Colin Chapman Archive and Resource March\u00a02016<\/strong><\/p>\n Newsletter \u2013 Number 56<\/strong><\/p>\n All previous articles relating to these are held on the website.<\/p>\n <\/p>\n 1. Badge Engineering: The significance of Colin Chapman\u2019s Marque Identity<\/strong><\/p>\n Definition microcosm from the net<\/p>\n \u201cA community, place, or situation regarded as encapsulating in miniature the characteristics of something much larger\u201d<\/p>\n \u00a0<\/strong><\/p>\n Introduction<\/strong><\/p>\n This article is devoted to the Lotus badge \/logo that Colin Chapman created for his marque in the early 1950\u2019s. Lotus is one of the world\u2019s most influential automobile marques.Its products and marque image are renown and indelible because of the ease in which they are recognized and represented.These qualities are born of\u00a0 :-<\/p>\n The Lotus badge has been in existence for approximately 65 years .This is a remarkable achievement for a relatively low volume specialist car manufacturer operating in a difficult environment.<\/p>\n This longevity and continuity is a function of the factors stated above and that successive engineers have retained the Chapman design mantra and methodology.<\/p>\n A Lotus owner acquires with his\/her car:-<\/p>\n It is an important concept and design that extends beyond Chapman \/Lotus enthusiasts.<\/p>\n Company logos are of enormous commercial value and are defended.<\/p>\n When Colin Chapman created his he had ambition and considerable responsibility for something he expected to be enduring. It was not an easy task seeing that he entered automobile manufacture quite late on.<\/p>\n In this article we will explore the background and context to this iconic image, the sources of imagery and assess its significance.<\/p>\n Since the Lotus badge\/logo is of such aesthetic and commercial value we have treated the subject in some depth. We hope in the process it will help others conceive and develop an equally important brand image of their own whatever their business interest.<\/p>\n This article is of interest to:-<\/p>\n Quoted from the net:-<\/p>\n \u201cIt\u2019s nice to believe that cars are purely about performance \u2014 that what matters is track times and vehicle specs, not superfluous details like the assembly of letters that make a name. But it\u2019s not. The automotive world works on many levels, even those that can be the most superficial. Every car bears a name and every brand has a badge. And that name and badge make a difference.<\/p>\n Behind the creation and evolution of automotive emblems there\u2019s often tradition, folklore and mystery. So we\u2019ve compiled a bit of history on the most famous automotive emblems \u2014 from Alfa Romeo to Volvo. We can\u2019t cover every car brand, but we can give you the skinny on the major names. True identification in the sea of cars on the road is what every automaker wants, so let\u2019s shed some light on how identification is best achieved.\u201d<\/p>\n <\/p>\n Figure 1.The Lotus badge on a Lotus Mk.VI. Editor\u2019s sketch<\/p>\n Nicholson writing in \u201cCar Badges of the world\u201d offers an interpretation:-<\/p>\n \u201cthe motor car has always carried its distingtive identity where the feudal knight bore his , proudly and prominently in front , where it could give friends comfort and rivals warning .if the focal point of the car has always been its radiator or grille , the centre of that is the badge\u2026\u2026\u2026.this is the knight\u2019s blazon where men look first\u2026\u2026\u2026..the feudal analogies not as fanciful as it seems , real or bogus , is a fertile source of badge design [ Nicholson gives several examples ]\u2026\u2026\u2026\u2026the sources are legion .There are references to the makers other products [examples given] there is mythology for the deities\u00a0 \u2026\u2026\u2026symbolism \u2026\u2026\u2026.play on words , very personal allusion\u00a0 like Carlo Abarth\u2019s scorpion which is his zodiacal sign , obvious sources like the ubiquitous wings or arrows ,symbolizing speed , or the makers initials ; and the very far from obvious \u2013things which simply caught the manufacturers eye\u00a0 as an attractive emblem and those wrapped in mystery \u2026\u2026\u2026..Some sources are cruelly mixed in one badge , producing\u00a0 a horrible confusion \u2026\u2026\u2026.\u201d<\/p>\n Nicholson wrote this about the Lotus badge:-<\/strong><\/p>\n \u201cLotus Britain<\/p>\n The Lotus sports and racing cars grew out of a \u201cspecial\u201d built for trials by Colin Chapman. From 1952 it appeared as an Austin \u2013engined racing car and began to be offered for sale in kit form with Ford and other engines.the Lotus was also sold complete thereafter it progressed to the most sophisticated modern sports and racing car designs, though still offering kit cars as well. The derivation of the name has not been revealed, and the three \u2013sided lozenge that surrounds it and the monogram may have been chosen simply as a convenient shape. The monogram is of Colin Chapman\u2019s initials \u2013A.C.B.C; for Anthony Colin Bruce Chapman.\u201d<\/p>\n Historical Conventions of Logo\u2019s Badge imagery<\/strong><\/p>\n Car marques have adopted badges as branding and as means of establishing identity.<\/p>\n This of course is function of communication. As the requirement for accurate and unambiguous communication and identity has existed since the dawn of mankind but particularly from the middle ages; this is a natural source of inspiration and provides many of the conventions adopted in badge design.<\/p>\n Some of the most important sources are:-<\/p>\n From the net:-<\/p>\n Flags<\/strong><\/p>\n \u201cA flag<\/strong> is a piece of fabric (most often rectangular or quadrilateral) with a distinctive design that is used as a symbol, as a signaling device, or as decoration. The term flag<\/em> is also used to refer to the graphic design employed, and flags have since evolved into a general tool for rudimentary signalling and identification, especially in environments where communication is similarly challenging (such as the maritime environment where semaphore is used). National flags are potent patriotic symbols with varied wide-ranging interpretations, often including strong military associations due to their original and ongoing military uses. Flags are also used in messaging, advertising, or for other decorative purposes. The study of flags is known as vexillology, from the Latin word vexillum<\/em>, meaning flag or banner.\u201d<\/p>\n Monograms <\/strong>[from the net]<\/p>\n \u201cMonogram<\/strong> is a motif made by overlapping or combining two or more letters or other graphemes to form one symbol. Monograms are often made by combining the initials of an individual or a company, used as recognizable symbols or logos. A series of uncombined initials is properly referred to as a cypher (e.g. a royal cypher) and is not a monogram.[1]<\/sup><\/p>\n Monograms first appeared on coins, as early as 350BC. The earliest known examples are of the names of Greek cities who issued the coins, often the first two letters of the city’s name. For example, the monogram of Achaea consisted of the letters alpha (\u0391) and chi (\u03a7) joined together.[2]<\/sup><\/p>\n Monograms have been used as signatures by artists and craftsmen on paintings, sculptures and pieces of furniture, especially when guilds enforced measures against unauthorized participation in the trade. A famous example of a monogram serving as an artist’s signature is the “AD” used by Albrecht D\u00fcrer.