Sunday, 28 February 2016

How to tame 49 wild horses (1968)



                                         How to tame 49 wild horses
Easy. Saddle up a Thunderbolt by BSA! You'll find out fast who's master when you put the spurs to 654 cc's of power house. In seconds you're charging at 100mph-and then some. Change your mind and Thunderbolt's big brakes rein things back to zero in a hurry! BSA breeding shows up all along the line. In the slim, sleek profile-from chrome sports fenders to racing type dual seat. In faultless engineering. In a host of details like the six plate multiple disc clutch, twin down swept pipes, Dunlop K 70s front and back, total performance cam. So why horse around with lesser breeds. Go thoroughbred...with Thunderbolt. Write for details and full color illustrations of all the 1968 models.  Specs may vary East and West.







                                              


                                             IMAGE CREDIT & LINKS
Image scanned for the Sweet Jane blog from Cycle World Magazine 1968 with thanks to Brad Jones. Discover more about BSA Motorcycles-the final evolution by Brad Jones published by Veloce Publishing Ltd here. Watch The Glory Days of British Motorbikes - A BBC Timeshift documentary here & Rita Tushingham in The Leather Boys (1964) here, View British Mods and Rockers of the 1960s (documentary) here, Some 1968 Biker influenced fashion in one of my previous posts hereWhere Have the Carousel Animals Gone? hereThe Rolling Stones performing Wild Horses hereand finally, the real thing here

Sunday, 21 February 2016

Young Pacesetter 1965

                             
                                            YOUNG PACESETTER DIGS THE CRAZY SCENE
Get the mood of the young pacesetter. She's thrown caution and convention to the winds; she's witty and with it; she's carefree, untrammeled by fuddy duddy fashion rules. She chooses her clothes for fun, she lets them dictate the mood, and it's a mood she throws her whole self into: she wears her clothes with confidence and a high sense of fun. She knows she looks different - and she revels in it. For her life is a bowl of cherries and she doesn't take anything too seriously, least of all herself. She treats her clothes as an extension of her own gay, witty personality. Get in the mood. Get the clothes and let spring fever spill into your life. Slough off your neat, efficient, businesswoman personality as you cover your typewriter. These are the clothes for crazy evenings when you could dance all night, for wild weekends and long, carefree holidays when the world is yours to go mad as a hatter.

Buckle on a skirt that fastens round your neck with a T strap. It's cut on a flare from natural hessian and the top is bound with black braid, 84s. Peaked hessian cap with an embroidered black trefoil, 63s. Short-sleeved skinny rib wool sweater, 35s. All clothes by Mary Quant's Ginger Group. 


Hoist up your mid-length dress and show off rows and rows of frills on your matching pantaloons. The dress, slightly flared, is lime green wild silk. By Avantgarde, 29gns for the dress and pantaloons.  Rope of giant pearls and pearl stud ear-rings, both by Adrian Mann. Pearls 50s, ear-rings 17s:6d.


Zip yourself up in the zippiest slacks. They're pale turquoise and they've got a zipped fly front, zipped pockets, and the all time longest zip right down the leg. By Peroche, 12gns. Skinny polo necked sleeveless sweater in pale blue Bri-Nylon by Wolsey, 39s:11d,  Navy and black stripey belt by Gucci, 90s.


Shimmy your way into the briefest Charleston dress. It's made of thick white cobweb net over a stunning fuschia crepe lining; it fits like a glove at bust and hip, casts scarcely a glance at the waist; it finishes at both ends with a deep fringe. By Martha Hill, 6½gns. Pink chiffon scarf to make a bow, by Ascher, 52s:9d. Beige lacy stockings by Plaza, 13s: 11d.

Slink into a daring black crochet dress that reveals just what you want it to. It was designed to be worn with nothing underneath - but if you daren't, then wear a black slip. The neck, arms and hemline are scalloped. By Susan Small, £9:12s:6d. Bow fronted black shoes by Saxone, 59s:11d.


                                                             IMAGE CREDIT & LINKS
All images scanned by Sweet Jane from Vanity Fair February 1965. All photographs by Sandra Lousada, photographed on location in the new building at The Economist, St James's. Visit Sandra Lousada's website here & view more examples of her work at The National Portrait Gallery here, discover more about designer Martha Hill here and view some later examples of  her work here & also here and finally, view another example of the Mary Quant hessian pinafore with halter-neck fastening here.

