70s New Romantics make an exhibition of themselves at Sadie Coles HQ exhibition in London

Joan, Peter Robinson (Marilyn) and Kate,1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Joan, Peter Robinson (Marilyn) and Kate,1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Punk might continue to fascinate people today, but its immediate successor – the New Romantic movement, which sprang up in 1978 and flourished until the early 80s – is equally intriguing it seems. Fittingly, given this year’s return of Bowiemania, London gallery Sadie Coles HQ is currently showing artist Nicola Tyson’s photographs of New Romantics at the ‘Bowie nights’ held at gay club Billy’s in Soho in 1978. In our book, 70s Style & Design, we mention how the super-stylised Bowie, along with Roxy Music’s Bryan Ferry, were key influences on the sartorially flamboyant New Romantics – hence the name of this ultra-trendy, seminal Tuesday-nighter, co-hosted by DJ Rusty Egan and Steve Strange.

Unknown and Steve Strange, 1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Unknown and Steve Strange, 1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Then came other nocturnal hotspots Club for Heroes (a nod to Bowie’s 1977 album) and Blitz – which still has a following today (check out the fabulous website The Blitz Kids).

Spot the Bowie clone at the Blitz club. Photograph Sheila Rock

Spot the Bowie clone at the Blitz club. Photograph Sheila Rock

New Romantics at Billy's. Photograph Sheila Rock

New Romantics at Billy’s. Photograph Sheila Rock

Yet more evidence of the New Romos’ enduring appeal comes with new book Punk+, which showcases the work of photographer Sheila Rock, who documented many avant-garde subcultures, shops and clubs in the late 70s/early 80s – including the aforementioned Billy’s and Blitz, and influential King’s Road boutique Acme Attractions. As fans ourselves of her work, we included several images of hers in 70s Style & Design. Punk+, published by First Third Books, will launch at London boutique Browns on 25 April, as well as at Rough Trade East on 29 May. For a preview, visit First Third Books.

Jordan inside SEX, 1976. Photograph Sheila Rock

Jordan inside SEX, 1976. Photograph Sheila Rock

Jeanette Lee in Acme Attractions ,1976

Jeanette Lee in Acme Attractions, 1976

The Photons (wearing Seditionaries bondage trousers and parachute tops), 1977. Photograph Sheila Rock

The Photons (wearing Seditionaries bondage trousers and parachute tops), 1977. Photograph Sheila Rock

But back to the Tyson show, which gives a unique insight into the early New Romo subculture, thronged by relatively unknown, aspiring singers, fashion designers and DJs. In our book, we described these hipsters as po-faced poseurs. Of course, there’s plenty of truth in that, particularly as the scene became more established. Blitz regulars cultivated an impressively impassive froideur, already in evidence in Tyson’s pic of Steve Strange, pouting in his shades, diamanté jewellery and studiedly stylish forage cap (the latter channelling Kenzo’s Nehru-inspired 1978 collection). Yet this exhibition suggests we might have to eat our (Stephen Jones) hats: the Bowie nights boys and gals – including George O’Dowd (soon better known as Boy George), Peter Robinson (aka singer Marilyn) and Julia Fodor (DJ Princess Julia) – were an effervescent bunch who didn’t take themselves too seriously. After all, there’s something very playful, even (to quote Peter York in his book Modern Times) ‘babytimer’ about those paintbox-bright dungarees, all that Crazy-Coloured hair. This polychrome style also mirrored that of Acme Attractions (see below), which in the mid-70s touted primary-coloured peg-leg trousers, mohair sweaters and jelly sandals. And Sheila Rock’s picture of the Photons above (whose line-up included Steve Strange before he went on to form Visage), wearing bondage attire from Malcolm McLaren and Vivienne Westwood’s shop Seditionaries, shows that even punk clothing could be exuberantly coloured.

