The inimitable style of Mick Jagger
From the sharp suits of the early ‘60s to the glam sequins of the 50 and Counting tour – Katya Foreman sorts through the wardrobe of a fashion icon.


Jewel in the crown
For the Stones' much-praised appearance at Glastonbury on Saturday, Jagger sported a bold emerald and gold sequined tuxedo jacket, among several outfit changes.

Recent shots of a craggy Mick Jagger performing in a graphic-print black and white jacket with matching Stephen Jones trilby call to mind a 1963 portrait of The Rolling Stones. Dressed in clean cut hounds-tooth suits, all bowl cuts and Chelsea boots, the photo was taken by Philip Townsend during the group’s blues-band incarnation. Sartorially speaking, much has changed since then for the Stones, who marked half a century in the music business by headlining the Pyramid Stage at Glastonbury on Saturday. “Can’t wait to play Glastonbury,” Jagger tweeted in the days leading up to the gig. “I have my wellies and my yurt!” Rubber boots and canvas hardly evoke images of Jumpin’ Jack Flash – but then again it’s best to be equipped.

When they first emerged in the 1960s, The Stones were pitched as Byronic bad boys to the ‘clean-cut’ Beatles (in truth, their off-stage appetites and excesses were not dissimilar). Regarding frontman Jagger, it was his compelling combo of pouty lips, distinctive vocals and post-Presley gyrating that drew the eye, his style evolving through the decade from sharply tailored suits – most likely inspired by his Mod-like bandmate Brian Jones – to flowing flares, billowing blouses and spiritual ensembles. The Swinging Sixties saw Jagger enter a foppish, dandy phase, sporting top hats, scarves, jewellery, ruffled shirts and velvet coats. This almost androgynous look, with its Sun King flamboyance, pooh-poohed the priggish, masculine codes of the establishment. Combining camp with cockiness, Jagger’s aesthetic was at once virile and feminine, much like fellow rock star Jimi Hendrix and, in later decades, Prince.

The middle-class singer always had natural panache, working as hard on his wardrobe as his ‘mockney’ accent. He commissioned a number of suits from Savile Row-revamper Tommy Nutter, who dressed him for his wedding to model Bianca Pérez-Mora Macías in 1971. Indeed, one iconic image of Jagger, taken by Richard Hamilton following the infamous 1967 Redlands drug bust, has him handcuffed yet dressed impeccably in a peak-lapelled green velvet jacket with striped tie. (Faithfull reportedly wore just a fur rug.) Another sees him, two years later, in a gender-bending white poet’s robe at the free Stones in the Park concert, during which he quoted from Shelley’s elegy to Keats in tribute to the recently deceased Jones – found drowned in his swimming pool just 48 hours earlier. Hundreds of cabbage white butterflies were released in Hyde Park after the reading.

Jagger and Faithfull, Jones and actress girlfriend Anita Pallenberg were Pied Pipers of their age, with slavish followers of fashion aping their looks – long coats and dresses, fitted-but-flared velvet suits, printed shirts and suede boots – by scouring boutiques on the King’s Road, Carnaby Street and Kensington Market. The primped and preening Jagger was one of the frontrunners said to have inspired Carly Simon’s 1973 hit ‘You’re So Vain’ – although his backing vocals indicate he wouldn’t have taken such an accusation as any kind of slight. For while he got off on appearing ambisexual – he and gay ballet dancer Rudolph Nureyev could have been twins, and mixed together socially – his heterosexuality was rarely in doubt, due to a penchant for being seen with catwalk queens. In addition to Faithfull and Pérez-Mora Macías there was Chrissie Shrimpton, Marsha Hunt and Jerry Hall, whose relationship with Jagger lasted a remarkable 21 years – until lingerie model Luciana Gimenez gave birth to his seventh child.Recent shots of a craggy Mick Jagger performing in a graphic-print black and white jacket with matching Stephen Jones trilby call to mind a 1963 portrait of The Rolling Stones. Dressed in clean cut hounds-tooth suits, all bowl cuts and Chelsea boots, the photo was taken by Philip Townsend during the group’s blues-band incarnation. Sartorially speaking, much has changed since then for the Stones, who marked half a century in the music business by headlining the Pyramid Stage at Glastonbury on Saturday. “Can’t wait to play Glastonbury,” Jagger tweeted in the days leading up to the gig. “I have my wellies and my yurt!” Rubber boots and canvas hardly evoke images of Jumpin’ Jack Flash – but then again it’s best to be equipped.

