Test Your Fashion Eye Answer

Did you see it?  The suit is a navy wool with a bolero jacket over a bias cut midi length skirt, worn with a white silk blouse.  All three pieces are by Stavropoulos.  Nothing wrong there.

The gold tassel belt is by Richelieu and adds a perfect bit of sparkle.  Nothing wrong there either.

Chunky platform shoes by Viner Bros. worn with dark hosiery.  Nope, that's OK.

Gloves by Crescendoe-Superb.  Wait!  Gloves in 1970?  No, no, no, no, no!  Gloves, like hats, had gone completely out of favor by this time, especially with the younger fashion reader that editor Diana Vreeland was appealing to.  They look very out of place with this ultra modern 1970 suit.  Why include them in the photo?  My guess would be that either Vreeland was under pressure to appeal to her more traditional readers from the powers on high at Vogue, or the Crescendoe company required their gloves be used in fashion shoots as part of an agreement to buy ad space in the magazine.  What do you think?

Photo by Bert Stern for Vogue magazine, 1970.

Test Your Fashion Eye - 1970

This image comes from a 1970 issue of Vogue magazine.  When you look at this photo, can you tell what is "off" or "out-of-place" and why?  Answer tomorrow!

Saks Ad - 1970

Here's something I just don't get.  This is a full page ad placed by Saks Fifth Avenue in a 1970 issue of Vogue magazine.  You and I both know how wild and colorful the prints used in clothing were at this time. The ad copy even states, "Liberated spirit. Coloring around-and-around, deep-beaded and braided on pure silk surah."

Why, then, did Saks chose to print this ad in black and white instead of full color?  Yes, the advertising cost would have been higher, but this ad just doesn't convey the dress as it should.  Perhaps 1970 was a time of belt-tightening and cutting costs. I find this a lot in the pages of most fashion magazines from this time period.  Clothing that should be shown in all its colorful glory is disappointingly printed in black and white.  OK, rant over.

I love the way the elaborate beading and braid at the neckline complements the wild print.  There is no designer mentioned, so this is likely by Saks' custom design department. Sophie Gimbel had just retired the year before, so I don't know who designed this beauty. I can tell you that the dress was $130 in 1970 (about $787 in today's dollar) and was worth every penny.

Photo from a Saks ad appearing in Vogue 1970.

Donald Brooks for Sinclair - 1970

Sinclair Mills was a swimsuit manufacturer.  Over the years, they contracted with several big name designers to produce lines of swimwear.  In the early 60s, Tom Brigance worked for them.  Donald Brooks produced designs for Sinclair in the late 1960s and early 70s, and Giorgio Sant'Angelo followed him starting in 1975.

This bikini with matching maxi skirt was designed by Donald Brooks for Sinclair in 1970.  The halter top has very long strings that tie at the back of the neck and then wrap around and around, however you choose.  The maxi skirt can be worn at the waist, the hips, or even over the shoulders when you've had enough sun.  All in black nylon.  Sold for $95 in 1970 (about $571 in today's dollar.)

Photo by Bergstrom for Vogue, 1970.
Model, Lynn Sutherland

Pauline Trigere Dress - 1970

If I had come across this outfit in my travels, I would have dated it to the mid-to-late 70s.  It is my experience that these handkerchief hems and floaty capes are more Disco than Boho.  But I would have been wrong, wrong, wrong.  This full page ad for Nan Duskin that features the Pauline Trigere ensemble is from the spring of 1970.  Still learning after all these years!

 Here's a very similar ensemble by Trigere in the collection of the Met Museum.  This one is dated 1971.

Full page ad for Nan Duskin from Vogue, 1970. Illustration by Duffy.

Nina Ricci Dress and Cape - 1970

The year is 1970 (can you tell?)  This dress and matching cape were designed by Nina Ricci for Vogue Patterns.  This was back in the day when you could find fabulously wonderful fabrics to sew at home with.  Staron made this gorgeous print in both wool (cape) and panne velvet (dress.)  It may be a bit over-the-top for some of you, but I love it!  And if you want to make it yourself, you'll have to keep your eyes out for Vogue Paris Original pattern 2406 from 1970.  There are no copies of it available online right now, but you never know when one will show up!

Renaissance Inspiration, 1970

The fall of 1970 saw fashion inspiration from many sources including the Renaissance.  These three rich, luxurious looks are by Thea Porter.  Velvets, brocades, tapestries.  Embroidery, lace and fur.  All are filling my imagination at the moment as I look forward toward the fall.  Where does your inspiration come from today?

Thea Porter - 1970

This suits my mood today.  Sheer blue silk printed with black butterfly wings.  The long overcoat with voluminous sleeves is caught under the bust with a simple closure.  It then floats free over full palazzo pants.  The shawl hem is edged in metal coins.  Thea Porter, 1970.

Red Swimsuit - 1970

Love, love, love this little red swimsuit.  Fun cut-outs make this a one-piece trying to be two.  And the brass zipper with a large ring pull is pretty darn sexy.  Suit by Silhouette, 1970.

Weekend Eye Candy - Nina Ricci, 1970

Nina Ricci uses layer upon layer of printed silk chiffon for this dramatic look from Spring, 1970.

Weekend Eye Candy - Nina Ricci, 1970

Photographed in Bangkok, this ensemble by Nina Ricci Boutique is just as dramatic as its surroundings. Cream wool crepe is used for a voluminous cape and wide legged pants. Both are worn with a purple silk blouse. From Spring, 1970.

Weekend Eye Candy - Bill Blass, 1970

Bill Blass made some pretty fabulous coats in the 1960s and 70s, but none more fabulous that this one from the fall of 1970. ♥♥♥ The exact coat, without the snakeskin belt is available from The Way We Wore on 1stdibs.com.