Bowie and proto-punk influences at play at Acme Attractions, circa 1976

Bowie and proto-punk influences at play at Acme Attractions, circa 1976

George O'Dowd (Boy George), Joan, Paul, Andy, and Jane (in yellow), 1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

George O’Dowd (Boy George), Joan, Paul, Andy, and Jane (in yellow), 1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Julia Fodor (DJ Princess Julia) and George O'Dowd (Boy George),1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Julia Fodor (DJ Princess Julia) and George O’Dowd (Boy George),1978. Photograph Nicola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Martin Degville (Sigue Sigue Sputnik), 1978. Photograph NIcola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Martin Degville (Sigue Sigue Sputnik), 1978. Photograph NIcola Tyson, copyright the artist. Courtesy of Sadie Coles HQ, London

Tyson was 18 and a student at Chelsea College of Art when she snapped these New Romo antics. And her vibrant pictures tingle with authenticity. As she recalls, ‘By 1978, a new scene was needed to fill the vacuum left after punk went mainstream – and Bowie Night was a start. Roxy and Bowie had influenced the darkly flamboyant aspects of the London punk scene, and so, in opposition to the dumb monochrome cynicism of mainstream punk, each Tuesday anything went at Billy’s, the more theatrical the better.’

Nicola Tyson – Bowie Nights at Billy’s Club, London, 1978, is at Sadie Coles HQ, 9 Balfour Mews, London W1, www.sadiecoles.com.

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It’s Glam! up North – 1970s Glam art, fashion and design celebrated at Tate Liverpool

Sublimely Glam: Candy Darling on her Deathbed, 1974, by Peter Hujar

Sublimely Glam: Candy Darling on her Deathbed, 1974, by Peter Hujar. © The Peter Hujar Archive, LLC; courtesy of Pace/MacGill Gallery, New York

The early 1970s Glam era is the subject of Glam! The Performance of Style, a far-reaching exhibition at Tate Liverpool (from February 8 to May 12), encompassing art, design and fashion. Mention the word Glam and images of meathead lads stomping about on Top of the Pops in incongruously ill-fitting Bacofoil jumpsuits usually flash into our minds. Yet, as Glam! reveals, the looks of Slade, Sweet et al were the commercial fallout of highly sophisticated ideas cultivated by a minority of avant-garde creatives in the US, UK and Europe. And, as the chapter Avant Garde in 70s Style & Design highlights, too, the Glam sensibility was multilayered and deeply rooted in radical social changes shaking up ideas about taste and lifestyles.

Dave Hill of Slade: 1920s posing meets glam rock laddishness, showing the commercial fallout of an avant-garde sensibility

Dave Hill of Slade: 1920s posing meets glam-rock laddishness, showing the commercial fallout of an avant-garde sensibility. Photograph: Jane England

Glam! explores both the roots and multifarious manifestations of the Glam sensibility, from 1971 to 1975. This drew no puritanical distinctions in the arts between fine art and fashion and style. It also celebrated androgyny, a certain camp irony, artifice and – encouraged by the fun-loving, 60s pop movement – flouted conventional, dull ideas about ‘good’ taste, expanding people’s aesthetic horizons by suggesting that kitsch, too, could be stylish.

Typifying this sophisticated sensibility in the mid-70s were the Moodies, a predominantly female group of Reading University art students, whose style is showcased in Glam!, and whose performances blended cabaret, pantomime, Dada and performance art. They also revelled in pastiche and parody, singing cover versions of such pop classics as the Shangri-Las’s Remember (Walking in the Sand).

Performance artists the Moodies ooze art-school, trash-glam sophistication, 1974

Performance artists the Moodies ooze art-school, trash-glam sophistication, 1974. Times Newspapers
Ltd, courtesy Chris Bishop

A major inspiration behind the Glam sensibility were the gay rights and feminist movements of the early 70s, which challenged sexual stereotypes and gave greater visibility to the taste and styles of previously marginalized subcultures.

Art schools also played a huge part: between the early 60s and early 70s, the number of students attending them shot up by 70 per cent, and the worlds of fashion and fine art frequently collided. Artist David Hockney and fashion designer Ossie Clark, who both studied at the Royal College of Art, were friends, and Ossie was the subject of Hockney’s iconic double portrait of 1971-72, Mr and Mrs Clark and Percy (featured in Glam!).