When they first emerged in the 1960s, The Stones were pitched as Byronic bad boys to the ‘clean-cut’ Beatles (in truth, their off-stage appetites and excesses were not dissimilar). Regarding frontman Jagger, it was his compelling combo of pouty lips, distinctive vocals and post-Presley gyrating that drew the eye, his style evolving through the decade from sharply tailored suits – most likely inspired by his Mod-like bandmate Brian Jones – to flowing flares, billowing blouses and spiritual ensembles. The Swinging Sixties saw Jagger enter a foppish, dandy phase, sporting top hats, scarves, jewellery, ruffled shirts and velvet coats. This almost androgynous look, with its Sun King flamboyance, pooh-poohed the priggish, masculine codes of the establishment. Combining camp with cockiness, Jagger’s aesthetic was at once virile and feminine, much like fellow rock star Jimi Hendrix and, in later decades, Prince.

The middle-class singer always had natural panache, working as hard on his wardrobe as his ‘mockney’ accent. He commissioned a number of suits from Savile Row-revamper Tommy Nutter, who dressed him for his wedding to model Bianca Pérez-Mora Macías in 1971. Indeed, one iconic image of Jagger, taken by Richard Hamilton following the infamous 1967 Redlands drug bust, has him handcuffed yet dressed impeccably in a peak-lapelled green velvet jacket with striped tie. (Faithfull reportedly wore just a fur rug.) Another sees him, two years later, in a gender-bending white poet’s robe at the free Stones in the Park concert, during which he quoted from Shelley’s elegy to Keats in tribute to the recently deceased Jones – found drowned in his swimming pool just 48 hours earlier. Hundreds of cabbage white butterflies were released in Hyde Park after the reading.

Jagger and Faithfull, Jones and actress girlfriend Anita Pallenberg were Pied Pipers of their age, with slavish followers of fashion aping their looks – long coats and dresses, fitted-but-flared velvet suits, printed shirts and suede boots – by scouring boutiques on the King’s Road, Carnaby Street and Kensington Market. The primped and preening Jagger was one of the frontrunners said to have inspired Carly Simon’s 1973 hit ‘You’re So Vain’ – although his backing vocals indicate he wouldn’t have taken such an accusation as any kind of slight. For while he got off on appearing ambisexual – he and gay ballet dancer Rudolph Nureyev could have been twins, and mixed together socially – his heterosexuality was rarely in doubt, due to a penchant for being seen with catwalk queens. In addition to Faithfull and Pérez-Mora Macías there was Chrissie Shrimpton, Marsha Hunt and Jerry Hall, whose relationship with Jagger lasted a remarkable 21 years – until lingerie model Luciana Gimenez gave birth to his seventh child.vRecent shots of a craggy Mick Jagger performing in a graphic-print black and white jacket with matching Stephen Jones trilby call to mind a 1963 portrait of The Rolling Stones. Dressed in clean cut hounds-tooth suits, all bowl cuts and Chelsea boots, the photo was taken by Philip Townsend during the group’s blues-band incarnation. Sartorially speaking, much has changed since then for the Stones, who marked half a century in the music business by headlining the Pyramid Stage at Glastonbury on Saturday. “Can’t wait to play Glastonbury,” Jagger tweeted in the days leading up to the gig. “I have my wellies and my yurt!” Rubber boots and canvas hardly evoke images of Jumpin’ Jack Flash – but then again it’s best to be equipped.