<\/p>\n Heraldry <\/strong>[from the net]<\/p>\n The origins of heraldry lie in the need to distinguish participants in combat when their faces were hidden by iron and steel helmets.[5]<\/sup> Eventually a formal system of rules developed into ever more complex forms of heraldry.<\/p>\n Though the practice of heraldry is nearly 900 years old, it is still very much in use. Many cities and towns in Europe and around the world still make use of arms. Personal heraldry, both legally protected and lawfully assumed, has continued to be used around the world. Heraldic societies exist to promote education and understanding about the subject.<\/p>\n Badge <\/strong>[from the net]<\/p>\n A badge<\/strong> is a device or accessory, often containing the insignia of an organization, which is presented or displayed to indicate some feat of service, a special accomplishment, a symbol of authority granted by taking an oath (e.g., police and fire), a sign of legitimate employment or student status, or as a simple means of identification. They are also used in advertising, publicity, and for branding purposes. Police badges date back to medieval times when knights wore a coat of arms representing their allegiances and loyalty.<\/p>\n Badges can be made from metal, plastic, leather, textile, rubber, etc., and they are commonly attached to clothing, bags, footwear, vehicles, home electrical equipment, etc. Textile badges or patches can be either woven or embroidered, and can be attached by gluing, ironing-on, sewing or applique. Badges have become highly collectable: in the UK, for example, the Badge Collectors’ Circle has been in existence since 1980.[1]<\/sup> In the military, badges are used to denote the unit or arm to which the wearer belongs, and also qualifications received through military training, rank, etc. Similarly, youth organizations such as scouting and guiding use them to show group membership, awards and rank.\u201d<\/p>\n Some definitions \/ associations of badges:-<\/p>\n Trade Marks as Patents<\/strong><\/p>\n It\u2019s important to note that Chapman became a motor manufacturer fairly late on in the 20 century. Therefore there were established brands, logos and reputations.<\/p>\n The editors feel fairly certain that Colin Chapman knew of his conceptual and inventive prowess and that a brand name was important to commercialise these ideas.<\/p>\n The selection of his brand image therefore would take on a greater significance.<\/p>\n In registering a patent trademark it\u2019s important to:-<\/p>\n As we note this was not easy for Chapman coming fairly late onto the scene.<\/p>\n Two of the authors mentioned in the references give us a clue to the statistics and competition.<\/p>\n Nicholson describes 130 designs and Wendel provides images of neatly 800 examples from 400 automobile and truck manufacturers.<\/p>\n He makes this observation from his research:-<\/p>\n \u201cone point stands out above all others in regard to this project\u00a0 the vast majority of automobile and truck makers never bothered to register their trademarks \u2026\u2026\u2026..we estimate less than 10% afforded themselves this protection\u201d<\/p>\n We know that Chapman held patents and the editors contend that the name Lotus might have been a significant consideration for Chapman in this context.<\/p>\n Colin Chapman\u2019s Lotus Logo<\/strong><\/p>\n When considering the design of the Lotus marque badge subscribers ought to be aware that Chapman was placing this on his cars in the early 1950\u2019s not long after the Second World War and when austerity was still inexistence. Demand for cars and competition were high .Chapman would have been aware of his main rivals brand image \u2013these would include many prewar marques including Morgan ,Frazer Nash, Aston Martin, Bristol ,Bentley and exotic European marquees like Bugatti, Alfa Romeo, Ferrari and Maserati.<\/p>\n As in all periods of history there were cultural and etiquette norms in place .This era would have been more staid.<\/p>\n Chapman writing in the Lotus Story part 1 [Motor Racing, Nov .1954] commented<\/p>\n \u201cThe first car was basically an Austin Seven chassis and engine it was called Lotus too, but I am not going to tell you why\u2026\u2026\u2026..I have been asked many times the origin of the name on my cars but that cannot be divulged for several years.\u201d<\/p>\n Chapman was active in the 750 Motor Club whose badge we illustrate. His early entry and driving was in trials [see dedicated A&R articles to absorb the times]<\/p>\n <\/p>\n In the late 1940\u2019s and early 1950\u2019s many owners built\/designed their own cars for amateur competition. These cars were often listed as \u201cSpecials\u201d prefaced by the owners surname. In the motorcycle world the term \u201cBitza\u201d applied. Of course this was not ideal because:-<\/p>\n If we take the word Lotus and look at definitions and proverbs involving this beautiful plant we might discover some of Chapman\u2019s motivation in its selection. The Lotus is particularly symbolic in Eastern culture from Egypt to China and Japan. The editors list some of the qualities and proverbs associated:-<\/p>\n These qualities are readily identified with Chapman particularly the conceptual element and imagination and sense of making possible.<\/p>\n <\/p>\n Figure 2.These are variations of the badge. Note the geometry of the layout and Siamese formation of Chapman monogram<\/p>\n The Badge<\/p>\n The Lotus marque badge has several small interpretations. The editors provide a drawing on some known examples.<\/p>\n The badge might be summarized as being:-<\/p>\n The Lotus marque badge is aesthetically pleasing at various levels. It works well on unpainted aluminium bodies as was often the case with these built by Williams and Pritchard. It also works with painted surfaces as to owner specification and later standard production colours.<\/p>\n In his badge design Chapman communicated:-<\/p>\n The Lotus marque badge also remains attractive on Lotus derived cars and the modern generation. The timelessness is significant lending continuity and heritage and an essential correctness of the first conception.<\/p>\n On a Plate<\/strong><\/p>\n Secondary to the marque badge, Chapman had the opportunity of marketing the brand with chassis plates. These were possibly informal in the early days for a variety of reasons. It was probably not thought cost effective in the early days to commission what probably required a minimum order.<\/p>\n Later of course as production increased and became mainstream both internal records for general accounting, servicing, warranties, insurance, taxation, exports, registration would demand more formal identification.<\/p>\n Lotus adopted a variety of styles and there was possibly variations .It\u2019s easy to imagine that orders for chassis plates did not coincide with production demands and possibly difficulty in predicting demand .Changes of production location and separation of build i.e. between competent, customer race cars and production road cars possibly added to confusion and distribution.<\/p>\n <\/p>\n Figure 3.Editors sketch of one type of Lotus chassis plate namely Tottenham Lane era<\/p>\n The chassis plate drawn by the editor is typically simple and direct. It would have been appropriate and adequate. Later plates contained more information and possibly became necessary when:-<\/p>\n Enamel Techniques <\/strong>[from the net]<\/p>\n \u201cCloisonn\u00e9<\/strong> is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonn\u00e9<\/em>. The decoration is formed by first adding compartments (cloisons<\/em> in French) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonn\u00e9 enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln.<\/p>\n Modern Process<\/p>\n First the object to be decorated is made or obtained; this will normally be made by different craftspeople. The metal usually used for making the body is copper, since it is cheap, light and easily hammered and stretched, but gold, silver or other metals may be used. Cloisonn\u00e9 wire is made from fine silver or fine gold and is usually about .010 x .040\u00a0inches in cross section. It is bent into shapes that define the colored areas. The bends are all done at right angles, so that the wire does not curve up. This is done with small pliers, tweezers, and custom-made jigs. The cloisonn\u00e9 wire pattern may consist of several intricately constructed wire patterns that fit together into a larger design. Solder can be used to join the wires, but this causes the enamel to discolour and form bubbles later on. Most existing Byzantine enamels have soldered cloisons, however the use of solder to adhere the cloison wires has fallen out of favor due to its difficulty, with the exception of some “purist contemporary enamellists” who create fine watch faces and high quality very expensive jewelry. Instead of soldering the cloisons to the base metal, the base metal is fired with a thin layer of clear enamel. The cloisonn\u00e9 wire is glued to the enamel surface with gum tragacanth. When the gum has dried, the piece is fired again to fuse the cloisonn\u00e9 wire to the clear enamel. The gum burns off, leaving no residue.<\/p>\n Vitreous enamels in the different colors are ground to fine powders in an agate or porcelain mortar and pestle, then washed to remove the impurities that would discolor the fired enamel. Each color of enamel is prepared this way before it is used and then mixed with a very dilute solution of gum tragacanth. The vitreous compound consists of silica nitre and lead oxide to which metallic oxide is added for coloring. Using fine spatulas, brushes or droppers, the enameler places the fine colored powder into each cloison. The piece is left to dry completely before firing, which is done by putting the article, with its enamel fillings, in a kiln. The enamel in the cloisons will sink down a lot after firing, due to melting and shrinkage of the granular nature of the glass powder, much as sugar melting in an oven. This process is repeated until all cloisons are filled to the top of the wire edge.<\/p>\n Three styles of cloisonn\u00e9 are most often seen: concave, convex, and flat. The finishing method determines this final appearance.[24]<\/sup> With concave cloisonn\u00e9 the cloisons are not completely filled. Capillary action causes the enamel surface to curve up against the cloisonn\u00e9 wire when the enamel is molten, producing a concave appearance. Convex cloisson\u00e9 is produced by overfilling each cloison, at the last firing. This gives each color area the appearance of slightly rounded mounds. Flat cloisonn\u00e9 is the most common. After all the cloisons are filled the enamel is ground down to a smooth surface with lapidary equipment, using the same techniques as are used for polishing cabochon stones. The top of the cloisonn\u00e9 wire is polished so it is flush with the enamel and has a bright lustre. Some cloisonn\u00e9 wire is electroplated with a thin film of gold, which will not tarnish as silver does.\u201d<\/p>\n Learning Opportunities<\/strong><\/p>\n Our learning \/educational opportunities are intended to be challenging thought provoking and requiring additional research and\/or analysis.<\/p>\n These opportunities are particularly designed for a museum\/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.<\/p>\n In this instance we suggest the following might be appropriate [note the net images and logo listing are particularly helpful for these exercises]:-<\/p>\n Exhibitions, Education and Economics<\/strong><\/p>\n In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our suggested outline Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n Many exhibition opportunities exist. The subject is extremely graphic and artistic. It blends history and iconography, tradition geography and science. Through these there are many learning opportunities accompanied by hands on learning \/participation opportunities.<\/p>\n Britain has a wide selection of car marques including the specialist sector, there is the chance of comparison and evaluation. We consider some exhibition titles might include:-<\/p>\n Conclusion<\/strong><\/p>\n The editors summarize five significant aspects and commercial value associated with Chapman\u2019s brand image. These are:-<\/p>\n The Chapman legacy is profound. It is very much enshrined in is marque image.<\/p>\n We believe its inspiration will be value to all designers and those undertaking the responsibility of visually representing their organization.<\/p>\n Whether on the bonnet or in the lapel those that wear the Lotus badge can do so with pride. With profound understatement it expresses some of the greatest ideas and ideals achieved in automobile engineering.\u00a0<\/strong><\/p>\n Reference:<\/strong><\/p>\n <\/a><\/p>\n <\/a><\/p>\n Car Badges of the World.Nicholson.Cassell.1970.<\/em><\/p>\n SBN: 304933430<\/em><\/p>\n American Automobile Trademarks1900-1960.Wendel.Motorbooks.1995<\/p>\n ISBN: 0760300054<\/p>\n Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.<\/em><\/p>\n *Items in italics non A&R library books.<\/em><\/p>\n \u00a02. C<\/strong>am Followers of the Lotus Twin Cam Engine<\/strong><\/p>\n \u201c<\/em><\/strong>Where a Lotus manufactured part is not essential to meet use a mass produced part from the motor industry\u201d<\/em><\/p>\n Tony Rudd\u2019s \u201cDefinitions and Philosophy of Lotus\u2019s Engineering Policy\u201d 17.4.1975<\/em><\/p>\n Introduction<\/strong><\/p>\n This article is not a technical dissertation on the Lotus Twin Cam engine.Subscribers can find that elsewhere; particularly in Wilkins [see references below].In order to grasp some of the economics of the Twin cam engine its necessary to make reference to the Lotus Elan and the Lotus Cortina.<\/p>\n In this article we debate the importance of:-<\/p>\n The editors consider it helpful in evaluating\u00a0 the Lotus Twin Cam and Chapman\u2019s entrepreneurial sprit to refer to A&R Lotus engine themed articles:-<\/p>\n <\/a><\/p>\n Figure 1.These item really reinforces the connections that Chapman made and converted to both a mass produced saloon, competition model and income stream<\/p>\n Background and Context<\/strong><\/p>\n By the late 1950\u2019s Colin chapman and his Lotus marque were automobile manufacturers and it\u2019s probable that Chapman saw this as both complementary and a subsidy towards his Motor Racing ambitions.<\/p>\n However in his first significant venture the Elite launched in 1957. We are told by Crombac that it\u2019s probable that Lotus were losing about \u00a3100 on each of these. A rethink was required, lessons needed to be learnt and significantly a replacement needed to be easier and cheaper to make and to be sold at a profit at a more acceptable price.<\/p>\n Therefore through 1962 Colin and his colleagues particularly Ron Hickman set about what would become the Elan [launched at Earls Court Motor show, 1962].They identified that a small open sports car [the most traditional type sold in volume] and the American market particularly California would be shape the product\/ concept. If the car was to be small, compact, economical to own and run yet with distinctive Lotus performance a careful package would have to be sourced.