Fashion and art in cahoots: Mr and Mrs Clark and Percy, 1970-1, by David Hockney

Fashion and art in cahoots: Mr and Mrs Clark and Percy, 1970-1, by David Hockney. © David Hockney

Other influences included Susan Sontag’s 60s essay Notes on Camp, which defined camp as ‘a love of artifice’ and as the ultimate ‘metaphor of life as theatre’. Indeed, the Glam spirit rebelled against the 70s’ hippie counterculture, its accompanying back-to-nature movement and earnest quest for authenticity. To the (mainly urban) avant-garde, such authenticity was deluded: what about all those weekend hippies? And where was their sense of humour? Many hippies were also patriarchal in their attitudes – so much for revolutionising society!

One of glam’s chief muses was the deliciously deadpan Andy Warhol, whose entourage included his posse of ‘superstars’, such as transsexual Candy Darling and sassy models Donna Jordan and Pat Cleveland. David Bowie was wowed by Warhol’s early 70s play Pork and its kooky cast of freaks. Another fan was John Waters, whose own actors in his company, Dreamland Films – including drag queen Divine – were oft-compared to Warhol’s coterie.

Elsewhere, the Cockettes, those legendary LSD-taking, cross-dressing, San Francisco-based (and not so po-faced) hippies, also epitomised the Glam sensibility, while in London, the Glam spirit blazed bright at the Alternative Miss World contests organized by artist Andrew Logan. At these camp cavalcades, the eccentric contestants – including film-maker Derek Jarman and fashion designer Rae Spencer Cullen (whose label was called Miss Mouse) – made their surreo-kitsch, often drag-based outfits themselves. In fact, performance and theatre were a key influence on the Glam movement. David Bowie’s Ziggy Stardust alter ego was hugely inspired by his teacher, the flamboyant mime guru Lindsay Kemp, after all.

Glamfest: Andrew Logan, founder of the Alternative Miss World Contest (far right), with artists Luciana Martinez and Duggie Fields and fashion designer Zandra Rhodes

Glamfest: Andrew Logan, founder of the Alternative Miss World Contest (far right), with artists Luciana Martinez and Duggie Fields and fashion designer Zandra Rhodes

Derek Jarman as Miss Crêpe Suzette, winner of the Alternative Miss World Contest, 1975

Derek Jarman as Miss Crêpe Suzette, winner of the Alternative Miss World Contest, 1975

Peter Hujar portrait of Cockette John Rothermel, 1973

Peter Hujar portrait of Cockette John Rothermel, 1973. © The Peter Hujar Archive, LLC; courtesy of Pace/MacGill Gallery, New York

Peter Hujar portrait of Cockette Fayette, 1973

Peter Hujar portrait of Cockette Fayette, 1973. © The Peter Hujar Archive, LLC; courtesy of Pace/MacGill Gallery, New York

Peter Hujar portrait of Cockette Sweet Pam, 1973

Peter Hujar portrait of Cockette Sweet Pam, 1973. © The Peter Hujar Archive, LLC; courtesy of Pace/MacGill Gallery, New York

A relatively more mainstream example of Glam was Biba, which, heavily influenced by Art Deco, dripped with old Hollywood glamour. The ultra-camp, über-tailored, 40s and 50s-inspired clothing of avant-garde fashion designer Antony Price – Roxy Music’s costumier – further fuelled the trend.

Glam gloss: fashion designer Antony Price's sophisticated 50s look for Roxy Music's 1973 album, For Your Pleasure

Glam gloss: fashion designer Antony Price’s sophisticated 50s look for Roxy Music’s 1973 album, For Your Pleasure

The exhibition Glam! features work by many of the aforementioned, including Hockney, Jarman and Richard Hamilton. But it also showcases pieces by other artists, such as Duggie Fields, Margaret Harrison, Marc Camille Chaimowicz, Patrick Procktor, Cindy Sherman, as well as lesser-known names: ASCO, Ulay and photographer Peter Hujar.

Take it from Glam! Style can have substance!

 

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David Bowie, where is he now? Everywhere!