Sunday, 14 February 2016

Love Whispers 1966





                                                                     
                                  IMAGE CREDIT & LINKS
Image scanned by Sweet Jane from RAVE Magazine, November 1966. If you're ever in Dublin you can visit the Shrine of St Valentine, Patron Saint of Love here, if you're 'In Love with the New York Dolls' you can read an extract from Any Old Way You Choose It: Rock and Other Pop Music, 1967-1973 by Robert Christgau here, or listen to a radio promo for The New York Dolls St. Valentines Day Massacre concert in 1974 here, Watch the New York Dolls Lipstick Killers Gang promo here, On a much darker note, you'll find the bloody and brutal tale of the real St Valentine's Day Massacre here, Don't Mess With Cupid here, and last but not least, Woody Allen on Love and Death ...''I hope you're getting this down'' here, Happy Valentine's Day! 

Sunday, 7 February 2016

Curls: Vidal Sassoon and The Nouvelle Wave 1967




Curls are with us - and wild! So are crimps, floppy ringlets and waves. All because Vidal Sassoon permed his short cut into the Greek Goddess style. Hot in pursuit were top-poppers, Jimi Hendrix and Eric Clapton with wild, wild perms. Then the girls latched on - swapping their short cuts for curls.  Why are curls so great? They're crazy, gay, the new fun way to look. So who's looking new?








                                       



I don't entirely agree with the Jimi Hendrix reference, as Jimi had made his trailblazing London debut on the 24th of September 1966, almost a year to day before this magazine article went to print, and was already sporting a version of the natural total look. But below, are two examples of the influential Vidal Sassoon hairstyle mentioned in this Intro feature, which had been created at the beginning of 1967 (sometime in January by my calculations). Although it was known as the Greek Goddess, this name was the second choice for the style, the first being 'Harlem', originally inspired by his many trips through the neighborhood while in New York. He had greatly admired the closely cut but defined curls as worn by the black American community there and was determined to recreate a similar look for Caucasian and Asian hair. However, at this particular point in time, Vidal, recovering from a recent illness, found himself under strict doctor's orders to take it easy, but ever the workaholic, he was nonetheless eager to pursue this goal as soon as possible. So, enlisting the talents of his salon staff he developed the style along with them in an 'advisory' capacity. The creative team for this endeavor included hairdressers Roger Thompson and Christopher Brooker, with technicians Annie Humphries, Clare Hamilton and Allison Benson. Using two separate models, Jane Johns and Jenny Fussell, they began the process on Friday morning at his Grosvenor Salon and continued working on it relentlessly over the entire weekend, by Sunday they finally made a breakthrough and the revolutionary new style had been created. Photographs were taken immediately, and after a quick phone call to the influential fashion journalist Felicity Green on the Monday, it was immediately featured in the next day's Daily Mirror, in which she referred to the cut as the 'New Revolution'. By the following day, American Vogue were interested! Nowadays, it's probably difficult to fathom why or how a hairstyle could cause such a sensation, but at the time it was truly groundbreaking on many levels. Further information about the style & Vidal Sassoon can be found via the links at the end of the post.



Jane Johns modelling one of the first Greek Goddess styles, a short tousled look, in which Vidal Sassoon proved that by using his precision cutting technique, hair could then be permed and left to dry naturally without the aid of rollers or pins, this new technique also liberated many women from the routine weekly appointment of having their hair set. Hair styled by Roger Thompson. Photographs by Stephen Bobroff, 1967.                                                




Jenny Fussell also modelling the Greek Goddess style, Hair styled by Christopher Brooker. Photograph by Stephen Bobroff, 1967. Courtesy of Rex Features.


                                            IMAGE CREDITS & LINKS
All illustrated images scanned by Sweet Jane from Intro Issue No.1 23rd September 1967, artist uncredited.  Jane Johns modeling 'The Goddess' scanned from Vidal - The Autobiography by Vidal Sassoon. Listen to a BBC Radio interview with Vidal Sassoon from 2010 here. A closer look and further details about the Greek Goddess haircut on the excellent 'Personalities in the revolution of hair design in the 60s 70s ' forum (with contributions from the original Sassoon stylists) here.  Watch Bouffants, Beehives and Bobs: The Hairstyles That Shaped Britain here and also When Hairdressers Ruled - a very informative short documentary about some of the people that made Sassoon's the phenomenon it became, from 1963 ~ 1978 here A dedication to hairdresser Roger Thompson by Gerard Austen here. Harlem street style in the 1970s here. Jimi Hendrix Private Performance at the Marquee Club, March, 1967 hereJimi Hendrix arrives in London hereand finally, rare movie footage of Jimi with Johnny Hallyday &  friends in France (October 1966) here.


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