DOCSLIB.ORG

Fashion in the 1960S and 1970S Includes Extensive Price Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fashion in the 1960S and 1970S Includes Extensive Price Guide Fashion Fashion in the 1960s and 1970s Includes extensive price guide by Zita Thornton A recent exhibition at the V&A museum explored the development of fashion in the 1960s and early 1970s. It was an entertaining and, for some of us, nostalgic trip back in time as we declared how we used to have one ‘just like that’ in the wardrobe. It was typical that even when the designers may have taken their inspiration from the past, for instance, the floor length Edwardian style dresses from Biba and her Deco patterns, or outfits from Mary Quant sewn from pin-striped flannel with knee length, frilled and ribboned knickerbockers peeping below their mini length skirt, their style was wholly creative and avant garde. New materials such as PVC and easy care polyesters added to this effect as did the eye popping colours, reds swirled with purple and orange, and the stark black and white of Op Art. Fashion in the 1960s was fun and youthful and, just as important, became accessible to all. Affordable styles were sold from trendy boutiques. You could while away a Saturday afternoon browsing in Carnaby Street or The King’s Road, Chelsea rather than visiting a department store with your mother. It was a fashion revolution and it was all happening in London. The haute couture fashion designers of Paris no longer dominated the scene. For those who have forgotten, or for those who always wondered, here is a guide to the prominent fashion designers of the time. Bill Gibb embroidered tulle gown, 1972-3. Sold £600 hammer, Kerry Taylor Auctions, Mary Quant June 2006. Picture courtesy Kerry Taylor Think of the sixties and the first name that springs to mind is Mary Quant. She is one of the designers credited as inventing the mini skirt, named after her favourite car, for which she later designed an interior. With her future husband Alexander Plunkett Green she opened a fashion shop called Bazaar in King’s Road, Chelsea. However, unable to find the kind of clothes she really wanted to sell she took to making them herself. The venture was a great success and led to the opening of a second shop in Knightsbridge in 1961. Mary Quant is associated with the Mod look of short skirts, 6 or 7 inches above the knee, waistless dresses and pinafores. Many of her designs featured the bold geometric shapes and colours of Op Art. Coats and accessories were made in glossy PVC. She created the ‘Chelsea Look’ widely modelled by Twiggy, the ‘face’ of the sixties, that we most associate with this period. In 1963 her designs were mass produced for the Ginger Group so those bearing the Bazaar label are more desirable. By the late sixties the Mary Quant daisy logo could be found on everything from tights, essential for wearing with minis, to make up and household goods. Her last great fashion introduction were ‘Hotpants’, shorts, often found with a pinafore top. In 1966 Mary Quant was awarded an OBE. 1 23 4 1. Hippy inspired garments, early 1970s, included this Thea Porter printed chiffon Ottoman inspired surcoat. Sold for £800 Kerry Taylor Auctions June 2006. 2 & 3. Mid 1960s Foale & Tuffin labelled crepe shift dress with narrow tucks from hip to hem and rayon pyjama suit. Fine and early Zandra Rhodes printed yellow 4. Mary Quant ‘Alligator’ black felted wool circular coat, late 1960s. Sold and white plastic coat/dress c1968 £2,200 hammer. Kerry Taylor Auctions, May Sold at Kerry Taylor Auctions in 2005. Picture courtesy Kerry Taylor December 2005 for £350 hammer. ANTIQUES INFO - July/August 07 Fashion BIBA parents to give them sewing machines for their 21st birthdays The décor of Barbara Hulaniki’s Kensington boutique BIBA, and made the clothes on the dining table of her South opened in 1964, was reminiscent of a turn of the century parlour. Kensington flat. Their first garments were dresses in flannel, one Dimly lit, with feathers in Art Nouveau vases, clothes were piled grey, one red, with white frills and kick pleats, which they sold up on Victorian tables or hung on bentwood coat racks. Her at Woodlands Department Store. Their success meant that they designs were soft, dreamy and romantic. BIBA offered a total needed more space so they moved to Marlborough Court, off look including hats, handbags, shoes, jewellery and make up, in Carnaby Street. At the time a shabby area, it was close to sludgy colours such as plum, brown and rust. Cheaply made and Liberty’s from where the girls bought their prints, and included cheaply sold it is a wonder that any have survived today but they them mixed together, in their designs. Their clothes were bright are keenly collected. So successful was BIBA that it