\n| Radnor Walk<\/td>\n | 47<\/td>\n | The Shop<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\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>\nJohn 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>\nJean 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>\nJohn 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>\nPeter 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>\nDetailed Case Histories<\/strong><\/p>\nOssie Clark<\/em><\/strong><\/p>\nOssie 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>\nRoyal 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>\nMary 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>\nWith Stephen Fitz \u2013Simon founded Biba<\/em><\/strong><\/p>\nThe couple started with mail order and progressed to a boutique. Barbara had worked as an illustrator, having studied at the Brighton School of Art. With the fashion industry booming she started designing clothes for teenagers but would be in their price range too.she st up mail order which was successful .This resulted in her opening Biba in Abingdon Road in 1963.Later she opened her famous department store in Kensington High Street in 1969.<\/p>\n The Biba shop\u2019s ambience was part inspired by Art Nouveau and the 1930\u2019s. Overall decadent, stylish and lavish. It had an\u00a0 all-black d\u00e9cor.It also became a tourist attraction.They are noted for their clothes range that included velvet trousers suits, mini skirts, unisex tee-shirts, floppy hats and feather boa\u2019s.<\/p>\n Terrance Conran:<\/em><\/strong><\/p>\nIn his early career traveled in France picking up ideas. Back in London he helped establish the restaurant \u201cSoup Kitchen\u201d in 1955 assisted Mary Quant with her Bazaar boutique.<\/p>\n Its believed he opened Habitat in 1964.Expansion followed and branches were opened in Paris and New York.<\/p>\n Early habitat is remembered for its glossy mail order catalogue targeting young relatively high income couples. The formulae involved quality products immediately available and self-assembly. Habitat suffered a crisis in the 80\u2019s.However Sir Terrence Conran has sponsored good British design and contributed to the establishment of the Design Museum.<\/p>\n Entrepreneurs and Related of the Era<\/strong><\/p>\nHarry Fox and Henry Moss: \u201cLady Jane\u201d<\/em><\/strong><\/p>\nC 1966 First ladies boutique and equivalent of Lord John. Based in Carnaby Street sold kaftans with bells sown in. Harry fox was president of the Carnaby Street Trading Association and is attributed with getting the sign erected which read, \u201cCarnaby Street Welcomes the World\u201d<\/p>\n David and Warren Gold: \u201dLord John\u201d<\/em><\/strong><\/p>\nOpened in 1964 and famous for the pyscadellic mural painted on their Carnaby street premises in 1967.<\/p>\n Ian Fisk, Robert Orbach & John Paul:\u201d I was Lord Kitcheners Valet\u201d<\/em><\/strong><\/p>\nBased in period at 293 Portobello Road, selling antique military uniforms. It has been suggested the premises were inspiration to Peter Blake and Paul McCartney for the Sergeant Pepper album cover.<\/p>\n Tommy Roberts and Trevor Myles: \u201cKleptomania\u201d<\/em><\/strong><\/p>\nc 1966 shop in Kingly Street that runs parallel with Carnaby Street and Wardour Street. Specialized in Victoriana and Military wear.<\/p>\n \u201cMerc\u201d<\/em><\/strong><\/p>\nEstablished in Carnaby Street c 1967 catered for the mod look. Characterized by razor sharp cur, attention to detail and immaculate finish.<\/p>\n Irvine Sellars:\u201dMates\u201d<\/em><\/strong><\/p>\nTypically flower power flares.<\/p>\n Ravel:<\/em><\/strong><\/p>\nShoe shop<\/p>\n Sidney Brent:\u201d Take Six\u201d<\/em><\/strong><\/p>\nBased in Carnaby Street c 1964-72. Supplied showbiz clientele. Typically long frock coats with \u201cHighwayman\u201d collar.<\/p>\n Tom Slater: \u201cGear\u201d<\/em><\/strong><\/p>\nC1964 specialized in Victorian bric-a-brac.<\/p>\n Carnaby Street<\/strong> and Boutiques.<\/strong><\/p>\nBoutique is French for shop. It was adopted in Britain in the 1960\u2019s significantly in London. Its association is with elite, fashionable clothing and jewelry.<\/p>\n In 1960\u2019s London the greatest concentrations of boutiques were in Carnaby Street, Kings Road and possibly Portobello Road. Some of the earliest might date from the late 1950\u2019s. E.g. \u201cHis Clothes\u201d by John Stephen.<\/p>\n Carnaby Street is situated behind the London Palladium. It is also close to Oxford [Oxford Circus] and Regent Street. There are a gaggle of similar roads adjacent like Great Marlborough Street and Beak Street.