Everyone has a favourite style decade; mine is the seventies. It had some dodgy things about it, I’ll grant you - The Bay City Rollers, The Mullet and Abba (sorry, loathe Abba) amongst them. But there were some staggeringly, heartbreakingly fabulous things that came out of it too. Unearth the cover of Time, January 11th 1971 and you’ll see what I mean.
Got it? It’s entitled The Return To Romance, and features a painting of Ali McGraw, on the back of her newly released film Love Story. “She doesn’t have to be hungry or an actress,” the journalist coos, “She just has to stand there, and people buy tickets. The clean-boned, finishing-school face, the large, liquid eyes that cannot express doubt, the barely upholstered model’s body, the metallic purr…”
Sigh. What a style icon for the ’70s McGraw became, with that centre parting and those bushy eyebrows and those chocolate-y, saturnine eyes. God-dang did she have it, but then so did a lot of those ’70s chicks. What about Lauren Hutton in her Estee Lauder heyday, with that gap between her teeth and those tantalising, very slight boss-eyes? What about Farrah Fawcett before her hair got too “Mall Rat”? What too of Charlotte Rampling, with those heavy lidded sapphire eyes?
Hutton, Fawcett, Eve Plumb from The Brady Bunch and let’s not forget the late great Karen Black; they all had it in spades. So, in a very English way, did the posh model duo, Rachel Ward and Clio Goldsmith (who later, FYI, married Camilla Parker Bowles’ buccaneering, elephant-loving brother Mark Shand). The uniting factor? It’s hard to quantify. Freckles, possibly and/or an apparent disregard for sun protection. A tomboyishness. But also a naturalness and a confidence, the kind you can’t contrive without feeling it on the inside.