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Edwardian Daydreams of the 1970s – Lace, Pastel Colours, Countryside Idyll

8 Sep

Today we’ll take a look at the Edwardian influence on the fashion of the 1970s and the dreamy world it created where white lace, straw hats, floral prints and pastel colours rule.

Photo by David Hamilton, 1970s

Fashion-wise, the 1970s were an eclectic decade, a trend-driven one, especially compared to the previous ones, like the 1950s which were homogeneous. Fashions ranged from Hollywood-inspired Biba glamour, Glam rock, Yves Saint Lauren’s gypsy exoticism to disco, Studio 54 extravagances, Punk and New wave. There was also one trend that I absolutely adore at the moment – the Edwardian revival which brought a gentle, girly and romantic touch to one’s wardrobe. It is in stark contrast to the bold patterns and bright colours of sixties mini dresses.

I already wrote about the influence of the late Victorian and Edwardian era along with Art Nouveau on sixties psychedelia, both in visual art and in fashion here, but this influence is a tad different. Forget the vibrant colours and shapes of Mucha’s paintings that go perfectly with groovy sixties posters. Open your mind for something whiter, gentler, dreamier….

Jane Birkin (1970) and Edwardian lady (1900)

Photo by David Hamilton, 1970s

Left: Bette Davis, Right: Jerry Hall by David Hamilton

Wearing certain clothes can transport you to a different place in imagination, don’t you agree? Well, the mood of this Edwardian revival fantasy is that of an idealised countryside haven where a maiden in white spends her days in romantic pursuits such as pressing flowers, strolling in the meadows, picking apples, lounging on dozens of soft cushions with floral patterns and daydreaming while the gold rays of sun and gentle breeze peek through the flimsy white curtains, reading long nineteenth century novels by Turgenev or Flaubert in forest glades, Beatrix Potter’s witty innocent world of animals, illustrations by Sarah Key, all the while being dressed in beautiful pastel colours that evoke the softness of Edwardian lace, Lilian Gish and Mary Pickford’s flouncy girlish dresses, long flowing dresses with floral prints and delicate embroidery, straw hats decorated with flowers and ribbons, lace gloves, pretty stockings, and hair in a soft bun with a few locks elegantly framing the face, or all in big rag curls with a large white or blue bow, resembling a hairstyle of a Victorian little schoolgirl.

Brooke Shields in “Pretty Baby” (1978)

Left: Lillian Gish, Right: Mary Pickford, c. 1910s

As you know, films have an influence over fashion. I myself often watch a film and caught myself mentally going through my wardrobe and looking for similar outfits that a heroine is wearing. It’s beyond me. Many films from the seventies have the same romantic Edwardian revival aesthetic, such as Pretty Baby (1978) set in a New Orleans brothel at the turn of the century, women are lounging around in white undergarments and black stockings which is so typically fin de siecle, and Shield Brooks in a white dress holding a doll, adorable.

In Australian drama mystery film Picnic at the Hanging Rock (1975) set in 1900 girls from a boarding school go out in nature for an excursion and are dressed in long white gowns, have straw hats or parasols and white ribbons in their hair, Polanski’s Tess (1979) brought an emphasis on the delicate beauty of floral prints on cotton and that also inspired the designer Laura Ashley, even the film Virgin Suicides (1999) which is set in the seventies has a wardrobe of pastels and florals and all the girls wear such dresses to a school dance.

Left: Brigitte Bardot and Right: Nastassja Kinski

ELLE France, 1978, Gilles Bensimon

Left: dreamy hairstyle, Valentino Haute Couture Spring 2015, Right: photo from 1910

Virgin Suicides (1999)

Left: Picnic at Hanging Rock (1975), Right: two Edwardian ladies, 1900s

Models of the era are also seen wearing the fashion, such as Twiggy with her straw hat with cherries and Jerry Hall in white dress. Many photos by David Hamilton also capture the mood of this Edwardian revival; there’s something dreamy and ethereal about them, a frozen moment with girls in a reverie, either lounging on bed half-naked or surrounded by trees and flower fields wearing long floral dresses and hats, looking so serene as if they belong to another world. The first picture in this post is my favourite at the moment, a girl with a straw hat with ribbons, and stocking, and those warm Pre-Raphaelite colours… mmm…

Edna May photographed by Alexander Bassano, 1907

Jane Birkin looking so Edwardian and adorable!

