![]() ![]() He used inexpensive synthetics such as PVC and stretch fabrics, as well as furs and lace, to fill the capsule wardrobe head to toe, from a beret appliqued with a bullseye target to striped tights, added trouser suits – then fairly new for women – and above-the-knee skirts, cut away the shell of the fighting suit and popped a soft blouse beneath. John Bates came up with a strong theme for Emma Peel’s outfits – mostly black-and-white graphics to capitalise on the monochrome filming and the fashion for op art. Bates had a label, Jean Varon, for the same sort of customer base, and in four days he came up with a strong theme for Emma Peel – mostly black-and-white graphics to capitalise on the monochrome filming and the current chic of op art.ĭiana Rigg as Emma Peel with Patrick Macnee as John Steed in The Avengers, 1965. Muir accepted, but could not meet the show’s deadline. She recommended Jean Muir, whose label, Jane & Jane, was popular among well-off young people for its cleverly cut dresses. Anne Trehearne, then fashion editor of the glossy magazine Queen, was urgently called in for a restyle. The casting choice was Rigg, a decade younger, and also taller, rangier and larkier, than Blackman.Īll those involved realised that the costume design, even the leathers, had lost their edge in the 18 months between series, and felt dangerously genteel. ![]() Male television executives were more excited by the leathers, and when in 1965 the show’s parent company, ABC TV, proposed to shoot a new series not in grey video but in black-and-white film, for distribution in the US, its buyers insisted that Blackman’s replacement should retain them. Female viewers responded to the beat outfits, and a few copies were tentatively marketed.
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