Exhibition: Style & Spirit - The Fashion of Chester Weinberg

 As Covid recedes into the past, it becomes possible to visit exhibitions once again.  And as luck would have it, there was a particularly interesting little fashion exhibition at the David Roche Gallery in Adelaide while I was in town.

Left: Dress (Resort 1971).  Right: Evening Dress (Spring/Summer 1968)

Called, "Style & Sprit: the Fashion of Chester Weinberg",  this exhibition followed the career of a once-prominent designer who fell into obscurity after he died of an AIDS related illness in 1985.  However, before his career was cut short he produced glamorous but wearable designs to dress the rich and fashionable of New York.

What We Wore in '74: Hostess Gowns (David Jones, Spring-Summer 1974)

 Hostess gowns.  Worn between the 1930s and the 1970s they were full length gowns for entertaining at home.  Not as formal as full evening dress, these versions from 1974 are fashionably loose and made up in vibrant prints.  The counterculture of the late 1960s has influenced their design—for example, though the catalogue doesn't describe it as such, the dress in the centre of the top picture is clearly a kaftan!

A. An exciting new American print on cool Arnel jersey, styled to a floating A-line empire featuring long front zip, self tie and lots of interest at the back.

B. Glamorous American model copy... the new-look float in breezy Arnel jersey.  All-in-one body and sleeve for a slim, easy fit and featuring contrast trim with ric-rac braid.

C. A fabulous border print and winged cape sleeves make a perfect combination in this flowing design.  Fitted to the waist, with high front neckline and slightly lower back.

What We Wore in '74: Blouses (Simplicity Pattern Book, Spring 1974)

 I spent a lot of time trying to decide what to post in my second-to-last look at the styles of 1974.  In the end I plumped for blouses: a fashion staple in every decade since the 1890s.  Of course these examples come with that special 1970s flair.

Figures 1 and 2 are wrap blouses with a v-shaped neckline and ties fastening at the back.  Versions 3 and 4 are top-stitched blouses with a front slash opening collar.

Pattern 6192 was designed to be made in STRETCH knits only and fasted by a back zip.  Version 1 has long, set-in sleeves, while version 2 is designed with kimono sleeves gathered at the wrist.

If I had to say what these blouses had in common, is that they all skim their wearers' youthfully liberated figures: a very mid-seventies look!

What We Wore in '74: Polyester Double Knits (JCPenney, Spring and Summer 1974)

 Mostly it's the styles that define an era, but sometimes the material they're made of is just as important.  What muslin was to the Regency and "art silk" to the 1920s, polyester double-knit was to the 1970s.  It was stretchy and easy-care—hence it's popularity—but it was also sticky and smelly, unbreathable and uncomfortable.  It went out of fashion after a few years, but meanwhile the shops and mail-order catalogues were filled with a dazzling array of polyester garments.  Like, for example, this selection from JCPenney.

At left: Tailored shirt-style body suit (in polyester double-knit), long sleeveless vest (in polyester double knit), knitted check pants (in polyester double-knit).  Centre: Short sleeve tunic top in polyester double knit.  Kick-pleated pants in polyester double-knit.  Right: Tunic top in 2 sleeves length in polyester double-knit.  Knitted pattern pants, in polyester double-knit.

Groovy Styles in Simplicity Patterns (1960s-1970s)

 I had something completely different lined up for this week—then I stumbled across someone selling vintage patterns out of an old plastic bag at a market stall.  Clearly it was a Sign, and who am I to pass up blog material when it presents itself to me?  It looks like the original owner of the patterns was a fashion-forward young woman, eager to keep up with the latest trends.

First, from 1966:

1966

... Blouses, with a choice of cowl- or turtleneck, either long-sleeved or sleeveless.  The blouses were fastened by a zip up the back.

What We Wore in '74: Hats (David Jones, Spring and Summer 1974)

 Though hats had ceased being everyday wear by the 1970s, they were still available for those who wanted to wear them for a special occasion—at the races, perhaps, or at a wedding, or just adding a final touch to a trendy outfit.  