<\/p>\n Taylor reinforcing this point explains in the context of the Elan:-<\/p>\n \u201cWhatever can be said of the Elite it had been a salutary experience for Lotus. The monocoque body shell was an ambitious move and the Elite lost Lotus a lot of money. There was a better way, and Chapman saw it in the backbone chassis which would become a Lotus hallmark for years to come. It made its debut in the Elite\u2019s replacement, the Elan, a model which was crucial to Lotus\u2019 future.<\/p>\n Initially the idea had been to create\u00a0 a low-cost\u00a0 updated replacement for the Seven \u00a0, but by 1961 it was clear that in order for Lotus to remain profitable , it was the Elite which had to be supplanted \u2026\u2026\u2026\u2026overall its design had less of the Elite\u2019s uncompromised feel and far more regard for production viability and costings\u201d<\/p>\n Crombac explains the critical factor:-<\/p>\n \u201cthe crux of the matter was , of course the engine, and bearing in mind the success\u00a0 he had achieved in the early days , using what was basically mass produced engines, Colin decided he should look to see what some of the big manufacturers were able to offer\u2026\u2026\u2026. Ford had also recently introduced a new short stroke 1000cc engine , which on paper seemed attractive but was really not sufficiently powerful .so Colin took the decision to build a special twin cam overhead camshaft cylinder head to fit the block of this engine , entrusting the actual design to Harry Munday\u2026\u2026..chapman discovered that Ford were about to introduce a brand new 1,500 cc engine , with a crankshaft running in five main bearings and therefore very much stronger .it was just what he wanted and the new cylinder head was quickly adapted to suit it\u201d<\/p>\n Crombac also notes the very significant coincidence:-<\/p>\n \u201cColin went to see Wally Hayes to talk about the twin cam engine project, at just about the time he had been charged with the task of strengthening the image of the Ford range, especially with the object of attracting a younger market. The parent company, Ford of America, had been pursuing, that policy and were just about to launch their world \u2013wide \u201cTotal Performance\u201d programme , in which Lotus would soon play an important part.<\/p>\n When Wally Hayes heard about the twin-cam 1,500 cc engine project , he immediately conceived the idea of putting this into the Ford Cortina saloon car which was proving so successful in the family car market\u2026\u2026\u2026\u2026\u201d<\/p>\n Taylor develops the concept details:-<\/p>\n \u201cpreliminary work was on the 3 bearing 109 E block until the Ford 116 E , 5 bearing block became available\u2026\u2026\u2026\u2026the head , pushrods, timing cover and water pump of the original ohv engine were discarded and then Lotus fitted its own aluminium DOHC head\u2026\u2026..however the 100bhp [ i.e. 1499cc] was quickly superseded by the definitive 1558 cc 15 bhp version \u2026\u2026\u2026.<\/p>\n Initially launched \u2026at the 1962 Earls Court Motor show , the price was \u00a31495 fully built or \u00a31095 in kit form\u2026\u2026\u2026..the Elan attracted over 2000 customers in its first three years and its success almost certainly saved lotus from early demise\u201d\u201d<\/p>\n Complementary to the Elan and sharing the Twin Cam engine was the Ford Lotus Cortina.<\/p>\n Taylor places the Cortina in context when he explains it was:-<\/p>\n \u201cthe forerunner of all this success was the true homologation specials, the Lotus Cortina\u2026\u2026.the initial plan called for Lotus to assemble 1000 cars so that it could be homologated for Group 2 racing\u2026\u2026the right power plant had already been devised in the form of Harry Munday\u2019s twin cam head on the unburstable Ford 1500 Kent bottom end\u2026\u2026\u2026production started in February 1963, the basic price being \u00a3910.\u201d [Note significance that purchase tax was \u00a3190-2s-11d making at total of \u00a31,100-2s-11d]<\/p>\n Taylor also suggests that 2894 models were produced 1963-1966 and that an Mk.II was built by Ford c 1967 and that an estimated 4032 were built.<\/p>\n \u201cas for the MK.1 not only was it a resounding success on the tracks , providing Ford with the high profile sporting image which it sought so badly but it also gave Lotus greater financial stability\u201d<\/p>\n Cam Profile<\/strong><\/p>\n Engine design was not Chapman\u2019s forte but he recognized superior \/specialist abilities. He motivated, recruited or used consultants when appropriate. It\u2019s important to appreciate the following engineers made significant contributions to the reaalisation of the Twin Cam. This proceeded through stages of outline specification\/concept to working drawings, patterns, machining, ancillaries and assembly.<\/p>\n Haskell records the significant contributions of:-<\/p>\n \u201cColin Chapman\u2019s contribution to the design of engines and gearboxes was relatively small as a designer, his contribution as an entrepreneur however was much greater \u2026\u2026\u2026\u2026 Chapmans influence inn these early stages was very great and he was as usual a powerful motivating force\u201d<\/p>\n Design [for brevity from the net]<\/strong><\/p>\n Lotus required a low cost, compact, yet powerful engine for the Elan, as the custom-built all-aluminium Coventry Climax FWE for Elite was very costly.<\/p>\n Colin Chapman initially chose to use the overhead valve (OHV) cast iron block 997\u00a0cc (60.8\u00a0cu\u00a0in) Ford 105E inline four used in the Ford Anglia as the basis of this new engine. While the basic engine design was oriented toward performance (being of over square design with individual intake and exhaust ports that are not siamesed), 105E was by no means a performance engine. Soon the 1,339\u00a0cc (81.7\u00a0cu\u00a0in) 109E for Ford Consul Classic became available, and most of the development was carried out on this three bearing 109E block.<\/p>\n To achieve the power required, Chapman commissioned Harry Mundy (of BRM V16 fame) to design a dual overhead camshaft (DOHC) conversion. This comprised an aluminium cylinder head and an aluminium front cover and its back plate assembly containing the water pump and the camshaft drive chain. However, the 5 main bearing 1,498\u00a0cc (91.4\u00a0cu\u00a0in) version for Consul Capri became available in time for production, and the design was converted on this 116E block, crankshaft and 125E Type C conrods.<\/p>\n After the initial design was finished, Richard Ansdale, as an outside consultant, provided the detail design and drew the plans needed for production. Steve Sanville, a Lotus employee, headed the production engineering team including Mike Costin, Neil Francis and Bob Dance, which incorporated the port shape modifications suggested by Harry Weslake, who conducted a flow bench analysis on the head. Keith Duckworth had already left Lotus, but was responsible for Special Equipment cam design, as well as the assembly of the first two production-specification engines, one of which powered Lotus 23 on its sensational debut at N\u00fcrburgring.[1]<\/sup><\/p>\n Likely reflecting Chapman’s obsession (as an engineer, he was known to go to the extreme in lightweight designs) to save weight by using one mechanical part for as many purposes as possible, the water pump used the engine front cover as its housing, making water pump replacement difficult. The intake manifold was cast as an integral part of the cylinder head, making the later heads using Stromberg carburetors not interchangeable with those for Weber or Dell’Orto carburetors. These designs were unique then, and very few have followed suit.