Even Brigitte Bardot couldn’t resist elegance in white.

Tess (1979)

Seventeen magazine, February 1974

Twiggy in Valentino by Justin de Villeneuve for Vogue Italy, June 1969

Brigitte Bardot

Wedding dress ‘Faye Dunaway’ by Thea Porter, 1970, England – All that lace!!!

Left: Abbey Lee Kershaw by Marcin Tyszka, Vogue Portugal (2008), Right: Alexis Bledel in Tuck Everlasting (2002)

As you can see in the pictures above, the Edwardian revival has found its place in contemporary fashion and cinematography as well. If you like this style, look for things that capture the mood, regardless of the decade.So, do you want to be a pretty and dreamy Edwardian lady too? Well, it is simple, you can wear a white dress, have a cup of tea, read Flaubert’s “Madame Bovary” or Forster’s “A Room With a View”, stroll around wearing a straw hat, pick flowers, press flowers, chase butterflies, surround yourself with white lace and indulge in reveries!

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Fashion Inspiration for Spring – Baby Doll, Brigitte Bardot, Flowers

11 Mar

This is the first time I’ve done a fashion inspiration for Spring, but basically it’s the same every Spring, my thoughts wander to French Baby Doll look; Brigitte Bardot’s voluminous skirt with gingham print, masses of pettiocoats and tight black shirt in Come Dance with Me is pure perfection, then Anna Karina’s blue and red wardrobe in Une Femme est Une Femme, and her white dress and blue eyeliner in Pierrot le Fou, France Gall with her hair parted on the side and a hair clip, and her knee-high socks, Francoise Hardy wearing pigtails, and pretty bows, kitten heels, straw hats with roses, cat eyeliner… cuteness all the way!

Inspiration: Syd Barrett, Ballerinas, Games, Dreams and the 1960s

23 Dec

So, this is what inspires me at the moment: Syd Barrett, 1960s Yardley makeup ads, harlequins, pierrot, clowns, ballerinas, striped floors, circus, pictures of Jean Shrimpton, Degas, psychedelia… Enjoy the pictures!

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1877. Degas - The Green Dancerssyd 19

1967-the-john-schroeder-orchestra-the-dolly-catcher-1967-piccadilly-uk1905. Edgar Degas (1834-1917, France) - Two Dancers, Pastel1960s-ads-for-yardley-cosmetics-featuring-jean-shrimptonsyd-and-pink-floyd-71873-jean-beraud-ballerina1880. Edgar Degas, detail from Ballet Dancers in Butterfly Costumes1897. Dancer and Tambourine - Edgar DegasSource: http://sweetjanespopboutique.blogspot.hr/2015/11/bermubas-de-rosy-1968.html

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syd-781960s-makeup-green-eyes1877-78. Two Dancers Entering the Stage - Edgar Degas1960s-pattie-boyd-421961-max-factor-cosmetics-19611873. The Dance Class by Edgar Degas1960s girls

Season of the Witch – Fashion Inspiration for Autumn

14 Oct

This is my fashion inspiration for the Season of the With, or Autumn; the most beautiful season in my opinion. I hope you’ll enjoy the pictures I’ve chosen, mostly sixties and seventies fashion, a little bit of Sharon Tate and France Gall with her knee-high socks, a bit of Carolyn’s style from Dark Shadows (2012), a bit of late 1970s Joy Division-look from the film Closer (2007), cord trousers with wide belts, Uschi Obermaier’s large necklaces, colourful tights, a bit of 1970s does 1930s and 40s fashion, long dresses with floral prints, and of course the classic sixties mini skirt.

I’m always on the look out for groovy colour combinations, so if you have any suggestions, feel free to share them. I noticed that chocolate brown, warm yellow and raspberry red-pink go really well together. Beware, there’s a lot of pictures.