Album cover shoot for Aladdin Sane, 1973 Photograph by Brian Duffy © Duffy Archive

We thought there was something in the air when we blogged back in July about Chloë Sevigny channelling a cocktail of vintage, 1970s David Bowie in Miu Miu’s autumn/winter 2012/13 campaign. Well how prescient of Miuccia Prada, because 2013 is turning out to be the year that Mr Bowie fell back to Earth. First there was the release of his first single in ten years, Where Are We Now?, on his birthday this month, with an album, The Next Day, to follow in March. Then there’s the much-awaited David Bowie Is retrospective at the Victoria & Albert Museum in London (from 23 March). He’ll also be getting a look-in at Tate Liverpool’s forthcoming Glam! The Performance of Style exhibition (from 8 February), which celebrates the style and sensibility of the early-70s movement and its influence on fine art and pop culture.

Bowie in a Kansai Yamamoto confection in 1973

Bowie in a Kansai Yamamoto confection in 1973

Bowie was, of course, Glam’s poster boy, zeroing in on the alternative tastes of what was originally an avant-garde subculture – androgyny, artifice, kitsch (for more, see the Avant Garde chapter of 70s Style & Design) – and delivering them to a mainstream audience in the shape of Ziggy Stardust in 1972. Crucial to the Ziggy persona were the stage costumes created by Japanese designer Kansai Yamamoto, who started working with Bowie in 1973, some of which will be appearing in the V&A show.

Bowie in Kansai Yamamoto's Rites of Spring jumpsuit, 1973

Bowie in Kansai Yamamoto’s Rites of Spring jumpsuit, 1973

Yamamoto, Kenzo, Sayoko and co 

Yamamoto was one of a new wave of Japanese designers, including Issey Miyake and Kenzo Takada, taking the fashion scene by storm in the 70s, all of whom feature in 70s Style & Design. Yamamoto opened his own house in 1971 and was renowned for fusing traditional Japanese clothing styles with ultra-pop, Western motifs, while, at his dynamic catwalk shows, his dancing models swirled and hurtled down the runway. One year earlier, Kenzo Takada, founded his label, simply known as Kenzo, and soon after opened his cult Paris boutique Jungle Jap, which boasted murals in the style of painter Henri Rousseau. Miyake trained as a graphic designer in Tokyo, subsequently moving to Paris in the early 70s. All these designers shook up the stuffy world of Parisian fashion with their funky, vibrant fashions.

Grace Jones in Issey Miyake, circa late 70s.

Grace Jones in Issey Miyake, circa late 70s. Photograph: Robyn Beeche

Jerry Hall in Issey Miyake, 1979, as featured in 70s Style & Design

Jerry Hall in Issey Miyake, 1979, as featured in 70s Style & Design. Photograph: Robyn Beeche

Kenzo's folkloric/ Peruvian look, mid-70s

Kenzo’s folkloric/ Peruvian look, mid-70s

Kenzo typically cribbed from a variety of cultures, early 70s

Kenzo typically cribbed from a variety of cultures, early 70s

Kenzo's layered look, 1975

Kenzo’s layered look, 1975

Sayoko in Kansai Yamamoto, circa 1979

Sayoko in Kansai Yamamoto, circa 1979. Photograph: Robyn Beeche

A favourite model of all three designers was the late Sayoko Yamaguchi, who was named by Newsweek as one of the world’s top models in 1977. She was also a catwalk star for many other high-profile designers, including Yves Saint Laurent. Her razor-sharp, jet-black bob, with its low fringe covering her eyebrows, her graphic carmine lips and angular cheekbones were her trademarks. Designers in the 70s increasingly used black and Asian models and Japanese-born Sayoko was at the forefront of this trend.

Artist Duggie Fields, one of the major movers and shakers featured in 70s Style & Design, remembers, ‘I met Sayoko in Paris in the early 70s, and I did her portrait after seeing her again in Tokyo in the 80s. She was Japan’s first international supermodel. I’ve never forgotten the show where she came out alone, followed by ten models wearing variations of her outfit. It was impossible to take one’s eyes off her, such was her presence.’