When they first emerged in the 1960s, The Stones were pitched as Byronic bad boys to the ‘clean-cut’ Beatles (in truth, their off-stage appetites and excesses were not dissimilar). Regarding frontman Jagger, it was his compelling combo of pouty lips, distinctive vocals and post-Presley gyrating that drew the eye, his style evolving through the decade from sharply tailored suits – most likely inspired by his Mod-like bandmate Brian Jones – to flowing flares, billowing blouses and spiritual ensembles. The Swinging Sixties saw Jagger enter a foppish, dandy phase, sporting top hats, scarves, jewellery, ruffled shirts and velvet coats. This almost androgynous look, with its Sun King flamboyance, pooh-poohed the priggish, masculine codes of the establishment. Combining camp with cockiness, Jagger’s aesthetic was at once virile and feminine, much like fellow rock star Jimi Hendrix and, in later decades, Prince.

The middle-class singer always had natural panache, working as hard on his wardrobe as his ‘mockney’ accent. He commissioned a number of suits from Savile Row-revamper Tommy Nutter, who dressed him for his wedding to model Bianca Pérez-Mora Macías in 1971. Indeed, one iconic image of Jagger, taken by Richard Hamilton following the infamous 1967 Redlands drug bust, has him handcuffed yet dressed impeccably in a peak-lapelled green velvet jacket with striped tie. (Faithfull reportedly wore just a fur rug.) Another sees him, two years later, in a gender-bending white poet’s robe at the free Stones in the Park concert, during which he quoted from Shelley’s elegy to Keats in tribute to the recently deceased Jones – found drowned in his swimming pool just 48 hours earlier. Hundreds of cabbage white butterflies were released in Hyde Park after the reading.

Jagger and Faithfull, Jones and actress girlfriend Anita Pallenberg were Pied Pipers of their age, with slavish followers of fashion aping their looks – long coats and dresses, fitted-but-flared velvet suits, printed shirts and suede boots – by scouring boutiques on the King’s Road, Carnaby Street and Kensington Market. The primped and preening Jagger was one of the frontrunners said to have inspired Carly Simon’s 1973 hit ‘You’re So Vain’ – although his backing vocals indicate he wouldn’t have taken such an accusation as any kind of slight. For while he got off on appearing ambisexual – he and gay ballet dancer Rudolph Nureyev could have been twins, and mixed together socially – his heterosexuality was rarely in doubt, due to a penchant for being seen with catwalk queens. In addition to Faithfull and Pérez-Mora Macías there was Chrissie Shrimpton, Marsha Hunt and Jerry Hall, whose relationship with Jagger lasted a remarkable 21 years – until lingerie model Luciana Gimenez gave birth to his seventh child.

Smart casual

For Glastonbury, his stage attire will have been planned with input from current partner L’Wren Scott, an American fashion designer whose studio just happens to be on the King’s Road. Marrying casual and glam elements, in line with Jagger’s getup thus far for The Stones’ 50 & Counting world tour, his main look paired a bold emerald and gold sequined tux jacket with custom super-lightweight and stretchy black J Brand denim – all the better to strut in.

As the godfather of the skinny jean, the singer has always favoured slinky looks cut to flatter his athletic, rail-thin physique. Where songwriting (and sometime sparring) partner Keith Richard happily maintains a hellraiser reputation, Jagger is now more renowned for his fitness and clean-living ways. As he prepares to turn 70 in July, he’s reportedly a voracious vitamin popper who, when not touring, likes to be in bed by the distinctly un-rock’n’roll hour of 11pm. His beauty regime is said to include superjuice smoothies, oxygen treatments and lashings of Crème de la Mer skin cream. To this end, Jagger seems to have found a soul mate in Scott, once described by The New York Times as having a “sense of discipline that would rival a headmistress”.