moved to and fun. For women who could not wear the mini they intro- even larger premises, eventually taking over a whole department duced trouser suits. Popularised by Susannah York, the flattering store, formerly Derry & Tom’s. The Art Deco building inspired hipster trousers were sought after. In New York their designs her to use Deco patterns in her designs. In its heyday BIBA were produced under the Paraphanalia label. Foale & Tuffin attracted over 100,000 customers a week, including stars of the designs are currently undervalued. A pair of dresses can be pop and screen world, such as Cathy McGowan, presenter of bought at auction for less than £100. Ready Steady Go. They and other fashion designers were invited to party in the famous roof gardens with their live flamingos. Jean Muir Jean Muir was already a fashion designer in the 1950s, employed Foale & Tuffin by Liberty’s and Jaeger. In 1961 she established the Jane and Sally Tuffin is a name we most associate today with ceramics, Jane label. Five years later she opened her own business with but in the mid 1960s with her friend Marion Foale, she was her husband, which closed only this January. For forty years Jean known for clothes sold under the Foale & Tuffin label. Inspired Muir designed top quality, elegant, exquisite and demure by a talk from Alexander Plunkett Green they persuaded their clothes. Highly priced, it was the rich and famous who were her Early 1970s Ossie Clark dress made with Celia Birtwell feathers, printed chiffon. Sold BIBA fine tapestry weave coat, early 1970s. at Kerry Taylor Auctions, June 2006, £1,300 Jean Muir tomato red jersey cocktail dress Sold £400, Kerry Taylor Auctions May 2005. hammer price. Picture courtesy Kerry Taylor. c1978. Sold £400 hammer, Kerry Taylor Picture courtesy Kerry Taylor. Auctions, May 2005. ANTIQUES INFO - July/August 07 Fashion 7 biggest fans. At a time when the designs of others shocked, hers remained classic in style. It is said that a Jean Muir dress would last a lifetime. Well known for her award winning dresses, she was given the title ‘ La Reine de la Robe’ (Queen of the 1 dress) by the French. These dresses had graceful, fluid lines in her favourite jersey or crepe. Unlike Black polyester chiffon the bright patterns around her, she chose plain evening jacket, c1990s, with colours, often dark. She was admired by other pleated layered large collar designers, whom she influenced. Paul Gaultier & cuffs to flared sleeves, with label Gnyuki Torimaru. quoted her as his favourite. An archive of her life’s 4 Dreweatt Neate, Donnington. work was donated to the National Museums of Nov 02. HP: £250. ABP: £294. Scotland with a public viewing planned for 2008. Collection of dresses. 8 Into the 1970s Gorringes, Bexhill. Sep 99. As the 1960s gave way to the 1970s there was a HP: £10,230. ABP: £12,033. move away from the hard edged PVC Op Art style. Red polyester jersey evening ‘Flower Power’ and homespun handicrafts ruled. 2 dress, 1987, red sequined The fashion now was crochet, hand knits, tie-dye collar, cuffs and waist, and embroidered denim. Hippy travel inspired an swagged neckline, batwing sleeves and slashed back with ethnic, exotic look with beads, mirrors and bells. label Yuki, London, some wear to the sequins. Dreweatt Red pleated polyester satin Ossie Clark Neate, Donnington. Nov 02. evening dress, 1986, hood Ossie Clark began designing in the 1960s but his HP: £320. ABP: £376. type collar, full sleeves, free clothes were more in tune with the 1970s. His 5 form. Photographed as plate clothes, said to be the best and most wearable, were 113 in Yuki’s designs 1972- 1998, London 1998. Dreweatt well cut in crepe or chiffon and sold at Alice Neate, Donnington. Nov 02. Pollack’s Quorum Boutique in Chelsea. Using HP: £250. ABP: £294. fabrics designed by his wife Celia Birtwell, they were a creative team with a loyal following including Julie Christie, Bianca Jagger, Faye Dunawaye and Elizabeth Taylor. Birtwell prints were romantic, hearts, feathers and flowers, which Clark often mixed together on one garment. He used surface decoration such as embroidery, Ozzie Clarke lady’s full applique and beads. In 1966 he found several rolls length, backless evening 9 of snakeskin which he used for jackets and coats. Red pleated polyester evening dress, in black, with vertical Brown pleated polyester cock- He also produced tailored outfits, trouser suits, slash cut front, cut out back dress, 1992, the neck line, full tail dress, 1985, plunging fitted coats and jackets in wool and tweed. The sleeves and hem with boned and full bell sleeves. back with butterfly-type hoops. Photographed as plate Rosebery’s, London. May 06. sleeves centred with a rosette. most sought after Ossie Clark pieces are the early 139 in Yuki’s designs 1972- HP: £300.