Duggie Fields's portrait of Sayoko, early 80s

Duggie Fields’s portrait of Sayoko, early 80s

Sayoko immortalised by Antonio Lopez

Sayoko immortalised by Antonio Lopez

Sayoko snapped by Guy Bourdin, wearing what looks like Kansai

Sayoko snapped by Guy Bourdin, wearing what looks like Kansai

Sayoko was the face of Shiseido cosmetics in the 70s

Sayoko was the face of Shiseido cosmetics in the 70s

Sayoko models Miyake in 1979. Photograph: Robyn Beeche

Sayoko models Miyake in 1979. Photograph: Robyn Beeche

After modelling, Sayoko became an actress in Japanese films

After modelling, Sayoko became an actress in Japanese films

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Chloë Sevigny channels 1970s David Bowie in new Miu Miu ads

Chloë Sevigny in Miu Miu’s new, Bowie-esque autumn/winter ad campaign

Could Chloë Sevigny be channelling David Bowie? Naturally, this thought crossed our minds when we spotted the thoroughly soignée Sevigny modelling for Miu Miu’s autumn/ winter ad campaign, hair styled à la David Bowie on his Diamond Dogs tour of 1974. The rest of Chloë’s ensemble – unapologetically chunky platforms, flashy tie and double-breasted jacket – is a cocktail of vintage Bowie, from Ziggy Stardust to the Thin White Duke, and her barely there brows and sky blue eyeshadow are straight out of his Life on Mars video, for which he was dolled up by cult visagiste Pierre Laroche.

David Bowie and Pierre Laroche in 1973

Bowie in his Life on Mars video maquillage, courtesy of Pierre Laroche, 1973, from Mick Rock’s Blood and Glitter. Said Laroche (above left) of Bowie, ‘David has a perfect face for make-up: even features, high cheekbones and a very good mouth.’

David Bowie circa 1972

Ziggy-era David in his off-stage satin and tat, from Mick Rock’s Blood and Glitter. Note the Kansai Yamamoto costume hanging up (for more Kansai, check out 70s Style & Design)

Bowie on his 1974 Diamond Dogs tour

The hair that inspired the Miu Miu do? Bowie on his 1974 Diamond Dogs tour

bowie on 74 American tour

In a double-breasted City Lights Studio suit for his 1974 US tour

It couldn’t be more opportune that the Miu Miu ads bow to Bowie: his album The Rise and Fall of Ziggy Stardust and the Spiders from Mars turned 40 last June, and EMI marked the occasion with the release of a remastered version by Ray Staff, who engineered the original back in 1972. And maverick Hollywood actress Chloë is the perfect – organic – fit for the Miu Miu campaign, since she adores retro fashion. In a recent Guardian interview, when popped the question ‘What’s your guiltiest pleasure?’, her answer, plain and simple, was ‘Vintage clothing’.

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Mr Freedom, pop 70s fashion label, celebrated in fabulous new book

When word got out that Paul Gorman has written a tribute to Tommy Roberts, groover and shaker on the 70s fashion scene (and beyond), we couldn’t wait to flag it up on our blog. Paul’s new book, Mr Freedom – British Design Hero (Adelita), with a foreword by Sir Paul Smith, has just been published. Naturally, we see Paul – also author of cult tome, The Look: Adventures in Rock and Pop Fashion – as a kindred spirit: after all, the joyful style of Mr Freedom’s ultra-pop clobber (more of which later) plays a key role in our book 70s Style & Design, specifically in the chapter From Pop to Postmodernism.

For the uninitiated, Tommy Roberts is a towering figure of British fashion and design – a truly original retailer and entrepreneur. In the 60s, he pioneered the vintage clothing trade, selling antique threads to the likes of Jimi Hendrix and the Who at his Carnaby Street shop Kleptomania. But it was with London fashion label Mr Freedom’s fun, rainbow-hued, pop art-inspired clothes – all cartoon and fruit-machine motifs, all satin and flash – that he made the biggest splash. Also referencing Art Deco and 50s kitsch, Mr Freedom ushered in a new playful eclecticism in fashion which infected design, too, throughout the 70s – especially as, in the wake of the 60s pop movement, creatives of all colours rebelled against modernism throughout the decade.