David Jones, Spring-Summer 1974

A: Be a shady lady in this lacy big brimmed beauty from the East.  Fun on any summer outing. 

B: Pack up your troubles with our packable floppy brim hat from Italy.  Comes up smooth and unruffled every time.

C: The snappy cap for sporty new summer looks.  With a gored crown and small visor.  In navy or red denim.

D: Import scarf hat for cool, collected casual wear.  Spun check cotton, with padded front, elastic back for perfect fit.

E: Romantic Italian natural straw, sporting a bunch of ripe red cherries.

F: A hot day special!  Medium brimmed cotton with gore crown.

Seventies nostalgia is very evident in some of these hats.  The deep crowns and shady brims of hats A, B and E recall the fashions of the late 1920s and early 1930s.

What We Wore in '74: Knitwear (Myer, Winter? 1974)

 Knitted outerwear has been popular since the early years of the twentieth century.  Fashionable styles vary, of course.  This selection from the Myer catalogue of winter 1974 is classic in inspiration, harking back to the interwar years.  The garments are slim and fitted, but not too tight, and the colours favoured are mostly natural or earth-toned.  Ribs and cables are popular, as are contrasting trims around necklines and hems.

As Myer was a relatively upmarket department store, all these knits are made of pure wool.  A less expensive store would have sold similar fashions made of artificial fibres.

PURE WOOL LONG LINES SHAPE YOU — warm knits styled with fine ribs, skinny stripes.  Wear with pants, skirts, all great colours.
A. Notice the interesting collar.  Cream/navy/tan, navy/tan/royal/cream, cream/burgundy/bottle.
B.  The cute cardigan, finely ribbed to flatter.  Cream/navy/tan, navy/tan/cream, brown/royal/cream, cream/burgundy/bottle.
C.  The sweater with contrast trim again, subtle, stunning.  Cream/navy/brown, navy/tan/cream, brown/royal/cream.

THREE CHEERS FOR WOOL — in high spirited colours — team with skirts and pants for winter '74.
A. The shawl collar is back.  Notice the baby cable jacquard front.  Snug fitting.  Red, bottle, natural, brown.
B.  The crew is high, textures play a big role in '74.  Colours more vibrant — red, brown, magnolia.
C.  Double role neckline, the fine rib flatters your shape.  Warm red, brown, magnolia, bottle.

WOOL'S A WINNER — you're a great success.  Vibrant colours livened by ribbing — contrast trims — all part of the great looks for '74.
A.  Knife rib polo, trimmed dashing detail.  Superb fit — shows your shape.  Fabulous brown, red, emerald, magnolia.
B.  Shaped long-line jacket look.  Flat rib flatters.  Heartwarming colours of red, brown, emerald, magnolia.
C.  Slade's crossover V-neck classic.  Triple rib shows your shape.  Brown, red, emerald, magnolia. — stunning.

What We Wore in '74: Brushed Nylon Nightwear (David Jones, Autumn and Winter 1974)

 Anyone who lived through the 1970s probably experienced it: brushed nylon nightwear.  The advertisements told us it was soft (it was) it was warm (it was) and it was light-weight (it was).  What they didn't tell us was how much static electricity it generated.  Rolling over in bed was enough to create a small storm of crackles and sparks.

Until manufacturers worked out that people didn't enjoy sleeping in nightwear that lit up like Dr. Frankenstein's laboratory, designers created brushed nylon nightwear in every style and for every age group.  Here are a couple of "romantic" and a couple of "fun" examples from a David Jones catalogue of 1974. 

Norman Hartnell luxury

Presenting a superb range of leisure and night wear designed by the Royal Couturier himself, Norman Hartnell.  Sheer romantic glamour for your leisure hours at prices that are very affordable.

B. Utterly luxurious long nightgown to wear when you want to look and feel your most beautiful.  In soft, looped brushed nylon with glamour trims of lace and deep button opening: also the waistline at the back for perfect fitting.

C. Generous raglan sleeves are the feature  of this long gown tailored in luxury-look looped brushed nylon.  The waist is shirred and trimmed with fancy lace for extra glamour.  All this beauty is fully washable and so easy-care in feminine colours...