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16th December 1969: Rainer Langhans and his girlfriend Uschi Obermaier in a Munich restaurant. Two of the founders of the Berlin Commune 1 which was eventually unsuccessful, they are in Munich to try and start a similar venture. (Photo by Keystone/Getty Images)

16th December 1969: Rainer Langhans and his girlfriend Uschi Obermaier in a Munich restaurant

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1969. Charlotte Martin, Photographed by Roger Stowell, March 4

 

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Art Nouveau and 1960s: A Psychedelic Dream

6 Oct

I noticed that some sixties posters and film costumes have a strong Art Nouveau and Pre-Raphaelite vibe, so naturally I turned to my art, culture and music bible when it comes to the Swinging Sixties – book ‘Syd Barrett and Pink Floyd: Dark Globe’ by Julian Palacios, And here’s what I found. So, in this post we’ll take a look at the influence of Art Nouveau, Aesthetic movement and 19th century Orientalism on 1960s posters, designs, fashion and film costumes. I’ve also chosen some whimsical psychedelic tunes that I love and that fit very well with the mood of the post. Psychedelic Autumn, is it not?!

1967. Flower Power fashion, Photograph by Peter Knapp. Image scanned by Sweet Jane.

Flower Power fashion, Photograph by Peter Knapp, 1967, Image scanned by Sweet Jane

Donovan – Season of the Witch

Around 1966/67 there was a shift in style and mood. A change was in the air, as ‘vibrant coloured clothes and laughter’ filled the drab tube stations. Waning Mod fashion was quickly being replaced by a style more romantic and oriental. The new mood, exhibited not only in clothes but in posters, designs and music, found its inspiration in nostalgic reveries of the past and romantic daydreams about far East. Gone were the days of short skirts and fake eyelashes. Instead, young people – students, artists, musicians, groupies and dollies – traded their black and white geometrical outfits for caftans, vibrant coloured long dresses, long hair and less make up.

1960s fashion illustrations

1900. The Precious Stones (Ruby, Amethyst, Emerald, Topaz) - Alphonse Mucha

Do you notice the similarity in colours and composition between the sixties illustration (above) and Mucha’s painting ‘The Precious Stones (Ruby, Amethyst, Emerald, Topaz) from 1900.

Cosmic Sounds – The Zodiac

In late sixties, when Mod culture was starting to be looked upon as too commercial, and ‘futuristic themes gave way to exoticism, romanticism and nostalgia’ (1), young people started seeking answers and inspiration in paganism, mysticism and Eastern stuff: I Ching, Bhagavad Gita, The Golden Bough by James George Frazer which explores ‘magic, myths, Druids and Viking lore’, (p. 91), Ouija boards, tarot cards, meditation, vegetarianism and Hindu scriptures. Driven by LSD and hashish, they believed they were creating a new world, and so they delved into mysticism, found beauty in forgotten illustrations and paintings, whether it’s the sumptuous Klimt’s golden paintings or intricate William Morris wallpapers or William Blake’s drawings, laden with spirituality, hidden meanings and symbolism.

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1) Baby Doll Cosmetics 1968/ 2) Photo of Cleo de Merode, 1905; similar hairstyles.

Ravi Shankar – Sitar

A quote from the already mentioned book that sums it all:

The underground exhibited a curious nostalgia, unusual in people so young. Living in tattered Victorian flats, smoking dope and rummaging for antiques on the Portobello Road, the underground pillaged their cultural history. Part romantics and part vandals, as they pulled away from their parents’ world, they embraced the shadow of their grandparents’ Victoriana, torn between an idealised future and rose-tinted visions of the past.

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1) Flower Love, C.Keelan, 1967/ 2) Painting by Mucha

Just imagine that beautiful asceticism of the sixties; candle lit room with bare floor, mattress, incense sticks, Eastern fabrics for curtains, someone jamming on the guitar, girls in colourful clothes with flowers in their hair, resembling Mucha’s painting, laughter, optimism, mind expanding chatter… General mood of the time could be described as a combination of idealism, hedonism and optimism that eventually exceeded into decadence. Similar were the turn of the century vibes and the art movement that came to define the era – Art Nouveau.

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1) 1960s poster/ 2)Alphonse Mucha, ‘Job’, 1898

Art Nouveau demanded artistic freedom, art for art’s sake. Free the colour, the line, the beauty itself, the artists demanded. Similarly, in the sixties, after the drab post-war years were finally over and the economic situation was a bit better, artists and designers demanded the liberty of colour and design. Taking inspiration from the past, in a hope for a better artistic future, designers combined the refinement and elegance of Victorian and Edwardian art; floral prints, aestheticism and playful lines, and combined it with acid-laced colours such as magenta, aqua and bright yellow. Inspiration was often found in flamboyant turn of the century designs by Klimt, Aubrey Beardsley, Mucha and Georges de Feure.