Load more

Recommended publications
  • George Harrison
    COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they
    [Show full text]
  • 1960S Fashion Opposition to the Vietnam War by the Young and an Age of Social Protest—Led to New, Radically Different Youthful Clothing Styles
    1950s, Mother and Daughter Styles 1960s fashion Opposition to the Vietnam War by the young and an age of social protest—led to new, radically different youthful clothing styles 1960 1967 1960’s: Mary Quant invents the miniskirt and helps to usher in a new age… She supported the anti-parent philosophy of life as fun “Working class design, British fashion, Rock and Roll, The Beatles, Carnaby Street…all of a sudden everything came together.” Robert Orbach Lesley Hornby= Twiggy In the 60’s Fashion became central to a young person’s identity • Known for the high fashion mod look created by Mary Quant • Twiggy changed the world of fashion with her short-haired, androgynous look • Embodiment of Youth-quake generation • Face of the decade • Wide-eyed elfin features and slight builds— hence her nickname • Her style has dominated the runways for forty years • She was also famous for drawing long, fake eyelashes under her bottom lashes. These are, unsurprisingly, named “Twiggys.” • Twiggy was regarded as one of the faces of 1960s Swinging London 1960’s model Twiggy recreates the flapper look of the 1920’s. Two revolutionary decades for women and fashion New fabrics that contributed to new clothing styles • Polyester: easy-care, easy-to-wear • New fabrics were comfortable to the touch, wrinkle free, and care free • Perfect match for simple miniskirts and short tunic dresses of the era • Vinyl (also called PVC) was a shiny, wet- look plastic, easy to color and print with flamboyant designs. Was used at first for outerwear then for everything including
    [Show full text]
  • Fashion in The
    1 Sheffield U3A 1960s Fashion Project: What We Wore Sheffield U3A 60s Project 2018 – Fashion Group narrative 2 This document has been compiled by members of the Sheffield University of the Third Age (SU3A) who formed a Fashion Group as part of a wider Remembering the 1960s project. The group met regularly during 2018, sharing memories, photographs and often actual items of clothing that they wore during the 1960s, when most of the group were teenagers or young adults. The 1960s was a very exciting time to be a young fashion-conscious person, with most having enough spare cash to enjoy the many new styles pouring out of the waves of creativity which characterised the decade in so many ways. New easy-care fabrics became available, and cloth was still cheap enough to enable most women to copy the latest designs by making garments at home. In fact, the ubiquity of home-dressmaking was a key factor which emerged from our project and represents one of the biggest changes in everyday clothing between the 1960s and 50 years later. In those days almost every family had someone skilful enough make their own garments, and doing so was generally less expensive than buying clothing. Many books and a wealth of information and online resources are now available for students of 1960s fashion history and it is not our intention here to repeat that well-documented narrative. Instead we wanted to tell our own stories and record our personal recollections of our favourite outfits and memories associated with them. We did this by sharing and talking about our photographs, by showing each other garments and accessories we have kept and treasured, by reminiscing, and by writing up those reminiscences.
