Here, the one and only gen-yoo-wine Mickey Mouse watch. Ingersoll for Timex, vinyl band, $12.95. White cotton gloves, Crescendoe, $4.
Is this possibly the cutest combination of illustration and photography in a fashion spread? I think it might be! In the late 1960s there was a sudden nostalgia for the 1930s (a swing from the forward-looking Space Age modernism of the previous decade), which encompassed not just the fashion but also illustration styles and typography. This influence continued through into the 1970s (you simply need to look through a rack of LP's from those years to vividly see the Art Deco inspiration), but in 1968 it was just coming into the mainstream. This editorial showcases a number of pieces—from day to night, sportswear to cocktail to swim—that all bear a debt to the depression era, and all at an affordable price-point. Just as is done now, these were original vintage designs reworked in modern fabrics (polyester proliferates) and shorter lengths for customers who likely would not have purchased used clothing... And now, almost 50 years later, these 60s-does-30s styles are highly collectible.
Photos by David McCabe and illustrations by Albert Elia for Mademoiselle, June 1968.
These aren't safe clothes. Safe is a little linen nothing. Not a slither of crepe, a jivy, jungly print, a Hollywood-star pantsuit, a floaty, flowery, '30s dance dress. These have sass, spirit, a lot of soul. They're smasheroos, and you wear them for kicks.
Three glorious slithers—all sliced on the boas, all marvelous movers and shakers. (When you move, they move—and that's the point.)
Left, a little cling of black/white Paisley'd rayon crepe pulled to one side and leashed with white beads. Real for Joan Arkin, $40.
Center, a brown and white jersey flip flicked with a scarf. Laura for Joan Arkin, $40.
Right, balloon-bottomed sleeves, a trumpet skirt and—wowee! Laura for Joan Arkin, $35.
Soul-shout here—printshot and wild on cool slithers.
Left: More oomph per inch than summer's seen in years. An explosion of flowers (the jungle beat's almost audible) on a liquid little skim swagged into pleats at one side. It's long fringe-drizzling scarf is wrapped on here like a Theda Bara band. By Mia-Vicki for Joan Arkin, $40. Sandor Goldberger pin. Strappy shoes, Adlib.
Right: A slink that's poetry in motion—ruffles shake up the sides, then hang loose for a while. By Mia-Vicki for Joan Arkin, $35.
Left: Great swagger here. An opulent vest—lushly flowered, wing-collared, rhinestone-belted—dashingly deep on a tuxedo-collared slide of rayon matte jersey. Mia-Vicki for Joan Arkin, $50.
Right: Fantastic birds on a narrow round-necked dress that swings and sways into billowing sleeves, fluttery godet pleats. Laura for Joan Arkin, $40.
Left: You have just stepped down from a shiny new 1938 Packard, first pausing briefly with one spectator-shod foot on the running board. You are striking the classic stance of your era, And wearing these classics: A long drive of a golf skirt, snappered and striped, in navy/white cotton ticking. Navy-blue cotton crepe for the shirt. By Ginori. Delacroix sun-specs. Charles Jourdan spectators.
Right: A playsuit built like a rehearsal outfit and full of Ginger Rogers ginger. In navy-blue knitting peppered with white Os. Betsey Johnson for Paraphernalia.
Left: More Os (and ahs) for a slithery shirt and loose-legged, floppy pants. By Betsey Johnson for Paraphernalia.
Center: To turn a swim into a boop-boop-a-dip, a sassy little maillot, herringbone-striped in red and white. By Darlene.
Right: A high, turtled neck, a back bare as a mermaid's, and jackknives of purple and white. By Darlene.
Summer-siren stuff—or, how to look like a '30s star of stage, screen, and radio. In a flurry of big pink roses—stringy-strapped, clingy-bodiced—whirled over silk chiffon, over a slithery Dacron chiffon underslip. By Betsey Johnson for Paraphernalia. Tall-heeled pink strappies by Bandolinos. Ruby lips via Almay's Now Red Color Moist lipstick.
Left: Somewhere in spirit between Newport and Hollywood, a narrow vest and floppy, cuffed pants, in dapper white Dacron/cotton gab; a tank top that glistens like blue woven cellophane. All, by Ginori. Glasses by Delacroix; bracelet by Vendome.
Right: Cool as a colander - white cotton batiste punched full of holes, sliced into a long, breezy cardigan, a ripple-skirted dress. By Gayle Kirkpatrick.
1. A slither of navy-blue Antron jersey. (Brown scarf not shown.) Stan Herman for Mr. Mort.
2. Tennis-sweatery T and shorts; white Vycron/cotton double knit. By Geist & Geist.
3. Blue-sky dress; double-knit wool. Gene Neil for Leslie Juniors.
4. Polo (gray Enka rayon matte jersey) and pleats (white Arnel sharkskin). Evelyn Sini for Stiletto.
5. Tricolor polo-shirtdress. Crazy Horse.
...They make a Beautiful Scene
The lift of an eyebrow, the hint of a pout, the snuggle of a cheek into a shoulder. What does it all mean? In one old-fashioned word: allure. Sex appeal with a top spin. Kiss me, you fool, and all that. It starts with makeup that makes you a woman of mystery... no, this is not the real you.