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1) Poster for The Crazy World of Arthur Brown at UFO, 16 and 23 June, by Hapshash and the Coloured Coat, 1967, London (Michael English & Nigel Waymouth / 2) 1897-98. Journal Des Ventes, Georges de Feure, Color lithograph

As you can see above, poster for the UFO designed by Michael English and Nigel Waymouth who worked under the moniker ‘Hapshash and the Coloured Coat’, is truly Art Nouveau in style; whimsical lines, fluid shapes amalgamating one into another, female figure with flowers and different ornamental detailing in her hair and on her body, the whole mood very playful and fit for the new sixties spirit and yet beautiful aesthetically.

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Psychedelic poster, Pink Floyd, 15 March 1966

A sixties touch in designs is definitely colour which is often bright, contrasting and eye-catching, whereas the turn of the century style preferred more refined colouring, jewel-like colours being popular but always combined with subtler shades. Klimt, Mucha and Georges de Feure placed the attention on ornamentation, almost Baroque in its heaviness, whereas in the sixties, the designs were made for the tuned-in folk, and colour combination such as mauve and yellow, orange and lilac, red and green appealed to the crowd. Psychedelic flamboyancy owes it all to Art Nouveau (and LSD).

Hapshash and the Coloured Coat’s posters rejected the stark formalism of graphic design in favour of referencing the 19th century illustrators William Morris and Aubrey Beardsley, with opium-laced flora and leaves drawn in interlaced patterns, hypnotic motifs and arabesques.“(p. 147)

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1) Barbra Streisand in Edwardian-inspired dress and hairstyle/ 2) Biba drawing

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1) Barbra Streisand /2) Edwardian illustration

The book also mentions illustrations by Arthur Rackham, a late Victorian and Edwardian era book illustrator who portrayed subjects from Nordic mythology to scenes from Shakespeare and Alice in Wonderland: “Art Nouveau posters by Alphonse Mucha and illustrated books by Arthur Rackham, dented silver carafes, spindly umbrellas with ivory handles, and chipped porcelain tea services formed a backdrop for an undulating mass along Portobello, Curving to Landbroke Grove…

And it seems to me that the sixties were one really long Mad Hatter’s tea party with great clothes, music and attitudes towards life and spirituality.

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1) Pattie Boyd and Twiggy for Vogue, 1969 / 2) Barbra Streisand in Edwardian dress

Influence of Art Nouveau, Pre-Raphaelites and Edwardian era can be seen not only in visual arts but also in fashion and film costumes. In 1990s there was a Jane Austen revival with films such as Sense and Sensibility. Well, films from the sixties and seventies are all about turn of the century; large hats decorated with roses, Art Nouveau interiors, Edwardian dresses in pastel colours with abundance of ruffles and lace… Some great examples of this aesthetic are films Hello, Dolly (1969) with Barbra Streisand, La Ronde (1964), Morgiana (1972), Viva Maria (1965) with Brigitte Bardot and Jeanne Moreau, Baba Yaga (1973) etc.

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1) Catherine Deneuve in Edwardian dress / Photo of Emilie de Briand, 1900s

Even in everyday fashion, it’s hard not to see the influence. No, women didn’t return to tight corsets and uncomfortable lingerie, but some designers such as Barbara Hulanicki of Biba took the best of Victorian and Edwardian fashion and incorporated it in sixties style. Think of longer dresses (compared to Mary Quant’s mini dress that ruled the Swinging London), straw hats and lace details, floral prints, velvet, bishop sleeves, heavy dark coloured fabrics, longer hair often with curls (instead of the previous strict bob hair) or soft voluminous buns that were worn by Pattie Boyd and Twiggy for Vogue in 1969, and also Catherine Deneuve and Brigitte Bardot. Jane Birkin couldn’t resist the style as well, picture below:

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Jane Birkin in Edwardian dress with lace and ruffles, 1970

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1) Biba girl with Gibson Girl Hairstyle, 2) Illustration by Alphonse Mucha, 3) Biba illustration

Fashion Icons: BIBA Girl

22 Sep

First day of Autumn – a very appropriate date for the mood of Biba fashion. Still, this is the last post in my fashion icon series. You can read all of them here.