<\/p>\n Also notable is that the original camshaft was retained as an intermediate shaft driving the DOHC cam sprockets via a front-mounted, single \u2013 long \u2013 timing chain, having the side-mounted distributor and nearby external oil pump\/filter assembly in original locations, requiring few modifications to the mass-produced iron block.<\/p>\n Originally, the engine had a bore of 3-3\/16″ (80.9625\u00a0mm) and 72.75mm (2.8642\u00a0inches) stroke for a capacity of 1,498\u00a0cc (91.4\u00a0cu\u00a0in) and produced approximately 100\u00a0bhp (75\u00a0kW) at 5700rpm. This compares to the original Ford pushrod 116E of about 60\u00a0bhp (45\u00a0kW) at 4600rpm.<\/p>\n After the initial 50 engines were contracted out and assembled by J.A.Prestwich, the specification was changed to a larger 3-1\/4″ (82.5500\u00a0mm) bore, increasing the capacity to 1,557\u00a0cc (95.0\u00a0cu\u00a0in). Only 22 of the 1.5 Litre engines made their way into road going “Elan 1500”, the rest being used on Lotus 20B, 22, 23, 26R as well as in Elan and Lotus Cortina prototypes and a LHD Ford Anglia mule, which, fit with one of the first prototype engines, had overtaken a fast Jaguar at well over 100\u00a0mph in the hands of Jim Clark on his way back from Goodwood to Scotland.[2]<\/sup> The 1,557\u00a0cc (95.0\u00a0cu\u00a0in) displacement of the new specification allowed an overbore of 0.040\u00a0in (1.0\u00a0mm) as permitted by the FIA regulations, while keeping the cubic capacity below the new FIA 1600 cc class limit.<\/p>\n <\/a><\/p>\n Figure 2.Editor’s photograph of Lotus Twin cam in Lotus Ford Cortina<\/p>\n <\/a><\/p>\n Figure 3.Editor\u2019s sketch of Twin Cam installed in Seven. Note some plumbing and wiring left out for clarity and to simplify drawing<\/p>\n Form and Function<\/strong><\/p>\n \u201cMotor\u201d Sports Car Road Tests featured both the Ford Lotus Cortina and the Lotus Elan in their 1965 edition.<\/p>\n They observed about the performance and economy of the Ford Lotus Cortina that:-<\/p>\n \u201cLotus modifications for the Ford Cortina 1500 engine are extensive ; a small increase in bore raises the capacity to 1,558 cc and a twin\u00a0 camshaft cylinder head with two double choke Weber carburetors increases power output by more than 75% and torque by 33% in the middle speed range.it is this tremendous surge of mid-range acceleration which makes the performance so vivid\u2026\u2026..[they include a photograph of the engine bay with the caption twin ohc head two double choke <\/em>Weber\u2019s , four branch exhaust system and vacumn servo brake unit completely obscure the Ford origin of the engine\u2026.<\/em><\/p>\n And on the Elan they comment:-<\/p>\n \u201cThe performance is little short of phenomenal, not only through the gears and for tractability in the high gears, but for its complete lack of temperament \u2026..this Lotus conversion of the ford five bearing engine is now well known , but the sight of the twin camboxes with their crackle-blue finish is still an exciting hint of power\u2026\u2026\u2026\u201d<\/p>\n In order to partly understand the economic dimension of the TwinCam subscribers might like to note that \u201cMotor\u201d in 1965 recorded a price of an assembled car as \u00a31,436.<\/p>\n <\/a><\/p>\n Figure 4.Editors sketch drawing of the Lotus twin cam engine<\/p>\n The versatility of the Twin cam was that it was adopted in both road and competition cars in both front and mid-engine configuration. It excelled in diverse competition that included sports and sports racing through to international rally.<\/p>\n We include a selection of photographs and drawings as examples and we invite subscribers to explore further examples.<\/p>\n Bacon \u201cLotus\u201d and particularly Ludvigsen \u201cColin Chapman\u201d have some excellent photographs of Twin Cam installations uncluttered by bodywork. Ludvigsen devotes a chapter on engines entitled \u201cEngine Enterprise\u201d which is really appropriate. Not only does he include useful analysis he provides engineering drawings of engines installed in the chassis. One of the best is that of the Elan and it reinforces the totality and exceptional packaging of the Elan \u2013 the twincam engine, the backbone chassis and two seater bodywork.<\/p>\n Learning Opportunities<\/strong><\/p>\n Our learning \/educational opportunities are intended to be challenging thought provoking and requiring additional research and\/or analysis.<\/p>\n These opportunities are particularly designed for a museum\/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.<\/p>\n In this instance we suggest the following might be appropriate:-<\/p>\n <\/a><\/p>\n Editors sketch of Twin cam in the Lotus 23 cf installation with that of Lotus Europa<\/p>\n Exhibitions, Education and Economics<\/strong><\/p>\n In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our suggested outline Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n The Twin Cam engine provides many exhibition opportunities and ready titles include:-<\/p>\n Many educational opportunities exist from mathematics to marketing. The editors consider those of Industrial Product design the most useful and relevant to emerging designers and entrepreneurs.<\/p>\n Conclusion<\/strong><\/p>\n The editors refer to Colin Chapman as a polymath. We believe the achievements of this remarkable engineer exist because of his integrating and indivisibility of skills and aptitudes. These include his determination, creativity, resourcefulness, ambition, business acumen and personal charisma.<\/p>\n When these combined they made an indomitable spirit dedicated to finding solutions.<\/p>\n In our study of the Twin Cam engine we see the particular interaction of:-<\/p>\n Because Chapman was without ego it allowed him to be totally pragmatic and the Lotus Engineering Policy quoted above reminds us of this focus on reality and necessity.<\/p>\n There were advantages and disadvantages to Lotus being an engine manufacturer in the early days.<\/p>\n Chapman created a specialist marque with an extreme added value and aesthetic .The fact he used a proprietary engine for many customers was a bonus. To these engines and certainly in the case of the Twin Cam he added value. In many respects the twin cam was a step on the road to outright manufacture. Its inclusion in international competition raised its profile and established a performance reputation and of course assisted sales both for Lotus and Ford.<\/p>\n This unit was fully appropriate, economic, effective etc. for the product, customer and times.<\/p>\n Many other specialist marques from around the world have made their reputations adopting and upgrading mainstream engines. Amongst these are Abarth, Cobra, TVR, Marcos, Caterham and Morgan and of course many of the current generation of kit car makers.<\/p>\n The Lotus Twin Cam was produced in relatively large numbers and powered an array of machinery \u2013road, track, sports, saloon etc.<\/p>\n The Twin Cam is a particularly good example of Industrial Designers in the art and science, economics of creating added value through a product made effective and affordable.<\/p>\n Although with a few engineering weaknesses the Twin Cam was an effective solution and in its own right a significant piece of engineering architecture and aesthetics. In the editors estimation if fulfilled an engineer\u2019s requirement of form and function and the Chapman design philosophy of effectiveness and economy.<\/p>\n The Twin Cam is one of the many occasions when Chapman brought into existence a significant product where he brought together his resolve to:-<\/p>\n Subscribers might like to compare the gestation of the Ford Cosworth DFV and the Ford Lotus Twin Cam there are some interesting and powerful overlaps. In both cases Chapman brought forward engines that democratized and strengthened the sport and ownership of iconic vehicles. He simultaneously raised the reputation of Lotus and Ford.