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couldn't have been more unpromising, yet there were the
British ladies staunchly parading the British Special Occasion Outfit (Subsection: Race Meetings) – Sling back shoes, wind-torn Bretons clapped onto untidy damp hair, nodding and smiling away under tons of artificial pansies and draped tulle...So now, as millions all over the country are feverishly stitching a million flower petals onto a thousand flowered hats, this is a last plea for self control."
347:– then largely funded by mainstream clothing and textile manufacturers – to remember what she described as "laboratory fashion". She added: "Having spent so much time trying to get designers together with manufacturers I have only just come back to the memory that postwar French haute couture dominance was founded on ideas not dominance. Nobody asked Givenchy to make 600 dozen of a style by March."
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is to buy a waterproof coat that looks just like an ordinary coat, but the fabrics in which these are usually made make them much more suitable for winter than summer. The newest solution to the sun/rain transition is the crystal clear cover up...If you find their faintly ectoplasmic look a little eerie, they share the same quality of melting into the background too."
38:
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highlighted a lack of research into the
Japanese market, adding: "talking to relevant officials in our consulates abroad confirms my gloomy view of too many of our export tactics". Her commentary on the key issues facing designers and manufacturers helped to raise the profile of British fashion and led on to a variety of government initiatives.
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She often brought humour into the fashion pages. Describing the fashion challenge created by the variable
British summer weather in 1966, she recommended the new fashion for transparent plastic macs: "One solution to the problem of finding yourself dressed like a trawler skipper under a cloudless sky
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Glynn was witty, sometimes acerbic, and her critics felt she didn't treat the world of fashion as seriously as she should. It was reported that many people read her pages not because they were interested in clothes but because they enjoyed her commentary. However, her prose was widely respected – it
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In her articles, Glynn frequently reported on the state of the
British fashion industry – sometimes criticising British officialdom for not recognising the value of its brands. Commenting on a British export drive to Tokyo in 1969, in which a variety of British industries were being showcased, she
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Glynn – who was herself married to a peer of the realm – sometimes poked fun at
British tradition. Writing of the perils of dressing for the summer race and garden party season, she described the problem with investing in 'occasion outfits': "Look at the photographs taken at the Derby. The weather
181:, from her former secretary and assistant Sandra Barwick presented a different perspective. Barwick described Glynn as unfailingly kind and generous and added: "She was profoundly bored by the pompous and splendidly contemptuous of received opinion – an unusual characteristic in a fashion editor."
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and she was moved from the role of fashion editor to weekly columnist. In her first column, entitled 'Fourteen years, and positively no regrets', she opened by saying: "Confronted the other day by a heckle to the effect that I had 'wasted 14 years by only writing about hideous clothes costing
200:
Glynn left school and went straight into a job in advertising. Her first foray into the world of fashion was working for the eveningwear house of Frank Usher. From there, she moved into journalism, writing for women's magazines and then becoming fashion editor of
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designers and the rise of high-street brands. She championed new designers and was an influential commentator about the way the industry operated, also holding a number of advisory roles outside journalism.
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During her 15 years presiding over the fashion pages of one of the UK's leading national newspapers, she charted huge changes in the fashion scene as it moved from couture formality to young
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award in 1968 and regarded him as one of the brightest talents the UK had ever produced. Later, she would publicise new budget
Swinging London brands, such as
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ludicrous money for silly women to wear at silly occasions' I naturally took this as a great compliment". In the year before her death, she began writing for
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Prudence Glynn had a series of health problems that affected her later career. She was legally separated from her husband at the time of her death, from a
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Glynn was a vociferous supporter of homegrown fashion talent and promoted many of the new designers emerging in the 1960s. In particular, she supported
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fashion. It was she who recruited Glynn as the paper's first fashion editor. The first page authored by Glynn appeared on 3 May 1966. In 1967, new
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had turned the aspiring model down). Although Glynn considered Twiggy too small for regular fashion features, she did use her for head shots.
267:. Implicit in her brief was to make the paper more attractive to female readers, previously provided with occasional home cooking tips and
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384:(1973–79). She joined the Council for National Academic Awards committee for art and design in 1972 and became a member of the
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the rise of the 'edited' boutique brand, geared to the particular needs and tastes of a clearly identifiable target customer.
