Cotton print pinafore, red, blue and yellow bound red, over a sweet flowed dress. Deep ruffles on shoulders, on a big beautiful bonnet to match. By Titfers at Miss Selfridge. White tights by Mary Quant. Red button shoes by Anello & Davide.
Long dresses and skirts in crepe and cotton prints - related to others just as small, fresh or soft, on pinafore smocks and aprons. There are not so much to keep you clean, more to make you look prettier; and you can be dairy maids, kitchen maids, Kate Greenaway girls all through summer.
Cotton and rayon wrap, two sizes of polka dot, white on cherry red patches. Tiny white daisies planted in rows on a very wide cherry lined skirt. Inset points of polka dots. By Mary Quant Ginger Group. Cherry and red stripe cotton apron - like baby's bib back and front, with side ties. By In Pressler.
Dairy cream cotton smock dress. Leg o'mutton sleeves, buttons up the back, print of wild pale roses and primrose ribbons. Gauzy white pinafore, lace and rose pink ribbons. By Gina Fratini. Milk white tights, by Mary Quant. Shoes by Anello & Davide. Lacy pink silk bonnet at Sharon's Shoppe.
Fine floppy fluted crepe de chine dress. Pale hydrangea green, pink, blue print. By Marielle.
Editorial by Duc for Vogue UK, April 15, 1971.
Just in case you didn't get enough pinafores yesterday...
Roberto Sambonet's steel serving dish for fish "typifies the perfect simplicity characteristic of the New Bauhaus".
Plastic tables and chairs by Vico Magistretti.
"Plastic pile-up is the work of Milanese designers all of whom were originally trained as architects. Their approach to a chair is roughly the same as if they were planning a house, and to them the concept of stacking furniture is as natural a way of minimizing volume and gaining space as extending a three-story building into a skyscraper."
"Moonscape illuminated by lamplight is the dry margin of the Ticino River which flows by Milan. The glazed china lamp in left foreground was fashioned by Cesare Casati. The lamp at right by Dario Tognon is made out of enameled metal."
"Paddle wheel lamp is considered by its architect-designer, Gae Aulenti, to be more of a sculpture than a purely functional object. Aulenti wanted to create a lam that could diffuse light in the same way as the sun. Clear plastic gave the effect she wanted. It is seen through a plastic sculpture by Ugo La Pietra, another Milanese architect."
By the yard minicouch by Marco Zanuso, which was sold in sections. In the back is Cini Boeri's couch and a modular couch by Sebastian Matta.
"Feast for a spaceman consists of pasta sprouting from Vico Magistretti's umbrella stand. The vacant table, by Anna Castelli and Jacopo Gardella, and chair, by Joe Columbo, are lit by Sergio Asti's hanging lamp."
"Martian is really a stereo set designed by brothers Achille and Pier Giacomo Castiglioni for Brionvega, one of Europe's most avant-garde TV and radio manufacturers."
Design often seems a function of place. It was in the shambles of post-World War I Germany that the Bauhaus, the century's most important source of ideas in architecture, industrial and furniture design, sprang up, flourished and died., the victim of Hitler's advent. Since the Second World War, Scandinavia has led in furniture design and production. Now comes Milan, its new ideas rising as gracefully and unexpectedly as Venus on the half-shell. Like many of their German counterparts 50 years ago, the dozen leading Milanese designers were trained as architects and are engaged not in styling but in the reshaping of space. They observe principles followed in the Bauhaus - "form follows function," "less is more" - translating them into a fresh idiom. Their forms are very definitely less, streamlined enough to be the furnishings of a flying saucer. Yet neon-bright colors and whimsical curves imbue the designs with a gaiety that is anything but extraterrestrial.
Article from LIFE magazine, March 14, 1969. Photos by Pierre Boulat.
And this is my inspiration for summer- bonnets, pinafores, white and blue. I did some research assistance for my friend, Gigi Burris, who is the most amazing milliner, and for which she is making me a summer hat exactly to my specifications (a far more difficult thing to decide on than you could ever imagine). She also gave me a gray veiled neo-bonnet that is so amazing I shall have to photograph it for you all. Happily I am actually going to Prince Edward Island in August so I will be able to wear it and get to finally live out my Anne of Green Gables fantasies...