What We Wore in '74: Coats (Myer, Winter? 1974)

 The fashions of the 1970s often inspire mockery (I've made my share of jokes) but these coats are classics. I'd happily wear any of them today.

WOOL WOVEN AND WARM — Lean racy lines, accent on camel.  Trimmed and terrific.  All cut to really swing.

A. Donegal tweed, belted, detailed.  A go-anywhere style in winter's fabulous camel, black brown, green and red. 8 to 16. $60

B. Classic over pants — elegant, comfortable.  Easy-tie belt.  Saddle stitching features.  In camel only. 8 to 18. $60

C. Camel again, flattering double breasted, half-belt back.  Notice the superb cut.  Sizes 8 to 18.  $60.

ALL OURS ALONE BY DOMINEX

What We Wore in '74: Pantsuits (Lana Lobell, Fall 1974)

 If blue denim jeans were the casual wear chosen by young people, polyester pantsuits were the garments of choice for slightly older women.  Though some venues still insisted on women wearing skirts, pants were becoming acceptable in more and more situations.

DRESSES are out, pantsuits are in at the White House, as the Arab oil embargo accomplished what Women's Lib could not.

To conserve fuel, temperatures at the White House, along with other federal buildings, have been lowered to 20 deg. C., so—President Nixon's expressed disdained of women in pants notwithstanding—the dress-up rule has been changed.

The Australian Women's Weekly, 2 January 1974 

NEWEST LOOKS ON TWO LEGS!

1. DOUBLE DOTS PEEK OUT on the cuffs of a solidtone jacket and from a whole shell of them underneath.  Sleeveless shell returns the favor with a sold-color neckline.  Jacket ties with a self belt in front; flare-leg pants pull on with elastic waist.  All polyester doubleknit.

2.  PAJAMA SET pairs a peplum top that ties in front over wide-legged pants that hang loose from an elastic waist... it's today's newest way to dress up!  Fantastically colorful print on a soft matte jersey of acetate-nylon washes beautifully by hand.

What We Wore in '74: Denim Jeans (Winns, Autumn-Winter 1974)

When I wake up in the morning light
I pull on my jeans and I feel all right
I pull my blue jeans on
I pull my old blue jeans on (cha, cha)

David Dundas released this song in 1976, but it's just as appropriate for 1974 (or for that matter, 1978).  For the young, the 1970s was truly the Age of  (Blue) Denim. 

D. Wide denim jeans with banded top, loops, contrast stitching piping on side seams, back-yoke and slanted pockets.  Comes in navy.

B. A splash of embroidery on brushed denim jeans, give a whole new look.  Fly front, slotted waistline, finish the pants line.

In 1974, fashionably cut jeans were relatively high in the waist, fitting tightly from the buttocks to the knees, and from the knees down, flared.  Ideally they were somewhat faded.  Teens and twenty-somethings whose new jeans weren't tight or faded enough often took matters into their own hands and "customised" them by wearing them in the bath until they shrank to fit!

What We Wore in '74: Dresses (Simplicity Pattern Book, Spring 1974)

 Dresses are a staple in women's wardrobes in any era, but each era has its own fashion in dresses.  

The mid-seventies was very much an "in-between" era.  The best word I can use to describe the dresses of 1974 is "moderate": not as short and skimpy as the dresses of the late 1960s and early 1970s, and not as long and baggy as the styles of the late 1970s.  Judging by the pattern illustrations below, hems hovered around or just above the knees, skirts had a slight A-line flare to them, and collars were often used as decorative details.

Misses' Dress

Misses' and Women's Dress in Two Lengths

Misses' Short Dress and Two-Piece Short Dress

Misses' One-Piece Short Dress or Short Two-Piece Dress With Detachable Collar and Cuffs

Misses' Dress

What We Wore in '74: Platforms and Wedges (David Jones, Spring and Summer 1974)

 If you wanted to wear trendy footwear in 1974, platform soles and/or wedge heels were a must.   The photographs below show some fashionable sandals from the summer David Jones catalogue.  Cork and rope seem to have been popular materials for the soles.