Jagger also likes to tailor his costumes to their context. “When you’re on stage [the costumes] have to fit, and they have to be – for me – glamorous,” he told Women’s Wear Daily prior to the kick-off of the 50 & Counting tour in November. “They have to fit in with the show. If you’re doing a small club, like we did the other week [two secret club gigs in Paris], you don’t want to dress up like a popinjay. If you’re playing in a really big stadium, you want to be in super-bright colours, otherwise you just get lost. But if you’re in an arena that’s really well-lit, like we’re going to be in the next few shows, you don’t have to be Day-Glo.” He now limits costume changes to tops, swapping a purple silk shirt for a cropped glitter jacket atop a sparkly black shirt or a silver python-skin jacket and matching tie. While delivering a hint of glitz for the all-ages crowd, it’s tame compared to the chest-baring, rhinestoned glam-rock Ossie Clark jumpsuits of yore.

Style aside, comfort is now a key consideration for Jagger. L’Wren Scott introduced him to cult designer Rick Owens’ soft, near-weightless t-shirts and he also favours springy black Nike Air Max shoes which, with their raised wedge heels, help close the five-inch height gap with his 6ft 3in (1.9m) partner. It perhaps explains why he now wears those trainers everywhere – including red-carpet events, where they’re paired with a bespoke suit by Scott or Timothy Everest, and a white shirt. Neither dress-code nor age appropriate, they’re a cheeky nod to his inner rebel but maybe put paid to the kind of endorsements that have been coming Richards’ way. Recently tapped to star in Louis Vuitton’s ‘core values’ campaign, alongside Mikhail Gorbachev and Angelina Jolie, the guitarist is wearing Saint Laurent on tour – a collection of bespoke accessories and shirts by designer Hedi Slimane.

As the frontman of the world’s most enduring rock band, Jagger has seen his influence echo through generations; One Direction’s Harry Styles now carries his libidinous mantle (and messy coiff) but as yet demonstrates little of his creative brilliance, while endless groups have aped The Stones’ sound, style and debauchery with varying levels of success. Yet put him in a crowd at cricket match (he’s an avid fan) in casual-chic civilian mode and you’d have a hard time identifying him. If anything, it’s that open-mouthed pout – inherited by cover-girl daughters Elizabeth and Georgia May – that has the strongest resonance, as the inspiration for a design-classic logo that will surely outlast even The Stones themselves. Style is hardwired into Jagger’s DNA.

[www.bbc.com]



Edited 1 time(s). Last edit at 2013-07-03 17:14 by proudmary.

i find it quite odd that they wear "trainers"

every designer brand that has a shoe licensing agreement, or a shoe division, offers "trainers" or sneaker groups. They've become essential. Having said that...look at photos from 78 and you'll see RW wearing Adiddas or Pumas on stage....I don't know if he was prescient....this "trend" didn't really take off as a staple until Hip Hop really took it to another level before it then hit critical mass and was offered with men's suits in a commercial way in the last decade. Now designer trainers are everywhere...RW even tweets his new kicks before shows...

Mick Jagger's white dress cast him as a romantic hero
The white dress Mick Jagger wore for the 1969 Rolling Stones' Hyde Park concert epitomised the swinging Sixties, says Mick Brown.


King of the Peacocks: Mick Jagger in the white outfit designed by Michael Fish at the 1969 Hyde Park concert. Photo: Rex Features

Is there a single item of clothing more redolent of the spirit of the Sixties – the madness, the exhilaration, the zeitgeist – than the dress that Mick Jagger wore at the Rolling Stones free concert on July 5th, 1969?
I call it a dress, because that’s how it has gone down in history. As we shall see, that’s not quite right. But first let us picture the scene.
It is a warm summer’s day, and some 250,000 people have assembled in Hyde Park to see the Stones perform their first concert in two years. A celebration then. But wait. Brian Jones, the group’s founder, has died two days earlier, in the swimming pool at his country retreat Cotchford Park – the house where AA Milne had written Winnie The Pooh. So also a wake.
In search of a fitting requiem for his departed friend, Jagger has settled on selected verses from Percy Bysshe Shelley’s poem Adonais. ‘Peace, peace! he is not dead, he doth not sleep,’ Jagger’s voice carries over the heads of the rapt, tearful (and, in most cases, one suspects, very stoned crowd) ‘He hath awaken’d from the dream of life’.
Beside him boxes containing some white 2,500 butterflies are thrown open. A few flutter upwards towards heaven. Most are already there, having suffocated during their long confinement. ‘There were casualties’, Charlie Watts would later note sadly. ‘It was like the Somme.’