<\/p>\n This western end of Soho was developed around the late 1600\u2019s and comprised tall terraced houses of London stock in the Georgian style. [And it was the ground floors predominantly that formed the boutiques in the 1960\u2019s] local shops [some continuing into the 1960\u2019s workshops and restaurants. The upper floors make have been living quarters for the shop owners .Its believed there was a small market in the street around 1820. The street is narrow originality just sufficient for a horse and cart.<\/p>\n It offered run down cheaply rented accommodation.<\/p>\n Certainly Soho had an established entertainment industry and in streets surrounding Carnaby Street there was The Florence Mills Social Club [jazz] from the 1930\u2019s and Marquee Club in Wardour Street and the Roaring Twenties Night club nearby.<\/p>\n The street also saw the introduction of one of the cities earliest health food shop\u2019s \u201cCranks\u201d<\/p>\n Boutiques success was based on:<\/p>\n \n- Small young businesses<\/li>\n
- Adaptability and speed response; close to or making trends<\/li>\n
- Operating costs low.\u201d Up back streets\u201d with low rents, and other overheads. Ambience suited to small more intimate interior that did not require large fronts or display windows.<\/li>\n
- The proprietor likely to be owner, designer, manufacturer buyer and sales assistant. Perhaps making fashion on the premises.<\/li>\n
- Publicity and sales by word of mouth<\/li>\n
- Place to be seen. Total experience and possibility of rubbing shoulders with celebrities [see below]<\/li>\n
- Informality and relationship between owner and customers; sharing so much in common i.e. age, taste, music, cultural values etc.<\/li>\n
- Pop music played within<\/li>\n
- The London \u201cphenomena\u201d sheer concentration, the crucible and engine. The physical proximity. A culture of for and by youth.<\/li>\n
- Impact of TV programs such as Top of the Pops and radio etc.<\/li>\n
- Low tech slightly improved version of market stall?<\/li>\n<\/ul>\n
It\u2019s an inevitable socio-economic phenomenon that Carnaby Street should blaze onto the world seen briefly. The landlords caught up, rents were increased. It was pedestrianised in 1973 and many other buildings nearly three hundred years old would be unsympathetically demolished and redeveloped. The boutiques relocated as is the constant economic migration and Carnaby Street would lose much of its ambience as only the \u201cchains\u201d that moved in could afford the rents. Today it trades on its historical connections and the modern equivalents moved to parts of East London typically Brick Lane.<\/p>\n Relative and Comparative\u00a0 location and Costs<\/p>\n \n\n\n| B’Name<\/td>\n | St.No<\/td>\n | Address<\/td>\n | Item<\/td>\n | Price<\/td>\n | Proprietor<\/td>\n<\/tr>\n | \n| Count Down<\/td>\n | 137<\/td>\n | Kings Road<\/td>\n | <\/td>\n | 2-60gns<\/td>\n | J.Wedge &<\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | \/<\/td>\n | <\/td>\n | <\/td>\n | Pat Booth<\/td>\n<\/tr>\n | \n| Quorum<\/td>\n | 52<\/td>\n | Radnor Walk<\/td>\n | Underwear<\/td>\n | \u00a31-3<\/td>\n | Alice Pollock<\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | \/<\/td>\n | clothes<\/td>\n | \u00a33-30<\/td>\n | <\/td>\n<\/tr>\n | \n| Susan Locke<\/td>\n | 414<\/td>\n | Kings Road<\/td>\n | Shirts<\/td>\n | \u00a33<\/td>\n | Susan Locke<\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | <\/td>\n | Trouser Suits<\/td>\n | \u00a320<\/td>\n | <\/td>\n<\/tr>\n | \n| Unique<\/td>\n | 56B<\/td>\n | Kings Road<\/td>\n | Dresses<\/td>\n | 3-15gns<\/td>\n | Eric Shemilt<\/td>\n<\/tr>\n | \n| VanessaFrye<\/td>\n | 6F<\/td>\n | Sloan Street<\/td>\n | <\/td>\n | \u00a32-10-\u00a335<\/td>\n | V.Denza<\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | M.Frye<\/td>\n<\/tr>\n | \n| Source “King’s Road” by Max Decharne<\/td>\n | c 1967<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Same source quotes 1 once of hash costing \u00a38<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Comparative costs<\/td>\n | c.1975<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| House<\/td>\n | <\/td>\n | \u00a311,700<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | c1976<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Chelsea, London Bed\/br<\/td>\n | \u00a39.75<\/td>\n | per week<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| New LP record<\/td>\n | \u00a32<\/td>\n | average<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| T shirt<\/td>\n | <\/td>\n | \u00a31.50-\u00a32<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Pair of Jeans<\/td>\n | \u00a36<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Ticket to Hammersmith<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Oden<\/td>\n | <\/td>\n | \u00a32<\/td>\n | average<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| show at Marquee,London<\/td>\n | \u00a30.75p<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| Mary Quant rain shoes<\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| “Quant afoot”<\/td>\n | \u00a38<\/td>\n | Acrme Attractions<\/td>\n | <\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| As quoted in King’s Road by Max Decharne<\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n | \n| <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n The Names and Celebrities of the 1960\u2019s associated with Carnaby Street<\/strong><\/p>\n\n- Sly and Family Stone<\/li>\n
- Jimi Hendrix<\/li>\n
- Nancy Sinatra<\/li>\n
- Shirley Bassey<\/li>\n
- Julie Christie<\/li>\n
- Dusty Springfield<\/li>\n
- Sammy Davis<\/li>\n
- The Animals<\/li>\n
- George Fame<\/li>\n
- Cat Stevens<\/li>\n
- Martha and the Vandellia\u2019s<\/li>\n
- Peter Noone and Herman and the Hermits<\/li>\n
- Donavan<\/li>\n
- Joan Collins<\/li>\n
- Jane Mansfield<\/li>\n
- Roger Daltry \/The Who<\/li>\n
- Twiggy<\/li>\n
- Cathy McCowan<\/li>\n
- John Lennon \/Paul McCartney, The Beatles<\/li>\n
- Eric Clapton<\/li>\n
- The Kinks<\/li>\n
- The Rolling Stones<\/li>\n
- The New Faces<\/li>\n<\/ul>\n
Cars of the Decade<\/strong><\/p>\nItalian Super cars of the 1960\u2019s were particularly aesthetically beautiful combining power, form and function in near prefect articulation. British hand made cars of the era were well engineered and beautifully crafted like:<\/p>\n \n- C.<\/li>\n
- Bristol<\/li>\n
- Aston Martin<\/li>\n
- Alvis<\/li>\n
- Frazer Nash<\/li>\n
- Lagonda<\/li>\n
- Morgan<\/li>\n<\/ul>\n
Other mass-produced British road cars tended to be rather bland. However the list below highlights the most significant models. Each in its way was democratic [their affordability meant they could be sold in mass market and to younger audience] they also were radical and possessed high levels of design ingenuity and complex engineering problem solving. Possibly for the first time they were unisex and genuine fun. This might be overlooked but was extremely important to the era .It contributed to equality. In the case of the Elan it decisively removed the exclusive male identification with the sports car. The smaller cars were also green and economical and are iconic and a bench mark. Sixty years on they have not been improved upon in many respects and continue to provide inspiration.<\/p>\n All of the cars mentioned entered the public psyche as they featured in TV programmes and therefore had worldwide exposure. They were cosmopolitan and sold to international markets. They became part of the cultural landmark and near obligatory backdrops at the highest level of fashion. They were British and directly helped sell Britain abroad.<\/p>\n Lotus and the Mini [through Rally] were also known on the World Competition stage.<\/p>\n \n- The Elan<\/li>\n
- The Seven<\/li>\n
- The Europa<\/li>\n
- Jaguar E Type<\/li>\n
- The Mini and Mini Moke<\/li>\n
- Jensen FF<\/li>\n<\/ul>\n
The Significance of the Elan and the Avengers.<\/strong><\/p>\nThere are not many drama programmes that are so redolent, representative, quintessential or emphatic of an era as \u201cThe Avengers\u201d<\/p>\n It stuck a very precise note and sociological observation of the time. It exactly counterpoised and juxtaposed tradition and modernism. In particular it reflected the feminism and emergence of capable women like the designers mentioned.\u00a0 The symbolism was heightened and accentuated by the casting and roles. The character John Steed represented the old school English Gentleman and Mrs. Peel the very emancipated and thoroughly modern woman.<\/p>\n Their characters were further polarized through the choice of fashion. John Steed deferring to Saville Row and Mrs. Peel, Carnaby Street and the designs of John Bates.<\/p>\n The final visual and technological allegiance was set through their respective cars. John Steed the Bentley and Mr. Peel the Elan.<\/p>\n We might question what other vehicle Mrs. Peel might have adopted to complement her style. The options might include:<\/p>\n | |
![\"Carnaby\"](\"http:\/\/colinchapmanmuseum.org.uk\/wp-content\/uploads\/2016\/03\/Carnaby.jpg\")
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