Kick up your heels!  The new Miss Jones collection for spring and summer has arrived!  Smacking of the sea with nautical corks and comfy wedges, strappy uppers and breezy open toes.

Sandler have the summer sandal scene all sewn up.  Bright colours that outshine the sun, raised up on fun-loving platforms; a look that's totally young and carefree.

Shoes are one of the most important considerations in your summer wardrobe.  they must be ultra-cool (you know how uncomfortable hot feet are!) yet they must be able to stand up to the rugged wear of summer.

People who remember the era tell me that these shoes were very noisy on uncarpeted floors!  By the end of the decade, however, bulky platforms were "out" and fashion had swung to the opposite extreme, with strappy stilettos being the footwear of choice.

What We Wore In '74: Beachwear (David Jones, Spring and Summer 1974)

 This year I'm going to do a series of posts looking back fifty years to the styles of 1974, an era which seems at once strangely modern and a very long time ago.    And since it's now the Australian summer, what better place to start than looking at what we wore at the beach?

F: You'll have it all wrapped up in this nifty beach wrap.  Drop shoulder style makes for comfort and of course it's styled in Bri-Nylon—what else?

G: Itsy bitsy, teeny weeny bikini.  A little nothing to turn heads on the beach this season.  Elasticised under the bust and back strap.  Fibre filled bra to give shape while still looking natural.  Bri-Nylon.

A: Handy chenille cover-up...

B: Comfortable hip-length cover-up...

C: Cool bias stripes on jersey...

D: Snappy shift to match bikini...

E: Ada jersey bikini.  Fibre filled bra, 3" side brief.  Fully lined...

F: Long-singlet shift in carefree cotton/nylon towelling.  Crisp stripes on white with flattering neckline and silver ring trim.

In spite of the number of "cover-ups" for sale, 1974 was the heyday of the deep, dark, fashionable tan.

Bikinis are front and centre in this catalogue, though a few one-piece swimsuits lurk around the edges.  You'll notice that there are no "string bikinis" for sale.  They had just been introduced in 1974 and were presumably still so new that David Jones didn't have time to include them in their catalogue.  However, The Australian Women's Weekly had things covered (or not so covered), with a pattern for a string bikini included in it's October 30 issue.

Christmas Countdown (Rendezvous de la Mode, Plein Hiver 1973)

 And so we reach the end of our Christmas countdown.   Merry Christmas, everyone!

Lest we think that the 1970s were all polyester pantsuits and denim jeans, here is an evening dress in the grand manner from 1973. It was made by Detlev Albers in Berlin. 

DETLEV ALBERS, BERLIN

Distinguished evening dress with long fringed shawl made of pure silk.

Crimes In Crochet, IV: Fashion Knits 71

 I had something quite different lined up for this week, then I stumbled upon this little gem.  Yes, it's time again to look at the evil that can be wrought by a crochet hook.

The idea behind a lot of these styles appears to be "why wait for the moths to eat holes in your clothes when you can do it yourself?"  

The Fringe of Fashion

Our fashion scene opens with a dashing little crochet vest to wear in many ways.  Crocheted in shimmering white, we dressed it romantically in a gay peasant mood.

Pretty In Pastel

Fine crochet makes this graceful blouse.  Lace patterning in the delicate texture of 2-ply, with full sleeves, demure cuffs and collar, and tiny pearl buttons to add a delightfully feminine finishing touch.

"Demure", except you can see the model's underwear through it.

Nothing is better for lounging by the pool than a bright orange poncho crocheted in an unbreathable synthetic yarn.*

Crochet Cover-up Looks

Seen at the Yacht Club in these striking crochet cover-ups for after swim or sailing.  Brilliant orange for the gaily fringed poncho, or apricot striped with white for the jaunty cardigan-tunic.

 (*I checked.  The poncho is made in Courtelle.)

And lastly, what would a 70s fashion spread be without a crocheted pants suit?  This one is aerated to catch those summer breezes.

The Crochet Trend for Trouser Suits

Two of fashion's top moods — the trouser suit and crochet combine in this striking outfit to turn all heads on the casual scene.  Easy-to-wear tunic top has a cord tie and pretty picot edges match the trousers.

