That 60s mood you cannot recreate

Yes, there is something about those early-to-mid 60s editorials. Some dewy fresh promise of things to come, an innocence and playful nature that we cannot seem to recreate. What gives this first model that wistful, sad yet powerful look. How does she do it? By the help of the photographer who remains, sadly, unidentified... A lovely editorial from French Elle 1963. Starting with some Dior.

Regard fixe

Yes, a piercing gaze is the best accessory, isn't it? Glorious shot taken by a photographer I haven't heard too much about - Sackmann. You might think that the styling was imperfect since the model's bangs are so uneven - this kind of thing happens to those of us who have a swirl in an unfortunate place - but personally, I think it just adds to the appeal.



A photograph that provides the perfect antidote for the superfocused stare above - Angelica Huston shot by Bob Richardson for Dior. Now, that's chilling.





Gunilla Lindblad wears YSL rive gauche. Pretty smashing...

Beauty secrets of 1966

Angelica Huston as Miss Dior

Angelica Huston as Miss Dior in this editorial by Bob Richardson.


Jewellery by van Cleef and Arpel


Leonard ad featuring, if I read the ad correctly, a dress from the "Geisha" collection. Astonishing considering the Egypt setting.


Palao ad.

Of Goldfish and Ghosts

In this issue of VP stemming from May 1977, we're offered this stunning image featuring, I am quite sure, I most lavishly expensive lipstick and a goldfish. Shot by the inimitable master Bourdin.


Janice Dickinson on the town at the peak of her success.


As today is the day that winter has mercilessly grabbed hold of the country I live, nothing can be more heart warming than an image of the most luscious spring day.


This Dior dress gets some treatment in this editorial. It's ethereal qualities are brought out. It doesn't happen much these days.

Who's that lounging in my furry chair

Why, Grace Coddington of course...here in a skirt by Suedecraft and belt from Gucci.


Grace adorned with a beret from Otto Lucas, handbag from Letizia and apricot lipstick by Dior.


The best stockings ever - black and white nobbly stocking from Adler and the snowflake stockings.


Dazzling yet simple color composition of this cigar for ladies ad. Dress by Jean Allen.

Perfectly sweet

Gorgeous cover of Marie Claire, 1968, featuring a beautiful dress by Jean Patou. This is another side of the 60s than we saw on the runways over the last few weeks - that strict, preppy yet suffering kind of look.



Another deer-in-the-headlights stare.


I believe it's Patou, Dior, Cardin and Ricci.


A most lovely Perrier ad.

I'll be the parcel if you'll be my sorter

Gia on one of those rare (and all too brief) fashion shoots when her James Deam quality was tangible. Bracelets by Robert Lee Morris.


Necklace by Cara Croninger.


Possibly one of the last Dior ads shot by Chris von Wangenheim.


The pirate look of 1981.

Explosive is Your Dior

This famous shot by von Wangenheim for the Dior collection of 1977 makes you clamour for that year, doesn't it? Yearn for the days when artistic genius was something that brands boasted about rather than brushed under the rug for fear of disturbing delicate sensibilities.

Just imagine a young von Wangenheim discussing the ideas for the campaign this image comes from with a major brand today. This would be off the table immediately, of course, for "promoting violence".



This could be Jerry Hall because she does appear in the editorial this comes from. Regardless, this is a beautiful lingerie shot.


Geoffrey Beene ad that has one eagerly awaiting summer. This ad is a text book example of the great aspects of the 70s ads. The image is improbably compelling given the nature of the shades. And this despite the fact that large pores are showing by the model's scalp as well as a most uneven fake tan application. The hair is sweaty-looking and the mascara is somewhat clumped. But does it matter? Not one bit. Is this ad better than all ads published so far 2011? Indeed.


The desert - how can something that looks so good feel so bad....Do not plan this nap in the desert for your next excursion.

Scare the skies with tiger eyes

If I had to pick one ad series that was the best, I would, on most days, pick the Dior make-up ads by Serge Lutens. They were around from 1974 or so until the (very) early 80s. Louise Despointes is said to be the model in most (all?) of them. This is a beautiful example of this ad series. I never saw this in the American magazines of 1977 so chances are that it only ran in the European editions.

For whatever reason it is tradition that beauty advertisements contain nearly no pores at all - as some sort of example of impeccable perfection presumably. These ads are no exception to that philosophy but nonetheless the soul of the person (or what the person was asked to evoke) is captured in the image.



Some 1977 bridal hair complete with flowers in the hair and a frightened appearance.


Easy, breezy 70s lady on the beach in the south of France.



Possibly, just possibly, the most delectable Cacharel ad I have ever laid my eyes on. The embroidery is so lovely.

Eyes stare through the darkness with no form

The kind of forbidding sideways glance that goes so well with a Givenchy coat such as this.



Angelica Huston and Bob Richardson. Lanvin and Feraud are in the credits but it is not clear to me who wears what.


Half-kneeling Angelica Huston on the arm of Wallis Franken. All happening in clear blue Dior.


The sort of perfect yet sensuous photograph that can only have been produced by one photographer. The resonance between the smooth fur lining and her hair, the blending of the dress with the texture of the wall. Not to mention the balance of light and dark. And this work of art that should have a prominent wall dedicated to it in a museum is in fact an unreferenced gem hiding in an old magazine. From what I understand it has drawn very little attention for the last 40 years.

The light that blinds my eyes

A Lack of Black

What are the hits from Couture this season? It was an average season in my opinion, dominated by pastelles and the lack of black. Chanel/Lagerfeld had the theme of "Neon Baroque" and a complete absence of black....while Dior/Galliano did have some black features - such as all important accessories like gloves, whips and hats - but also favoured the delicate 20s creamy hues.

Especially Galliano was criticized for his long lasting embrace with fashions of the distant past, but strangely enough, the more current mood at Givenchy (goth, feathers, liliac) were a bit of a let down, a comfusing mix between fluffy hippie style and a messy goth punk rocker. For me, the romantic beauty of Dior and Chanel were preferable to the goth mess of Givenchy and, quite surprisingly, Valentino.

Frida Gustafsson at Dior



The most prettiest shoes.



Olga Sherer at Dior



Detail at Dior



Out of focus lovely shot of Chanel Iman.




Snejana Onopka at Chanel