But what is Jagger WEARING?
It is a smock: white voile, with ‘bishop’s sleeves’, ruffled at the wrists, a ruffled neck and a bow-laced front. You might call it a ‘poet’s blouse’. So not really a dress at all then.
The outfit was the creation of Michael Fish, who at the time was the most fashionable shirtmaker in London, the inventor of ‘the Kipper tie’, and a principal tastemaker of ‘the Peacock revolution’ in men’s fashion. A working-class boy from Essex, Fish served his apprenticeship on Jermyn Street, working at the staunchly traditionalist shirtmakers Turnbull and Asser before opening his own boutique, Mr Fish, in Clifford Street in 1966.
Fish embraced, indeed came to define, the dandyism of the period: his clothes were richly ornate confections in velvet, silk and satin, garlanded with bows, ruffles and furbelows, and sold at appropriately luxurious prices: up to 20 guineas for a shirt: (£205 in today’s money); 35 guineas for a jacket; 100 guineas for a suit. Labelling his clothes ‘Peculiar to Mr Fish’, he sold to the galerie of actors, aristos and musicians who constituted the more moneyed end of ‘Swinging London’: Peter Sellers, Terence Stamp, Sammy Davis Jnr and David Bailey were among his customers.

Fish was a charming and gregarious figure with a winning line in flannel and patter. Yes, his clothes – and his prices – were elitist, he admitted. ‘But Jesus Christ had only twelve disciples and one of them was doubting Thomas.’ Pop and film stars might queue at his counter, but naming names was ‘not my bag. I loathe vulgarity. I think I have a certain humble kind of chic and chic is something rather special.’ Even before Mick Jagger, Fish had bravely struck out into the waters of sexually ambiguous fashion by posing for ‘Queen’ magazine wearing a ‘male dress’ with a gold paisley jacket, knee socks and buckled shoes.
In 1969, Fish happened to be on holiday in Greece, where he was much taken by the fustanelle, the traditional skirt-like costume worn by the soldiers of the Presidential Guard. Returning to London, he fashioned a similar outfit for his own range – a three-piece outfit comprising trousers, a flounced tunic and a waistcoat, in a fetching white voile. He also made one in purple.

The outfit was modelled at a charity fashion show at the London Planetarium. Patrick Lichfield, the Queen’s cousin, was supposed to be the model but, Fish later noted, ‘his courage failed him’ (and who could blame him?) Instead, it was worn by Julian Ormsby-Gore, whose sister Jane was the inspiration for the Rolling Stones song ‘Lady Jane’.
In the week before the free concert in the park, Mick Jagger – a regular customer – visited Mr Fish, in search of something amusing to wear for an all-white ball being held by his financial adviser Prince Rupert Lowenstein. His eye fell upon the Grecian tunic ... It was priced at 85 guineas. Jagger asked for it to be put on his account – with a reduction, Fish would remember, because it had been worn. ‘He’s always rather careful.’
So it was that he came to be wearing it at Hyde Park – albeit not for long. Shortly after reading ‘Adonais’, Jagger removed the tunic performing the rest of the concert in a purple T-shirt and white loon pants. Bill Wyman later remarked that the singer had made ‘fashion history’ by being ‘the first man to take off a dress in public.’
The Danish academic, Michael Langkjaer, a professor at the University of Copenhagen, has theorised that Jagger’s choice of costume, along with his recitation of a requiem poem, should be seen as part of a ‘coordinated mise en scene’. ‘Jagger had placed himself in a quasi-Shelleyan pose by treating Jones’s death in a manner analogous with that of Keats having been the Adonais of Shelley’s poem, as well as by wearing a ‘Byronic costume’ and thus retaining his branding as a heroic hedonist.’ Jagger himself greeted the inevitable furore over his sartorial choice with the explanation that it was “just another frock”. Sammy Davis liked it so much that he ordered three – ‘in black, brown and champagne.’
Michael Fish went on to design another dress – a proper one this time – which was worn by David Bowie on the cover of ‘The Man Who Sold the World’; an image that so outraged his American record company, they used a cartoon in its place.