Flash stance: Nova magazine showcases the Mr Freedom look in 1970

Mr Freedom, incidentally, was named after William Klein’s anti-American movie Mr Freedom of 1969 – though the shops, accoutred with such gleefully gimmicky props as a giant Statue of Liberty sculpture and cakes in the shape of blue jeans in its restaurant – revelled in pop Americana.

French actress Delphine Seyrig stars in William Klein’s satirical movie Mr Freedom

The two Mr Freedom shops in Chelsea and Kensington, open from 1969 to 1972, were the trendiest of their day; celebs such as Elizabeth Taylor, Richard Burton, Elton John, Mick Jagger, Amanda Lear and Paloma Picasso (who bought a T-shirt for dad Pablo) flocked there too. Over the years, the indefatigable, Falstaffian-looking Tommy experimented constantly with different styles: in the mid-70s, he opened City Lights Studio in Covent Garden, a proto-goth boutique painted moodily dark colours. It was a hit with pop stars like Bryan Ferry and David Bowie, the latter buying the suit he sported on the back cover of his Pin Ups album there.

Bowie snapped by Mick Rock in a City Lights suit for his 1973 album Pin Ups


Of course, super-stylish icons Bowie and Ferry also loom large in 70s Style & Design. Tommy also managed Ian Dury for a while, and hung out with Malcolm McLaren and Vivienne Westwood (whose early 70s King’s Road shop Let It Rock occupied the same premises as one of the Mr Freedom shops). Later, ever-restless Roberts championed High Tech and Studio Alchymia-inspired furniture and homeware at his 80s emporium Practical Styling.

The interior of Practical Styling circa 1981

He then moved on to sell a mix of 20th-century art and furniture in the 90s and Noughties at London stores TomTom and Two Columbia Road. Today, the latter, run by Tommy’s son Keith, is a mecca for fans of design, in particular mid-century-modern furniture. Appropriately, the launch party for Paul’s (inevitably) lusciously illustrated tome will be held there. Paul is also the author of the book Reasons to be Cheerful: The Life and Work of Barney Bubbles, about legendary graphic designer Bubbles, some of whose brilliant record cover artwork also features in 70s Style & Design…

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Marc Jacobs, Louis Vuitton and Gucci boogie back to the 70s!

Louis Vuitton s/s 2011 ad campaign

Louis Vuitton's s/s 2011 campaign gets high on YSL's Opium era glamour

We can’t help but notice that the 70s are back big time on planet fashion, with Marc Jacobs, Jacobs for Louis Vuitton and Gucci all paying homage in their spring/summer 2011 collections. The intoxicating, high-octane glamour of Yves Saint Laurent’s opulent Opium collection of 1977 appears to be a key inspiration – luscious mandarin-chic jade green and amethyst satins, cheongsams, gold cummerbunds, all sported by models with Chinese lacquer red lips and nails – not to mention the high-gloss disco era aesthetic of Guy Bourdin.

YSL Opium perfume launch party 1978

Yves Saint Laurent's divinely decadent launch party for his Opium fragrance in New York, 1978

But the looks of the decade we love to love – as 70s Style & Design celebrates – were fabulously eclectic. And accordingly this summer’s 70s revival also treats us to folky Kenzo-esque attire (D&G), the pared-down, hard-gloss glamour of Helmut Newton (Lanvin), while last year’s army/utility look is in full force (Jil Sander for Uniqlo). And, we needn’t mention, the high street is utterly in thrall to ankle-skimming skirts, lace-up-the-leg wedge espadrilles, eye-shading wide-brimmed hats…
Here’s our geek peek at the 70s references these collections make…