I really hope you enjoyed this collage-journey throughout (mostly) 1960s fashion icons. Who knows, this might not be my last series regarding history of fashion, I do have a cunning idea on my mind, but about that some other time. What do you think? And let me know which one was your favourite fashion icon from this series. Do share your opinions. Although I enjoyed writing about them all, my personal tastes lean towards styles of Marianne Faithfull, Brigitte Bardot, Edie Sedgwick and Anna Karina.

1970s biba lady

This photo is the essence of Biba look (apart from the nudeness) -luscious richly textured pillows in jewel colours of Pre-Raphaelite paintings, fabrics from the East, velvet, heavy perfumes, dark lipsticks, orchids and roses, animal prints – leopard and tiger, hint of 1930s glamour, doll-like make up, black lace, rosy cheeks and floral print evoking Victorian wallpapers – that’s Biba; more than fashion, it is the aesthetic, the mood, the spirit…

And now a few facts. ‘Biba‘ label was started by Barbara Hulanicki, a fashion designer and illustrator born in Warsaw in 1936, who moved to England in 1948 and later studied at Brighton School of Art. The first Biba boutique opened in Abingdon Road, Kensington in September 1964, and its first hit was a brown pinstripe dress. Despite its popularity in times of Swinging London, Biba style couldn’t have been more different to the classic, tailored and structured Mod look worn by Twiggy and The Beatles fans. Barbara’s designs were made specifically for young people, girls in their late teens and early twenties, because, in a typical sixties spirit, she wanted to draw a line between the outfits those girls would wear and the outfits their mothers would.

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Likewise, her store was a place for ‘groovy’ individuals, with loud music and lavishing decadent interior in a boudoir-meets-Art Nouveau-and-Art Deco style. When designing, Barbara drew inspiration from romantic Victorian and Edwardian fashions, as well as the glamour of the 1920s and 30s, particularly when it came to make up, inspiration for which was found in faces of film stars such as Greta Garbo, Louise Brooks, Jean Harlow and Theda Bara. Colours she used were very Autumnal, very much in the Count Dracula-graveyard tea party-Miss Havisham-Ophelia-funeral kind of mood – browns, shiny purples, midnight blues, plum, orchid, mahogany, copper, tobacco, camel, camelia pink, red, amethyst, jade… Dresses themselves were very uncomfortable, made from itchy materials and designed in a way it often made it hard to move your arms! But the sixties gals didn’t really care, as long as they looked like Victorian dolls.

Young girls working there were given a new Biba dress every week, along with their regular pay check, so you can only imagine how cool it must have been working there. Hulanicki described her customers as ‘postwar babies who had been deprived of nourishing protein in childhood and grew up into beautiful skinny people: a designer’s dream. It didn’t take much for them to look outstanding.‘ Biba’s models, such as Maddie Smith and Ingrid Boulting, followed a similar pattern. They were all skinny chicks with doll-like faces; soft round eyes, chubby cheeks, thin eyebrows and beautifully shaped full lips. And the best thing is that Barbara Hulanicki dressed in the same style she created, which I think shows just how passionately she loved the whole aesthetic. She lived her designs, and isn’t that the best advertisement?

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This is the end, dear reader, the end….

Fashion Icons: Marianne Faithfull

15 Sep

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Marianne Faithfull is one of my favourite fashion icons from this series. Her sixties-psychedelia-rock ‘n’ roll look was the first one I tried to emulate when I first got interested in the 1960s fashion and culture. So, a typical Marianne look would include a suede skirt, shirt, thin scarf and boots, or a floral print mini dress with boots. As you’ll see from my collages, she wore lots of different looks, from sequin dresses for her performances, to bell bottom trousers, nun-style black dresses with white collars, paisley shirts, dresses with bishop sleeves etc.

I haven’t read her autobiography yet, but I do like her music, from the simple and innocent mid sixties tunes such as ‘Come and Stay With Me‘ and ‘As Tears Go By’, to her ‘songs of experience’, sung in a husky voice, such as ‘Sister Morphine’ and ‘Working Class Hero’.

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