paint for 2 gns. She recommends two makes of paint which are non-irritant and do not smear or stain clothes. They can be used together, and are put on with special cosmetic brushes: Colour Me Cloud 9 Body Paints, which cost 5s 6d for a 2in bottle (any four for £1), or the complete set for £2 17s 6d from Cloud 9 Cosmetics, 14 Boltons Close, Woking, Surrey. Their colours range from jade green to deep purple and glistening copper to a pearlised white, which is said to be good for highlighting. The second recommended wake is Innova-tion by Coty, who have produced four subtle see-through shades, which, though not originally intended for body wear, are very suitable for staining wide areas of skin. These cost 10s 6d and can be bought from all Coty stockists.

Next year the Face Place are bringing out a range of body stencils in a variety of patterns. Until then you can make do with Alice Pollock’s Paint Box for the face, from Quorum in the King’s Road, which comes in 12 colours at £3 19s 6d.

I was so sad to hear of the death of Alan Aldridge the other day. One of the most influential artists and illustrators of his generation, his work has always been a huge inspiration to me. There seems to be no better time to share this article from 1969, in which he is credited with starting the whole body-painting phenomenon which defined the late 1960s and shown doing his thing on the ever-lovely Jane Birkin.

And in case that wasn’t enough for you, also featured are Veronica Carlson, Marsha Hunt, Imogen Hassall, Peter Blake, John Astrop and Ralph Steadman.

Photographed by John Marmaras. Text by Caroline Moorehead.

Scanned by Miss Peelpants from The Telegraph Magazine, December 1969.

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For designer John Astrop the prerequisite of a good body painting is that it should be “wild”. He is an old hand at the game. Privately he has painted a friend going to a fancy dress party with an “Al Capone” scar (“it lasted all evening and was pretty horrifying”) and professionally he was commissioned to paint a girl with a complete map of Bermuda for an advertisement. His next painting, he had decided, was really going to be something unusual — a front view of a nude painted on to a girl’s back. Film actress Veronica Carlson had a train to catch, however, and could only make her attractive torso available for something less ambitious. Thus the key. This did not stop her taking an informed interest in the proceedings. She had spent four years at art school and as a result her comments were soundly practical. If he was going to add any more water to the paint, for example, could it be warmed first?

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After a lifetime of doodling flowers on to her arms and legs, model, singer and former “Hair” actress Marsha Hunt was able to discuss the subject of body painting with a certain amount of authority. “Of course it’s nothing new,” she said. “American Indians, Africans, every backwoods civilisation you can think of have got themselves painted up. But I don’t think you will see paintings as big as this,” she said, peering down at cartoonist Ralph Steadman’s illustration. “Who’s got three hours to spend being painted? It would have to be a pretty high party.” She broke off and proprietorially peered down at the couple recumbent on her bosom. “Are they both white?” she asked, with the tone of a scandalised landlady. At that stage they were, but Steadman quickly turned the scene into an advertisement for a mixed marriage, and honour was satisfied. “I’ve enjoyed it,” he said. “I’d like to have a go at a couple of politicians next.”

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Faced with the whole of actress Imogen Hassall s back for a canvas, painter-illustrator Peter Blake opted for total decoration: He decided to daub her in.a rainbow of colours taking their cue from the red of her playsuit and ending with a purple dramatisation of herf ace. “If you are going to paint a body, why not paint as much as you can get your hands on,” he declared. Imogen, who took all this literally lying down, reserved her comment while he boldly sketched in the ribs of the pattern. “The whole idea reminds me of how women used to paint stockings on their legs in the war,” said Peter. “That sort of body painting literally was fashion, but now I see it more as an extension to fashion — marvellous for anyone who wants to attract attention.” Imogen felt the same way. “Just the thing for a premiere — really quite groovy,” she said, stepping out into the street and virtually stopping the traffic with her now dazzling striped back and red playsuit.

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