<\/p>\n In automobile history there are few that achieved or exercised so much improvisation at the affordable end of the market.<\/p>\n Reference:<\/strong><\/p>\n Lotus Twin Cam Engine.Wilkins.Brooklands.1988.<\/p>\n ISBN: 9781855209688<\/p>\n Legendary Car Engines.Simister.Motorbooks.2004.<\/p>\n ISBN: 0760319413<\/p>\n Classic Cars.September.2013.<\/p>\n Motor Sports Car Road Tests. Temple Press.1965<\/p>\n ISBN:<\/p>\n Colin Chapman.Ludvigsen.Haynes.2010.<\/p>\n ISBN: 9781844254132<\/p>\n Lotus .Bacon.Sunburst.1995.<\/p>\n ISBN: 1857781473<\/p>\n Subscribers might like to note we hold an extensive range of books specific to the Elan and Europa. Please ask for details.<\/p>\n Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.<\/em><\/p>\n *Items in italics non A&R library books.<\/em><\/p>\n 3. The Fine Art of Motorsport<\/strong><\/p>\n INTRODUCTION.<\/strong><\/p>\n At the A&R we are committed to examining Lotus and motor sport in the widest possible context.<\/p>\n We feel that all the nuances and indeed the passion and beauty cannot be understood otherwise.<\/p>\n In particular we like to discuss and analyse the work of artists that have embraced Lotus.<\/em><\/strong><\/p>\n The machines are beautiful in their own right but the drama of the race and its associated activities are natural subjects for artists.<\/p>\n Furthermore there needs to be a more critical appreciation of applied beauty and representation. Convention and price has perhaps given some braches of the fine arts a place at the top of the hierarchy; Impressionism is a prime example but some motoring artists have been equally impressionistic possibly more so as they had to capture images that passed in a split second.<\/p>\n For some motor sport and representative art is considered inferior but we will hope to challenge this and perhaps place the art in a wider social context of our times. For some the motorcar has defined the 20C<\/p>\n In the 20C most of the arts have in some way deferred to engineering, many like the Futurists and Constructivists glorified the combination of speed and technology. In architecture and the Art Deco movement there was a desire to represent the modern and its associated power and speed.<\/p>\n The Bauhaus School was committed to the improvement of industrial and commercial\u00a0\u00a0 unification of technology with craft design and manufacture.<\/p>\n Through the representation of the car in fine art we hope to explore new perspectives and offer new interpretations and understandings. Along the way it will be appropriate to touch on marketing. Equally there may be scope to cross reference with some of the more creative writing related to the motorcar. Although perhaps seen by some as travel writing HV.Moton set out to convey word pictures of his driving exploits.<\/p>\n In this regular series we will look critically at a range of artists and their styles and indeed include some technical drawing .we will look at artists from the dawn of motoring to the present day. A brief article will also touch on the techniques and materials used by those artists we are considering.<\/p>\n The A&R have had support from the guild of Motoring Artists and in due course will cover their work.<\/p>\n The Internet has an almost exhaustive source of imagery and we fully commend that our readers use this in conjunction with our articles to gain maximum enjoyment and interpretation.<\/p>\n We appreciate that art is subjective and welcome suggestions from our readers as to artists they might like to see reviewed.<\/p>\n Two Art Cards by W.Sharp<\/strong><\/p>\n The editor picked up a set of cards by W.Sharp [illustrated] Research on the net has not thrown up any details but we rather liked these monochrome works featuring Lotus GP cars.<\/p>\n <\/a><\/p>\n The full set includes:-<\/p>\n Word Pictures<\/strong><\/p>\n All the drawings are in monochrome printed in post card size. No information has been included on the back.<\/p>\n The sketches are attractive and appear to be executed in pencil or fibre tip with wash? With these limited resources the artist has achieved considerable tonal contrast and succeeds in conveying mood.<\/p>\n Jim Clark<\/strong><\/p>\n The depiction of Clark has a portrait of Clark wearing a helmet gazing slightly to the right. This is complemented with a sence of Clark racing a Lotus GP car [race number five].\u00a0 Sharp has been able to communicate a considerable amount of atmosphere , the speed and movement and tension within the car as it corners is achieved with relatively few strokes .Detail is kept to a minimum.<\/p>\n Sharp uses shading effectively and captures the elliptical body contour of the car in perspective which is not easy. Equally the tyres and wheels have received little detailing but still provide an authenticity which sits with the whole composition and rendering.<\/p>\n Both images capture the moment and are deeply redolent.<\/p>\n JPS GP Car<\/strong><\/p>\n The editors would suggest Sharp is quite accomplished .His rendering of the JPS possesses the same quality and technique present in Jim Clark.<\/p>\n The same techniques have been used .Depicting a glass black car body, tyres and suspension components is not easy. There is risk form is lost and shape colour risks bleeding into each other and getting either lost or confused.<\/p>\n However Sharp has used high lights [e.g. on suspension] and generally captured the foreshortening that perspective creates.<\/p>\n The car s captured in the wet and Sharp picks up the reflections on the track .Again the tyres are minimal but achieve the right elliptical profile.<\/p>\n The drivers head and helmet are correct to scale and the eyes and bridge of nose are just suggested. This requires confidence skill and dexterity especially when only suggested but gaining maximum affect.<\/p>\n Possibly the nicest touch in this work is how the water spray\/splash \/spray from the rear wheels has been rendered ; the intense white of the paper has been deployed to great affect again minimalism gaining maximum visual drama.<\/p>\n Moss and the Mercedes<\/strong><\/p>\n In this image Sharp has sketched a portrait of Moss [wearing helmet] face on accompanied by a secondary view of him cornering the Mercedes.<\/p>\n The editors like the artists disciplined and simple approach [simple does not equate with easy] heavily reliant on tonal values to convey shape, form and function and speed!<\/p>\n In this work Sharp does not rely on the convention of air trails off the tyres but still succeeds in capturing the correct tension in Moss\u2019s right arm as he corners at speed and fights centrifugal forces. Trying to represent spoke wheels especially at speed is not easy. They blur. However Sharp has excellent tonal control [variations] and these are portrayed in an impressionable split second manner.<\/p>\n The portrait of Moss is accurate .The eyes possibly the most difficult facial feature to capture are well executed with minimal strokes, tone or possibly pencil shading. Sharp captures the cheek bones and all the nuances and renders Moss immediately and characteristically, instantly recognisable as he smiles out.<\/p>\n Equally the rendering of the helmet with its delicate shading captures realistically the correct radius and double curvature. Note on a light background these requires considerable dexterity in handling and sensitivity.<\/p>\n Nigel Mansell<\/strong><\/p>\n This image is in extreme close up and depicits Mansell at the wheel during a race and deeply ensconced with a modern racing car with only his head\/helmet readily visible.