Key witness to the 60s and 70s, Peter Schlesinger captured his era like no other. Artists, lovers – great names or perfect strangers: his subjects dress up and down every tradition.

Lightness of the time, lightness of the dress. David Hockney revives the tradition of the Grand Tour in a corduroy overcoat and sky-blue scarf. English aristocrats dress down their Victorian coats with sequined trousers.

Bryan Ferry, W.H. Auden, Robert Mapplethorpe – Paris, London, Cannes. Writers are serious: Isherwood and Auden in beige tweedwoolen fabric, more or less rustic, woven with multicolored or sharkskin, ties or button-downs – one open button only.

Photographers abandon their shirts entirely. Eric Boman mixes white gingham, blue stripesline or band more or less wide that marks a fabric and a red cottonnatural cellulosic textile fiber constituting the seminal ha jacket with wide lapels and a slight heel. Mapplethorpe thwarts his midnight blue smoking jacket with a denim(fabric from Nîmes) - very strong cotton fabric, in twill w shirt and jeans. Only Cecil Beaton retains his collar stays: stiff collar, stiff upper lip.

Soft-shouldered tweeds reveal a rugby shirt, high-waisted brown herringboneV-shaped decorative pattern obtained by reproducing, after i trousers, pumpkin or cherry-coloured jumpers, pink, black and white Prince of WalesGlen Urquhart tile pattern overlaid with a window tile patte, heeled brogues, strong stripes, fair-isles, “Lanvin”-blue shirts, patterned V-necks, seersucker(from Indian Shirushaker, wrinkled) cotton fabric with alter thrown over t-shirts – the sudden black of dinner suits as night falls on Glyndebourne.