Marc Jacobs s/s 2011 show

Sashaying through the 70s at Marc Jacobs

Marc Jacobs – from Yves Saint Laurent to Mr Freedom
Jacobs definitely spearheaded the current wave of 70s nostalgia, with a super- sophisticated synthesis of countless 70s looks: vintage YSL (military/safari jackets in tobacco and terracotta; off-the-shoulder dresses in YSL’s fave gauzy voiles); Mr Freedom (crushed-strawberry satin trouser suits); Jodie Foster in Taxi Driver (hotpants, floppy hats, bubble curls); Missoni (ochre/rust/burgundy zigzags on skinny-rib knits); Biba (vampish, sooty eye make-up, plum shades, 20s dropped waists, feather-boa chokers); 70s supermodel Marie Helvin (tropical flowers in hair – reminiscent of David Bailey’s Vogue shoots of her in exotic locations circa 1976). And let’s not forget the crimped hair! The plucked eyebrows! The platform shoes! The shoulder-slung handbags!

YSL

Classic YSL from 1972

Mr Freedom designs, 1970

Satin and flash, Mr Freedom style, from Nova magazine, 1970

Mr Freedom satin blazer, 19 magazine, 1971

19 magazine showcases 71's must-have satin blazers, including this one by Tommy Roberts's Mr Freedom label, which came in jade green

Biba

Vamping it up, Biba style

Marie Helvin

Marie Helvin shot by David Bailey for Vogue, 1974

Lanvin – Helmut Newton hard gloss
Lanvin’s ad campaigns are a dead-ringer for Helmut Newton’s iconic 70s fashion shoots featuring women enacting stylised catfights, one of which appeared in Nova in 1975. And as a design aside, the Deco-tastic apartment they’re shot in evokes the Deco-filled Paris flats of Saint Laurent and Karl Lagerfeld in the 70s.

Lanvin campaign s/s 2011

Lanvin re-enacts Helmut Newton in YSL's apartment. Well, almost...

At home with Yves Saint Laurent

Chez St Laurent in 1978, with muses Loulou de la Falaise and Betty Catroux

Nova Newton

Toughing it out for Herr Newton in Nova magazine, 1975

Attenshuun!
As the above pic shows, utility was huge circa 1975, with designers taking inspiration from the cheap but chic clothing of army and navy surplus stores. And it’s still marching on…

Marie-Claire Italia

Marie-Claire Italia works the M*A*S*H look

But you saw it here first…

Nova's MASH look, 1971

Nova's fashion editor Caroline Baker kick-started the khaki craze in 1971

However it’s not all hard edges and glossy surfaces in this revival: D&G’s women’s collection was softer, more girlish: redolent of Kenzo (the outsized florals), Laura Ashley (the flouncy, ankle-skimming dresses) and even Mr Freedom (denim, checks and big fat flares and platforms). And, in contrast to the fierce expressions of Newton’s pugilistic models, the girls in this D&G ad campaign recall the breezy joie de vivre captured in the fashion pics of a very different 70s snapper – Oliviero Toscani.

D&G ad campaign s/s 2001

D&G's smiley happy hippie chicks

Kenzo's prairie look, 1973

Kenzo's take on the prairie look, snapped by Peter Knapp in 1973

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Crystal Tipps, Alistair and big, BIG hair

Umpen Editions's new spring range, Crystal Tipps and Alistair

Crystal Tipps and Alistair ride again in Umpen Editions's new spring range

Marc Bolan’s ‘My people were fair and had sky in their hair’ could have been penned with Crystal Tipps in mind, what with her cloud-like coiffure which – along with her Mary-Jane shoes – echoed that of the bopping imp himself. However the star of the super-popular 70s children’s series Crystal Tipps and Alistair owed more to the trippy, colour-saturated style of Yellow Submarine illustrator Heinz Edelmann, as her creator Hilary Hayton explained when we interviewed her for 70s Style & Design. Those of you who enjoyed the popadelic pair’s kaleidoscope highs back in the day might like to know that Hilary has produced a brilliant range of Crystal Tipps and Alistair greeting cards for Umpen Editions.

And talking of bubblicious barnets, we can’t help but notice that big hair is bouncing back, thanks to the fashion world’s current obsession with the 70s. Check out this curly girlie at Sonia Rykiel’s spring/summer 2011 show…

Sonia Rykiel spring/summer 2011

 

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