Being a product of the 1970s. this magazine also has some quite—ahem!—interesting knitting patterns as well.  But that will be a subject for another post...

His and Hers (Avon Catalog, Holiday 1976)

 Did you know that Avon sells clothes as well as makeup?  Me neither—until I found this Avon clothes catalogue from the 1976 Holiday season.

As in many of the catalogues of this era, Avon has a section for His and Hers Fashions, illustrated by photographs of couples wearing matching outfits.  Well, it's true that nothing says True Love more than dressing like your honey... and I admit I was only a kid in the seventies, but I never saw a couple dressed like this in reality.   "His and Hers" was probably a marketing ploy, though the clothes were real enough.

To start we have a couple dressed in "The 20th-Century Shirt"

...a screen-print futuristic fashion, uniquely engineered to flatter every size.... Two different contemporary scenes front and back in 100% Enkalure® nylon that's cool and comfortable to wear

with "Natural Colored Prewash Canvas Jeans with Braided Belt".

Our next couple are hanging out in "His or Her Striped Shirt[s]" and "His and Her Dress-Up Jeans" of "polyester and cotton... special brushed sateen finish... The legs are fashionably flared".

  

Care for a spot of archery?  This couple have decided to hit the target wearing matching knit shirts with denim trim and "His and Her Striper Jeans"

...in brushed cotton denim.  Side panels with narrow strips that are worked horizontally inside the panels.  Results?  A slender silhouette, a great fashion maker.  Match them with our his/hers denim trimmed shirts and you've got an unbeatable "boutique" look outfit.

"Performance Minded His and Her Separates" for riding—or at least petting a horse.  This couple is wearing "British Army Shirt[s]" in cotton and polyester with shoulder and sleeve epaulets.  Below they are wearing "His and Her Wrangler® Jeans" with straight legs in 100% cotton, indigo dyed, prewashed denim.  Lastly, their boots are "His and Hers Genuine Leather Boots by Dingo".

Interestingly, "She" is wearing a turtleneck underneath her British Army Shirt, while "He" has his undone to reveal his manly chest hair and his 1970s gold medallion!

Jumpsuits, 1970 Style (Lana Lobell, Holiday 1970

 A while ago I wrote a post about Lana Lobell's jumpsuits from 1979.  Recently, flicking through another Lana Lobell catalogue from the beginning of the decade, I discovered—yes!—more jumpsuits.  Made of acetate rather than polyester, and sporting wide, wide legs and funky zips, these jumpsuits are groovy garments from the pre-disco era.

But why waste time writing about them, when I can share the fantastic images and the zowie-wowie! prose from "Lana Lobell" itself? 

On the right in Acetate knit:

LICORICE-SLICKED ZIPPER taking the diagonal route to flattery on one of the most extraordinary jumpsuits we've seen all year!  One dazzling fashion leap from the jet-buttoned stand-up collar to the widest longest legs...

A GOLDEN-GLOW JUMPSUIT of beauty-bonded Acetate Metallic—nothing's more exciting, more glamorous!  Coachman shaped with generous collar and doubled buttons—one truly spectacular line way down to those wider-than-wide legs—incredible flattery from top to toe!

More Acetate—this time Acetate Jersey knit:

SNAKY SLIMLINER lining up all your assets from the convertible turtle-or-wing collar to the superb front zip to that luscious leg action below!

More Acetate Knits:

JUMP FOR JOY—this is the jumpsuit of the year.  Two shape-making contrast zippers sleeked from legs to that great 70's collar, creating a look that's totally new, totally exciting, totally flattering!

(Zips seem to be a theme for 1970, rating a special mention in three out five jumpsuits in this catalogue!)

Finally, for party-going, in sparkling Acetate Metallic:

MOONGLOW GLITTER in a truly mind-stopping jumpsuit!  V'd above, elastic cuffed at blowy long sleeves—its elastic-shirred waistline defining yours as never before! 