    [Show full text]
  • Fashion Revolutionary Mary Quant Comes to Tāmaki Makaurau in a Major Exhibition This Summer
    MEDIA RELEASE WEDNESDAY 11 AUGUST 2021 Fashion revolutionary Mary Quant comes to Tāmaki Makaurau in a major exhibition this summer Mary Quant and Vidal Sassoon, 1964. © Ronald Dumont/Daily Express/Hulton Archive/Getty Image ‘It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there are three: Chanel, Dior and Mary Quant.’ – Ernestine Carter An international exhibition exploring the work of legendary fashion designer Mary Quant is set to open at Auckland Art Gallery Toi o Tāmaki this summer. Here from the V&A in London, Mary Quant takes a look at the fashion icon who harnessed the youthful spirit of the sixties and embraced new mass production techniques to create a new look for modern women. Auckland Art Gallery Director Kirsten Lacy is excited to share the fashion revolutionary and youthquake of the 1960s with New Zealanders through an exhibition that cleverly explores Quant’s transformative effect on the fashion scene. ‘Mary Quant was all about revolution. She dressed the liberated woman with her fun, youthful and creative designs. Quant made designer fashion affordable for working women, overturning the dominance of luxury couture from Paris,’ says Lacy. Famously modelled by Twiggy, Grace Coddington and more, Mary Quant’s clothes personified the energy and fun of swinging London and Quant became a powerful role model for the working woman. Challenging conventions, she is known as the face of the miniskirt and popularised colourful tights and tailored trousers – encouraging a new age of feminism. Inspiring young women to rebel against traditional dress worn by their mothers and grandmothers, Quant turned a tiny boutique on the King’s Road, London, into a wholesale brand available in department stores across the UK, US, Europe and Australia.
    [Show full text]
  • The Swinging Sixties
    The Swinging Sixties 3 Leggi i brani e rispondi alle domande. The idea of ‘teenagers’, with their own style of clothes and music, originated in the USA in the 1950s. Rock and Roll was born there, and Elvis Presley was the first global rock star. People all around the world are still interested in American music, films and celebrities. But in the 1960s, Britain, not the USA, was the centre of the world’s pop culture! Music The Beatles were the best-selling British band in history and their influence on modern music is enormous. They were international superstars in the 1960s and they had millions of fans. It was often impossible to hear the music at Beatles’ concerts because of the screaming! But there were lots of other very successful British pop groups in that decade and the trendiest place in the world was ‘Swinging’ London. The UK’s capital city was the home of the Rolling Stones and lots of other pop stars. The Beatles moved there from Liverpool in 1963 and worked at the famous recording studios on Abbey Road. Glossary screaming urla swinging vivace, dinamica, alla moda recording studios studi di registrazione 1 Where did the idea of ‘teenagers’ originate? 2 What was the name of the best-selling British band in history? 3 When did the Beatles move to London? 4 Where were their recording studios in London? Go Live! Level 2 Culture C, pp.212–213 © Oxford University Press PHOTOCOPIABLE Fashion The biggest fashion invention of the 1960s was the miniskirt. Girls in the 1950s wore long, wide skirts, but in 1964 everything changed.
    [Show full text]
  • Op in Vogue Elena Galleani D'agliano 2020
    OP IN VOGUE ELENA GALLEANIELENA D’AGLIANO 2020 Op in Vogue Elena Galleani d’Agliano Op in Vogue Master Thesis by Elena Galleani d’Agliano Supervised by Jérémie Cerman Printed at Progetto Immagine, Torino MA Space and Communication HEAD Genève October 2019 Vorrei ringraziare il mio tutor Jérémie per avermi seguito in questi mesi, Sébastien e Laurence per il loro indispensabile aiuto al Musée des Arts Décoratifs, Oliver and Anna per avermi dato una mano con l’inglese, Alexandra e gli altri tutor per i loro incoraggiamenti e la mia famiglia per il loro instancabile supporto. 5 10 18 34 43 87 108 88 A glimse of the Sixties 90 The Optical Woman Portfolio 91 The diffusion of Architectural 64 prêt a porter Defining Op 44 The Guy visions in Mulas 18 92 Economic impli- fashion Bourdin’s elegance 67 Who are you, 34 Fashion pho- cations 11 Definition of The relation- 48 The youth quake William Klein? 21 tography in the 96 Basis for further Op Art according to Bailey Franco Rubar- ship with the Sixties 70 experimentations: 13 The influen- source 52 The female telli, the storyteller 36 Defining Op the Space Age Style ces Op art and emancipation throu- 74 Swinging with 27 photography 102 The heritage 108 Epilogue 14 Exhibitions its representation gh the lens of Hel- Ronald Traeger 83 Advertising mut Newton today 111 Bibliography and diffusion on Vogue 78 Others 57 Monumentality in Irving Penn 60 In the search of other worlds with Henry Clarke Prologue The Op Op Fashion Sociological Epilogue fashion photography implications 7 8 9 Prologue early sixty years ago, mum diffusion, 1965 and 1966.