And what of Jagger’s ‘frock’? Speaking recently, he teasingly said that he still has it in his wardrobe, and might even give it another airing at Hyde Park, adding ‘You never know, I tend to choose my dresses at the last minute.’
I wouldn’t bet 85 guineas on it.

[www.telegraph.co.uk]

Thank you, as always, proudmary.

Wouldn't it be great to see Mick wear that white dress again? I doubt he will, for fear of looking ridiculous, but if anyone could pull it off, it would be Mick.

I finally understand the relationship with L'Wren.

Free fashion.

Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

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treaclefingers

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

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sonomastone
i find it quite odd that they wear "trainers"

Not at all...they are performance footwear which are more trustworthy than shoes for micks stage act. He was knighted in a suit and pair of trainers. I noticed the show at glasto...his footwear looked like airmax or the new adidas version.

Bob Mackie was the designer for Cher. Fosse was the stage and film director, and former choreographer. He might have used sequins on his actresses, like Liza Minelli in Cabaret, but he never worked with Cher.

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TeddyB1018
Bob Mackie was the designer for Cher. Fosse was the stage and film director, and former choreographer. He might have used sequins on his actresses, like Liza Minelli in Cabaret, but he never worked with Cher.

Sorry, I meant Bob Mackie! That's what happens when you post on the run. But since L'Wren's motto is 'more is necessary' when it comes to fashion, I think she and Bob Mackie are twin souls.

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Bliss

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treaclefingers

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

Isn't it Bob Mackie? Bob Fosse does something else I think, but yeah, I get what you mean.

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treaclefingers

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Bliss

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treaclefingers

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

Isn't it Bob Mackie? Bob Fosse does something else I think, but yeah, I get what you mean.

Bob Fosse was a brillant choreographer, among his many other talents...but I don't think clothes designer was one of them.

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latebloomer

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treaclefingers

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Bliss

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treaclefingers

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

Isn't it Bob Mackie? Bob Fosse does something else I think, but yeah, I get what you mean.

Bob Fosse was a brillant choreographer, among his many other talents...but I don't think clothes designer was one of them.

I'd bet he wore clothes though...maybe even designer clothes?!

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treaclefingers

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latebloomer

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treaclefingers

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Bliss

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treaclefingers

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Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

Isn't it Bob Mackie? Bob Fosse does something else I think, but yeah, I get what you mean.

Bob Fosse was a brillant choreographer, among his many other talents...but I don't think clothes designer was one of them.

I'd bet he wore clothes though...maybe even designer clothes?!

He did treacle, but not so much, his dancers.

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latebloomer

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treaclefingers

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latebloomer

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treaclefingers

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Bliss

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treaclefingers

Quote
Bliss
Much as I love L'Wren's womenswear, she seems to be channeling Bob Fossey in Mick's current stage attire, which is all sequins, all the time.

Mick would be well advised to get hold of the designer for the Voodoo Lounge tour for future stage costumes.

He could end up looking like Cher, or Carol Burnette, or am I thinking of someone else.

That's my point; these recent costumes really do look like Cher, for whom Fossey designed quite a bit. The VL costumes were elegant and mysterious.

Isn't it Bob Mackie? Bob Fosse does something else I think, but yeah, I get what you mean.

Bob Fosse was a brillant choreographer, among his many other talents...but I don't think clothes designer was one of them.

I'd bet he wore clothes though...maybe even designer clothes?!

He did treacle, but not so much, his dancers.

wow, that sounds like one singular sensation!

I don't like all that jazz though.

MICHAEL DES BARRES : The artful dodger wore that hat. That hat was from the 1800s. With a kid in the streets of London – you know what I mean?
Keith Richards wore that hat in ‘66. You know what I mean?

Very cool photo Toru A, Des Barres carries that hat off very well.

Treacle, don't go by the movie, read a good biography. Fosse is an American icon.