Whatever Happened to Winns? (1960s-1970s)

Though the State Library of New South Wales' online collection of Winns catalogues stops in 1955, the store (and the Library's collection of catalogues in hard copy) continued into the late 1970s.  Fortunately, I own a few Winns catalogues from the 1960s and 1970s, so let's take a quick look at the fashions Winns was retailing and find out what happened to the store.

First, from the beginning of the 1960s, two summer frocks, pretty and conventional.

Spring-Summer 1960

 

Left: SATIN COTTON DRESS.  Full circle skirt and new wide belt.  Low neckline at back.  Colours: green peonies, blue peonies or red.

Right: NINNETTE OF MELBOURNE.  Poplin shirtmaker with contrasting striped cummerbund.  In pastels French blue, French pink, beige or in lime.

Autumn-Winter 1967

By the middle of the decade things were looking decidely more "mod", even  in the mainstream.

Left: Smart Coat Dress—the new Style Setter!  Worn with confidence by all age groups from sixteen to sixty.  Double breasted step-in style.  Prince of Wales check, emphasised with black covered buttons.

Right: Streamlined skimmer frock in 100% Pure Wool.  Shaped with artful seaming and highlighted with check collar and button trim.  Long back zip. 

 

Spring-Summer 1967

 In Spring-Summer 1967 Winns offers loose-fitting dresses with "Abstract colouring blocked out like sunshine..."

At left: Caftan with the glamour of the East.  An "all occasion" shift shape.  Set-in sleeves with wide cuffs worn turned up or down.  Mod-art design, vibrant with colour focused on flame pinks, gay greens or brilliant blues.

Centre: Linen-like cotton shift with striking bursts of colour.  Square neck—lower at back.  Multi floral design on harmonising grounds with tans, lemons or greens predominating.

Right: Screen printed satin cotton.  Sleeveless caftan style.  Crew neckband finishes with bow at back opening.  Colour unlimited with emphasis on glowing pinks, orange and blues.

In 1968 The Bulletin ran a long-ish article on Winns as a business—which was apparently thriving:

For a long time Winns has be considered a conservative, sleepy, family company which has quietly made enough profit to provide a good income for the Winn family.  Actually, this is another of the sharemarket myths which get asserted as solid fact after they have been floating around for a while...

Apart from activities in retail stores, Winns is operating a highly profitable mail-order business with thousands of customers throughout Australia and the Pacific Islands.  In the mail-order business Winns is one of the top two in Australia has the distinction of being the largest user of  the Post Office's parcel post facility.  Twice yearly (end of February and beginning of August) the company mails out an 80-page catalogue containing 1200 different products in a size and colour range which lifts the contents to just under 30,000 items.  The use of six punched-tape accounting machines feeding a data-processing installation ensures ensures peak efficiency in mail-order business.

The Bulletin, 9 November 1968

It almost sounds like the Amazon of its era!

Spring-Summer 1969

Winns goes groovy in 1969.  These garments are covered in stylised daisies (a trend begun by Mary Quant) but they're a far cry from the floral frock of earlier decades!

Left: New party-going hostess culottes to help you swing through summer evenings, have their own built-in bra!  They're the ideal way to keep it casual—with flair!  Cool and oh-so-comfortable, they're going to be the favourite of your summer wardrobe.

Right: This pretty playsuit is just made for you to go sailing, sunning and partying in... go to beaches, barbeques, or just laze around looking great!  No excuses now!  You can't help being the hit of the season when you're all matched up so perfectly.

In 1971 Winns was still very profitable, and considered ripe for a takeover bid.  And on the cover of its Spring-Summer catalogue of 1972 it offered the fashions below:

Spring-Summer 1972

Left: Easy care Treilon Frock.  The low set pleated skirt and cool V-neckline finished with a smart scarf gives this frock a very youthful look.

Right: Pants Suit.  The blazer jacket puts you among the best dressed of the season.  This smartly cut style may be allied with white or navy slacks making it the perfect co-ordinating outfit.  Made in fully washable pique and "Crimplene".

Autumn-Winter 1974

Left: The plush velveteen suit has embroidered trim on shoulder and Self buttons on jacket.

Centre: Now... the look of luxury in imitation Ponyhide.  Has rich fur-like trim.