<\/p>\n The composition is strong bold and strikingly diagonal; taking up about 75% of the frame.<\/p>\n The artist has caught all the main brand logos emblazed over the body. This is not easy when moulded over double curvatures, complex contours and perspective.<\/p>\n Although only using washes Sharp has captured the colour contrasts.<\/p>\n Mansell is not self-evident as his full face helmet masks his face.<\/p>\n The editors wonder if in order to paint in such minute detail the original might have been much larger and reduced for reproduction.<\/p>\n The rather unconventional composition has frozen out any background reference or context .it neither publicises\u00a0 the driver or the car but it does illustrate all the modern sponsors [mainly Camel in this instance].In some small way it picks up on the ideas contained in Pop Art [ see A&R dedicated article]<\/p>\n Despite the detached restricted focus composition the editors rather like the extreme close up which makes the surfaces look tactile.<\/p>\n Exhibitions, Education, Economics<\/strong><\/p>\n In the museum context commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our suggested Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period.<\/p>\n It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n We have noted that in general the automobile, motor racing and specifically Lotus has been the subject of artists and they have embraced the envelope which includes speed drama, glamour, excitement and equal danger of the subject matter. The automobile\/racing has been represented in various branches of art from the commercial [including graphic poster] to fine art and sculpture.<\/p>\n The editors believe there is considerable opportunity for a variety of art exhibitions primarily focused on Lotus but also inclusive .It might be possible to feature Sharp.<\/p>\n Such exhibitions have both attractive merchandising and learning opportunities attached. Educational exercises extend through appreciation and application of technique to art history and technology. Art also plays an important part in school curricula and various exercises and materials can be developed possibly overlapping with arts crafts and technology.<\/p>\n Such exhibitions and education experiences can be fully integrated with film and related archive to ensure visitors of a totality of memorable experience; inbuilt with opportunities to learn and experiment with art on the spot.<\/p>\n In particular a range of Motor Racing prints, posters post cards, greeting cards, calendars and related imagery by various artists is planned. If possible it would be hoped to recruit an artist in residence who might conduct drawing classes and help student\/ visitors increase their visual observations and aesthetic sensitivities<\/p>\n Conclusion<\/strong><\/p>\n There can be no doubt that Colin Chapman and the designers he recruited were men of profound aesthetic awareness. This they incorporated in a succession of road and racing cars.<\/p>\n For this reason some of the greatest motoring and technical illustrators have selected to represent their work.<\/p>\n Therefore the A&R feel it incumbent to interpret his designs through the visual medium. Not only is this a highly cultured art form it presents unique learning opportunities inherent in observation and analysis. Not merely visual representation but also the development of the inner eye that sees potential within. This was one of the great gifts of Chapman.<\/p>\n If any of our subscribers have more information about Sharp we would be happy to print details.<\/p>\n Social History Series: Lotus Cars and Popular Culture.<\/strong><\/p>\n 4. Lotus: Flower Power in Carnaby Street: An Elan in Carnaby Street c 1967\/ 69<\/strong><\/p>\n Introduction<\/strong><\/p>\n The Social History series has been created specifically by the A&R to explore how wider social and cultural events and design interacted. In particular it seeks to demonstrate the extent that Lotus designs influenced taste, fashion, identity and impacted on the world stage.<\/p>\n The editor watched the BBC series the \u201cHigh Street\u201d and recently read the book.<\/p>\n In the book there is an extremely redolent black and white photograph * of Carnaby Street at the height of the \u201cSwinging Sixties\u201d. Physically to the foreground and in popular culture it self is an Elan. [ Reg No. NMY 97E]<\/em><\/strong>\u00a0 [Goggle Carnaby Street and discover this image and explore many related period photographs and details.]<\/p>\n In this article we will examine and evaluate why the Elan had such an impact within the context of the era, the designers and fashions.<\/p>\n <\/a><\/p>\n Figure 1.Photography by Henry Grant,”Carnaby Street Scene” c 1968 The Museum of London -see book refrence below Swinging Sixties.<\/p>\n Brief description of the Published Photograph.<\/strong><\/p>\n To help set the scene\/ context for article and for those perhaps unable to examine the photograph a brief thumbnail sketch might assist. The picture contains:<\/p>\n British Design<\/strong><\/p>\n Subscribers are invited to view the A&R article on this subject. Its very relevant covering the period 1948-2012.It also contains a detailed bibliography.<\/p>\n Subscribers might also like to see A&R article Lotus Design Decade where we explore in detail a social history of the decade and look at some comparative costs and wages.<\/p>\n Britain and specifically London in 1960\u2019s<\/strong><\/p>\n Britain experienced a post war baby boom. Children born in 1946 would be tennagers at the start of the decade and in their twenties by the middle period. This was a large demographic consumer base. Furthermore the full employment and relatively high standard of living particularly in London and the south gave youth spending power. Youth had their own values and perhaps the era ushered in \u201cretail therapy\u201d. The TV, media, film and pop music culture had a very strong British connection and emphasis. Much of the industry had its connections\/ roots within London. Therefore by combinations London had a metropolis of a high youth population, easy accessible transport, a music industry of original musicians, and the production side, all bound together with a spending power.<\/p>\n In addition many of the most famous Designers emerged from the best London schools of fashion and design.\u00a0 Retailers responded to the markets.<\/p>\n The decade of the 1960\u2019s was something of a cultural Renaissance. Twenty years after the war the nation was enjoying peace and prosperity. It was also possibly inherently democratic as in the majority could buy in and participate. London was increasingly cosmopolitan and world financial centre. There was a revolution in fashion, music, literature and the arts. The opening up of mass communication allied to the arts movement magnified this explosion. The era was also slightly more hedonistic and permissive in the widest sense. Significantly from a sociological perspective there was the development of feminism and a higher profile male \u201cpeacock revolution\u201d<\/p>\n Across Carnaby Street hung a sign that read, \u201cCarnaby Street Welcomes the World\u201d.<\/p>\n In the late 1960\u2019s it\u2019s suggested that Carnaby Street was the second most visited tourist destination after Buckingham Palace.<\/p>\n Simply expressed there was a youth market, youth spend and youth fashion.<\/p>\n It catered in turn for the mods and hippies.