Art and design in the psychedelic era has been characterised in various ways, as the 'politics of ecstasy' (Grunenberg 2005: 11); or more warily as the harnessing of 'hip consumerism' by corporate admen and marketeers (Frank 1997). In relation to fashion and emulation this paper will examine printed textiles in relation to the neo-art nouveau/ psychedelic movement in the 1960s-early 1970s. Many commentators have described the Beardsley exhibition at the V&A as perhaps the most influential stimulus to the development of both psychedelia as well as of other consciously 'retro' styles that featured in the clothing, graphic design, art and other manifestations of rebellion against clean modernist notions of good taste. While this causal claim can easily be disputed, there is no denying the gleeful presence of Beardsley's erotic graphic inventions in psychedelic imagery. But this paper will also be more concerned with a different mode of analysis, with the separate echo we can find to the graphic era of the 1890s, with the exploitation of new, liberating, cheap, and dramatic graphic print technology. Beardsley drew for the photographic line block process; textiles and poster art of the 1960s also used photo-techniques of screen printing or offset litho to similar effect. Photoprinting techniques allow freewheeling, eclectic, promiscuous line inventions as surface decoration, creating effective visual statements even in simple monochrome or limited colour separations. Designers could work from their kitchen tables. This paper will explore the emulative, aspirational work of more anonymous designers and amateur dressmakers in the era of 'self-sufficiency' and compare it to some opportunistic aspects of the graphic design explosion in the 1890s.This paper will link drawing to print production in order to discuss the power in the draughtsman and woman’s mind of mark making as a means of appropriating a desired style or ethos.