Right: Sweet Velveteen with old-world lace frill front and elasticised blousy sleeves.

Notice the short skirts!  Miniskirts remained popular in Australia (at least at the lower end of the market) long after they'd gone out of fashion elsewhere.

Meanwhile, in spite of "the look of luxury" the economy was hitting a rough patch.  "Stagflation" was making its mark, postwar prosperity was winding down, and for the first time since the war Winns addressed its customers like this:

Dear Mail Order Customer,

As you are undoubtedly aware, world wide shortages of raw materials have resulted in severe shortages in manufactured goods.  To avoid disappointment we suggest you order early, this applies particularly to apparel where a second choice should be nominated.

By 1978, Winns owed money everywhere—including $160,000 for the printing of its catalogues!  Winns' creditors agreed to let it try and trade its way out of its difficulties, but in September 1979 the firm went into receivership.

I'll conclude this entry with one last story combining fashion with finance.

ANOTHER sidelight on the amazing Alfred Y. Zion, the Melbourne businessman who has gone abroad leaving a lot of his creditors wondering when they might see something out of $8-million odd owing.

Among many of his unfortunate experiences in the business world was his takeover battle for the losing Sydney retailer Winns Ltd now in receivership.

In an effort to help the embattled staff at this down-market women's fashion group, he sent a container load of frocks up for stock.

But when the box was opened, even the Winns buyers were appalled—they were out of season, out of fashion, out of this world.

The lid was quickly put back on the container and back to Zion in Melbourne it went.  Zion sent it up a second time and again it was returned.  the unwanted consignment was laid to rest in a warehouse and an unfortunate fire later consumed the lot.

The Bulletin, 18 September 1979

"Dressing Up For South East Asia" (Sydney Morning Herald, March 20, 1978)

 Sometimes blog fodder just falls into your lap—in this case literally, when I opened a book and a news clipping someone had cut out over 42 years ago fluttered out.  It's a little snapshot of late seventies fashion at its best.  These fabulous designs seem to be a far cry from the polyester and disco fashions of popular memory!

The team that will fly off soon to dazzle the East with our Couture fashion: left to right, producer Brian Hawes, model Zorica, co-ordinator Julie Bolton, models Di Parkinson, Petrina Devlin, Alan Lewis, Denise Austin; front row, models Rakanne, Steve Trgo and Dianna Gray.

By Mary Wilkinson
Fashion Editor

ONE of the most ambitious attempts to put Australian fashion on the South-East Asian map takes place in a few weeks.

For the first time, audiences in Hong Kong, Singapore, Kuala Lumpur and Jakarta will have a chance to see couture-level clothes by designers such as Mel Clifford, Hall Ludlow and Indonesian-born Goet Poespa, now living in Sydney.

Couture furs by Berhard Hammerman and special designs by Carla Zampattia and George Gross will also be show.

Emphasis will be on elegance and there won't be a bikini in sight (though Speedo have provided some stylish one-piece swimsuits).

"I am not taking a skin show," said co-ordinator Julie Bolton, who has been working on the project for many months.  "It is a haute couture fashion show."

A jungle riot of blue, green and red birds on swirling cream georgette in this John Kaldor fabric, styled by Mel Clifford into a full floating cape over handkerchief-point top and long skirt.

It will be a "welcome back" for Mel Clifford, who recently returned to designing under his own label after working for a Double Bay boutique.

He has certainly come a long way from the young boy in Echuca, 250km from Melbourne, who left his job in a bank after seeing his first ballet from a touring company.

Mel trained as a dancer in Adelaide and won a scholarship for further study in England, where he joined the London Festival Ballet.

He was with the company for nine years, and after his return home in 1966 he started designing opera and ballet costumes for the Elizabethan Trust.

However, there is little trace of a theatrical background in his couture work; all is simple, subtle and restrained.

One of the Mel Clifford Designs to be shown in Asia; pure white double georgette, bare backed, superbly cut in a John Kaldor fabric.

Sydneysiders will have a chance to see the collection before it wings off on April 9.

A gala preview will be held at the Hilton Hotel on Monday and proceeds will aid the Australian Opera Auditions Committee (NSW).