<\/p>\n This was the essence of the \u201cSwinging Sixties\u201d<\/p>\n Fashion<\/strong><\/p>\n <\/a><\/p>\n In this article we are looking in detail at Carnaby Street and fashion. The designers of this era competed to outdo each other with original and outrageous ideas increasingly flamboyant and innovative garments and accessories etc. The designers most identified with and directly involved are:<\/p>\n Foal &Tuffin<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Marion Foal & Sally Tuffin] both women were Royal College of Art trained. Designed \u201cfun clothes\u201d and had a shop in Carnaby Street. David Bailey might have featured designs that appeared in Vogue c 1962?<\/p>\n John Stephen<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 [John Stephen] possibly one of the most significant figures of the 60\u2019s.considered the \u201cKing of Carnaby Street\u201d. He introduced young menswear and a high turnover of disposable fashion.\u00a0Carnaby is My creation\u201d was his claim. Its believed he may have had [remises in Carnaby Street from 1957\/58 possibly starting with \u201cHis Clothes\u201d The A-Z of London suggests he owned 10 shops in the street and 14 John Stephen boutiques for men too.<\/p>\n Jean Muir<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Started at Liberty and Jaeger c 1956.Between 1962-66 she developed her own brand known as Jane & Jane. Her designs were fluid timeless often-made in jersey or sued.<\/p>\n John Bates<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Started with Jean Varon in early 60\u2019s. He is considered one of the decade\u2019s most audacious designers. Attributed to him are brief mini skirts, trouser suits, cat suits, broderie-anglaise eveningwear etc. In the 70\u2019s he moved onto long maxi coats and fluid evening dresses. Perhaps his greatest achievement is associated with the fashion he created for Diana Rigg in the \u201cAvengers\u201d. [See A&R article.]<\/p>\n Peter Blake<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Designed the Sergeant Pepper sleeve in 1967 and it\u2019s believed that inspiration might have partly come from \u201cI was Lord Kitcheners Valet\u201d shop in Portobello Road whilst visiting with Paul McCartney.<\/p>\n Detailed Case Histories<\/strong><\/p>\n Ossie Clark<\/em><\/strong><\/p>\n Ossie Clark and Cecelia Birtwell are considered to have produced some of the most innovative styles of the sixties. They were at their peak 1965-74.They were based in a Boutique named Quorum in the Kings Road. It\u2019s believed they may have had clients such as Mick Jagger, Marianne Faithful, the Beatles and Liza Minnelli. They new David Hockney who famously painted the couple.<\/p>\n Their designs included hot pants, maxi coats, gypsy style dresses, short zipped leather motor cycle jackets with wide collars and through the 1970\u2019s long dresses with wrap round deep necklines and small waist.<\/p>\n Zandra Rhodes<\/em><\/strong><\/p>\n Royal College of Art trained. Her designs from 1960 included chiffon scarves, caftans dresses with handkerchief hems, hand printed fabric and floating garments in silk or chiffon. In the 70\u2019s she reintroduced a crinoline look referred to as \u201cConceptual Chic\u201d she is also renown for clothes in Art Deco style with zigzag motifs in pale delicate colours.<\/p>\n Mary Quant<\/em><\/strong><\/p>\n Mary Quant is an icon and very much an epitome of the 60\u2019s along with her husband Alexander Plunkett-Greene. She trained at Goldsmiths College.<\/p>\n She is believed to have said \u201c good taste is death; vulgarity is life\u201d<\/p>\n She was both influential and a visionary. She could vary between novelty and experimentation. Giving youth culture the trendiest, fun and fantasy it craved through its disposable income. She very much established the \u201cLondon Look\u201d associated with and instrumental in the creation of the pop culture of the Swinging Sixties. It was a mixture of arrogance, aggression and sexiness. She catered for young hip customers. Her designs revolutionized the youth\/ teenage market in that they were inexpensive, and classless.<\/p>\n Although London based she was developing an International following.<\/p>\n She was a wonderful advertisement for her own designs.<\/p>\n She is identified with the designs of miniskirts, hot pants, and white lace up plastic boots. PVC plastic wet look rain coats, and the \u201cLolita\u201d look slip dress, short pinafore dresses, skinny rib sweaters, coloured tights, hipster belts, sleeveless crochet tops and hats. Quant produced a makeup set known as\u00a0 \u201cPaint box\u201d. [Smokey eyes and bob haircuts]. Later in her career she found further success with \u201cDaisy\u201d logo for cosmetics, shoes and footwear, household furnishings and men\u2019s ties<\/p>\n From the early \/ mid 1950\u2019s she opened Markham House as boutique and restaurant later followed by Bazaar in 1955? In the Kings Road. She started to create the Chelsea Set. This was followed in the early 60\u2019s with a range of household goods<\/p>\n In c 1963 she was involved with the Ginger Group<\/p>\n [* see A&R review of Mary Quant\u2019s autobiography]<\/p>\n Barbara Hulanicki <\/em><\/strong><\/p>\n With Stephen Fitz \u2013Simon founded \n
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\n Street Name<\/td>\n No.<\/td>\n Boutique Name<\/td>\n<\/tr>\n \n Carnaby Street<\/strong><\/td>\n 5 to 7<\/td>\n The Village store<\/td>\n<\/tr>\n \n <\/td>\n 9<\/td>\n Topper<\/td>\n<\/tr>\n \n <\/td>\n 23<\/td>\n Donis<\/td>\n<\/tr>\n \n <\/td>\n 25<\/td>\n Mates<\/td>\n<\/tr>\n \n <\/td>\n 27<\/td>\n Irvine Sellars<\/td>\n<\/tr>\n \n <\/td>\n 28<\/td>\n Tomcat<\/td>\n<\/tr>\n \n <\/td>\n 29<\/td>\n Lady Jane<\/td>\n<\/tr>\n \n <\/td>\n 35<\/td>\n Gear<\/td>\n<\/tr>\n \n <\/td>\n 38<\/td>\n Male W1<\/td>\n<\/tr>\n \n <\/td>\n 39<\/td>\n Paul’s Male Boutique<\/td>\n<\/tr>\n \n <\/td>\n 41<\/td>\n His Clothes<\/td>\n<\/tr>\n \n <\/td>\n 43<\/td>\n Lord John<\/td>\n<\/tr>\n \n <\/td>\n 45<\/td>\n Topper<\/td>\n<\/tr>\n \n <\/td>\n 46<\/td>\n Trecamp<\/td>\n<\/tr>\n \n <\/td>\n 49<\/td>\n John Stephen’s Man’s Shop<\/td>\n<\/tr>\n \n <\/td>\n 52 to 55<\/td>\n John Stephen<\/td>\n<\/tr>\n \n Marlborough Court<\/td>\n 1<\/td>\n Foale & Tuffin<\/td>\n<\/tr>\n \n <\/td>\n 5<\/td>\n The Button Queen<\/td>\n<\/tr>\n \n Marlborough Street<\/td>\n 27 to 28<\/td>\n Carnaby Hall<\/td>\n<\/tr>\n \n Great Marlborough Street<\/td>\n 34<\/td>\n Take Six<\/td>\n<\/tr>\n \n Newburgh Street<\/td>\n 15<\/td>\n Vince<\/td>\n<\/tr>\n \n Ganton Street<\/td>\n 12<\/td>\n Hat Gear<\/td>\n<\/tr>\n \n <\/td>\n 26<\/td>\n Palisades<\/td>\n<\/tr>\n \n Fouberts Place<\/td>\n 15<\/td>\n I was Lord Kitcheners Valet<\/td>\n<\/tr>\n \n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n Kings Road<\/strong><\/td>\n 36<\/td>\n Men<\/td>\n<\/tr>\n \n <\/td>\n 84<\/td>\n Fifth Avenue<\/td>\n<\/tr>\n \n <\/td>\n 97<\/td>\n John Stephen<\/td>\n<\/tr>\n \n <\/td>\n 106<\/td>\n John Michael<\/td>\n<\/tr>\n \n <\/td>\n 122<\/td>\n Michael’s Man Boutique<\/td>\n<\/tr>\n \n <\/td>\n 135A<\/td>\n Top Gear & Countdown<\/td>\n<\/tr>\n \n <\/td>\n 138<\/td>\n Bazaar<\/td>\n<\/tr>\n \n <\/td>\n 161<\/td>\n Dandie Fashions<\/td>\n<\/tr>\n \n <\/td>\n 170<\/td>\n Guy<\/td>\n<\/tr>\n \n <\/td>\n 201<\/td>\n His clothes<\/td>\n<\/tr>\n \n <\/td>\n 253<\/td>\n Chelsea Antiques market<\/td>\n<\/tr>\n \n <\/td>\n 341<\/td>\n Simon Shop<\/td>\n<\/tr>\n \n <\/td>\n 342<\/td>\n Gloryhole Boutique<\/td>\n<\/tr>\n \n <\/td>\n 414<\/td>\n Susan Locke<\/td>\n<\/tr>\n \n <\/td>\n 430<\/td>\n 4.3<\/td>\n<\/tr>\n \n <\/td>\n 488<\/td>\n Granny Takes a Trip<\/td>\n<\/tr>\n \n Tryon Street<\/td>\n 9<\/td>\n Just Men<\/td>\n<\/tr>\n \n Radnor Walk<\/td>\n 47<\/td>\n The Shop<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n