Now I am off to go sailing around Manhattan- I will likely be posting photos on to my Tumblr, Sighs and Whispers.
This young Englishman with a romantic Greek profile - 20-year-old Alexander Russell, who is son of the British Ambassador to Spain, Sir John Russell, and inherits his Greek blood from his mother. Fluent in French, Italian, German, Portuguese, Spanish and Greek, he is now studying modern languages at Cambridge University. He also enjoys skiing, fencing, surfing and judo. He wears Saint Laurent clothes with dashing ease...
All clothes by Yves Saint Laurent Rive Gauche, hat by Herbert Johnson. Photos by Clive Arrowsmith for Vogue UK, December 1970.
Twiggy on the cover of Harpers & Queen, December 1973.
While I realise this is a Christmas issue, I think this make-up would look just as lovely in late spring and through the summer. The combination of the chalky pastel eyeshadows with the glossy tomato lips is unexpected yet appealing.
Neon is one of the brightest lights of the current design scene. Architect Clyde Rich used it to create the eerie beauty of this New York City pad for bachelor entrepreneur Douglas Campbell, who has houses from coast to coast. The living room is jet black but the neon-bright accents shower it with vivid color. A semicircular banquette, piled with colorful pillows, swirls across the room; the mirror wall behind it repeats the entire setting by reflection. The table of glowing plastic, designed by Rich, illustrates his exploration of the design potentials for furniture of clear and colored plastics. At the window Rich has hung a white Roman shade. In another view of the living room, bottom, the existing fireplace adds a note of naturalness to the futuristic setting. The entry hall arch, below, is outlined in neon and glows with colors that change the tones of the herringbone-patterned walls. The dining counter, across from the banquette at one end of the living room, is seen through the neon arch. Clear plastic chairs serve for dining and are almost invisible. Over the table hangs another neon sculpture, a glowing circle.
Text by Norma Skurka with photographs by Oberto Gil for Underground Interiors, 1972.
Cannot wait to see My Little Princess (Je ne suis pas une princesse), the film Eva Ionesco directed based on her unstable childhood as the starring model in her mother, Irina Ionesco's, erotic photographs. It will be worth seeing just for the Catherine Baba costumes!
In a midsummer dream, Rosalind picks her way through flowers in a white crepe dress baring tiny white ankles, with sleeves as long as a summer day, stitched with lupin blue velvet ribbon, criss-crossed across across the bodice in a mediaval way. By Tipper-Ipper-Appa.
Enchanted white, ensnarled in scrolls of bracken, clouds of gauzy culottes and voluminous sleeves gathered into ruffled cuffs with a gallant bodice of studded silver. By John Bates at Jean Varon.
A doublet and hose, the colour and texture of soft, brown moles, cotton suede whistle-thin waistcoat, and very short shorts. Romantic white crepe shirt, large floppy sleeves and bow. By Gina Fratini.
A notable summer suit, suitable for woodland masquerades and any number of interesting pursuits, with dandy cuffs, double stitching, a tiny tailored waistcoat, in soft sailcloth. By Foale & Tuffin.
Tree special, mushroom pink moire, taffeta tree-back swirls and trousers as high as trousers can go, meeting a huge jester frill of a shirt. By Mary Quant's Ginger Group.
Rosalind regained, in a shower of green wood beads, raining on white crepe falling in formation from a V-neck and tiny V-sleeves. By Leslie Poole for Adele Davis.
Editorial by Hans Feurer from Vogue UK, July 1968.
Only the softest, silkiest dressing spells beauty now. Super star separates from Lovable's Seychelles Collection to mix, match and multiply. In Lancola jersey by Lansil. New ways to shine this summer reflected by the smoothest complexion imaginable. Soft, sensual silk is the key texture with Dorothy Gray's beautifully simple skin diets. Take the lead in these sparkling new looks. And you are the Star.
Combined ad for Lovables' Seychelles Collection and Dorothy Gray. Scanned from Vogue UK, April 15, 1972.
It takes hundreds of hours a month to find and scan all of these amazing images- if you enjoy my treasures, please donate so that I can continue to uncover more.
, 1972.
Posts