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Although she was influential and respected as a fashion commentator, Glynn did not always see eye-to-eye with colleagues at
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officer
Lieutenant-Colonel Rupert Trevor Wallace Glynn and Evelyn Margaret Glynn (née Vernet). She grew up in
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described her as a figure who was "feared and respected rather than loved". A response a few days later in
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Outside journalism, Glynn held a number of advisory roles. She was a member of the council of the
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She believed the future of
British fashion's reputation lay in its emerging talent, urging the
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Glynn – known as Lady
Windlesham in private life – was a formidable character. Her obituary in
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205:. This was part of a new crop of magazines featuring fashion targeting a younger audience. At
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412:(1982). During the 1970s, she appeared in a number of TV programmes about British fashion.
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578:"Lord Windlesham: Government Minister who fell out with Thatcher over 'Death on the Rock'"
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was a standing joke on the paper that her sentences were even longer than those of
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Glynn, Prudence (10 October 1985). "The
Switftness of the eye deceives the nose".
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The Sixties: Cultural Revolution in Britain, France, Italy, and the United States
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Glynn, Prudence (18 July 1985). "Tat and black rags and an abundance of knots".
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Glynn, Prudence (16 October 1980). "Fourteen years, and positively no regrets".
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and author, best known for her long-running role as the first fashion editor of
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602:"Susanne Puddefoot – Pioneering editor of the women's page in the Sixties".
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Prudence Loveday Glynn was the youngest of four children born to retired
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Her influence spread beyond the UK; she secured a rare interview with
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197:, Oxfordshire and was educated at The Downs School, Seaford, Sussex.
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Glynn, Prudence (16 September 1969). "Land of the setting kimono".
707:"Cristobal Balenciaga: most distinguished couturier of his time".
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Glynn, Prudence (3 June 1966). "Dressing down for the occasion".
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Glynn, Prudence (30 March 1971). "Brittania Crosses the Waves".
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Glynn, Prudence (15 July 1975). "Principles and Practice".
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was working to broaden the paper's image and had appointed
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Glynn, Prudence (7 October 1969). "Doing your own thing".
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and from that point Glynn became a known fashion name.
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Glynn, Prudence (27 May 1966). "Is your cover solid".
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152:(22 January 1935 – 24 September 1986), was a British
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Barwick, Sandra (4 October 1986). "Prudence Glynn".
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424:, at St Charles Hospital, Kensington. She was 51.
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491:Pimlott Baker, Anne. "Glynn, Prudence Loveday".
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392:in 1974. From 1981, she was a trustee of the
354:in 1968, the year he shut his couture house.
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388:(1977–1980). She was elected fellow of the
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150:Prudence Loveday Glynn, Baroness Windlesham
548:(2nd ed.). London: Bloomsbury Reder.
495:. Oxford Dictionary of National Biography.
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843:20th-century British non-fiction writers
774:. British Film Institute. Archived from
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606:. No. 42520504. 11 September 2010.
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406:Fashion: Dress in the Twentieth Century
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16:British fashion journalist and author
455:. No. 62573. 26 September 1986.
126:David Hennessy, 3rd Baron Windlesham
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576:Childs, David (5 February 2011).
711:. No. 58436. 25 March 1972.
410:Skin to Skin: Eroticism in Dress
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101:Fashion editor; author
52:Prudence Loveday Glynn
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255:in 1966. Then editor
185:Early life and career
113:Royal Society of Arts
380:(1966–1977) and the
378:Royal College of Art
352:Cristóbal Balenciaga
26:The Right Honourable
30:The Lady Windlesham
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778:on 26 October 2014
451:"Prudence Glynn".
224:Conservative Party
154:fashion journalist
84:Kensington, London
726:. No. 60751.
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408:(1978) and
358:Other roles
318:Ossie Clark
269:Bond Street
228:Anglo-Irish
797:Categories
782:25 October
772:bfi.org.uk
587:25 October
561:25 October
510:|url=
428:References
66:Kensington
58:1935-01-22
724:The Times
709:The Times
694:The Times
679:The Times
664:The Times
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604:The Times
529:The Times
493:oxforddnb
453:The Times
364:The Times
314:Jean Muir
253:The Times
246:The Times
195:Tetsworth
179:The Times
175:The Times
159:The Times
501:cite web
68:, London
281:bylines
275:editor
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211:Twiggy
120:Spouse
115:(1974)
273:Times
216:Queen
136:(
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550:ISBN
514:help
231:peer
191:army
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48:Born
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