    [Show full text]
  • The National Life Story Collection
    IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Betty Jackson Interviewed by Eva Simmons C1046/10 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Title Page Ref. No.: C1046/10/01-26 Playback No: F15711, F16089-92, F16724- 8, F16989-96, F17511-8 Collection title: Oral History of British Fashion Interviewee’s surname: Jackson Title: Ms Interviewee’s forenames: Betty Sex: F Occupation: Fashion Designer Date of birth: 1949 Mother’s occupation: Housewife Father’s occupation: Shoe Manufacturer Date(s) of recording: 14.07.04, 29.09.04, 20.10.04, 25.11.04, 02.12.04, 14.01.05, 25.02.05, 08.04.05, 22.04.05, 06.05.05, 03.06.05, 27.06.05 Location of interview: Betty Jackson’s office, Shepherds Bush, London Name of interviewer: Eva Simmons Type of recorder: Marantz CP430 Total no. of tapes: 26 Type of tape: D60 Mono or stereo: Stereo Speed: N/A Noise reduction: Dolby B Original or copy: Original Additional material: Copyright/Clearance: open Interviewer’s comments: Betty Jackson Page 1 C1046/10 Tape 1 Side A (part 1) Tape 1 Side A [part 1] This is Eva Simmons interviewing Betty Jackson.
    [Show full text]
  • View the Mary Quant: Fashion Revolutionary Guide Here
    BENDIGO EXPERIENCES / FOOD / ACCOMMODATION / TOURS / SHOPPING Fashion Revolutionary 20 March – 11 July, 2021 Bendigo Art Gallery 1 AUSTRALIAN EXCLUSIVE EXHIBITION PROGRAM HIGHLIGHTS Modern Revolution: Bendigo and the 1960s 2 April – 29 August 2020 Post Office Gallery The 1960s is remembered as a dynamic decade; a time of great social and political change. This exhibition features the insights and memorabilia of a selection of local people who grew up, lived and worked in Bendigo during that decade. Alongside their recollections of significant local and world events, Modern revolution: Bendigo and the 1960s reveals lived experiences of what some historians say was a time of unprecedented change. Mary Quant curator introductory talk Thursday 22 April, 2.30pm – 3pm Friday 11 June, 10.30am – 11am Join Bendigo Art Gallery Curator Emma Busowsky Cox for an introduction to the exhibition and insights into the career of one of Britain’s most revolutionary and important fashion designers. Bookings via the website. Free. Quant up late Saturday 26 June, 6pm – 8.30pm Dress up in 60’s style and join us for this very exciting evening event with the Mary Quant exhibition. Enjoy classic sets from devout Mary Quant fan and 60s DJ Eleni Tzoros. Ticket includes exhibition entry, a complimentary drink and canapés. Additional drinks available at bar prices. Mary Quant: Fashion Revolutionary Bookings via the website. 20 March – 11 July 2021 Members $45 Non-members $50 Bendigo Art Gallery presents Mary Quant: Fashion Revolutionary, a retrospective exhibition on the iconic British fashion designer Dame Mary Quant. Personifying the energy and fun of swinging 60s London, Quant’s impact was international, making fashion less exclusive and more accessible to a new generation.
    [Show full text]
  • MARKETING MASS MEDIA U4-A.Qxd
    UNIT 1111 2 3 Did mass media promote the growth 4 of a ‘permissive society’ in LBritain 5 4 6 1954–69? 7 A 8 I What is this unit about? This unit explores the relationship between mass media and the relaxation of the austere attitudes discussed in Unit 2. The key question is whether cinema,R television and the press exaggerated, or contributed towards, more liberal attitudes to sex, social hierarchy and authority, or whether they merely reflected EDEXCEL changes caused by more significant, underlying factors. E Key questions T • Was there a ‘cultural revolution’ in Britain 1954–69? • How far did mass media undermine a social hierarchy in this period? BY • How far did mass media change British attitudes to sex Abetween 1954 and 1969? • Mass media 1954–69: moulder or mirror of popular culture and society? Timeline M 1954 Television Act allows the creation of commercial Independent Television 9 1011 1956 John Osborne’s play Look Back in Anger is first performed 1 1957 Wolfenden Committee Report recommendsE the liberalisation of laws that made 2 homosexuality illegal 3111 1959 Obscene Publications Act allows serious works of art to use ‘obscene’ words 4 and images L 5 6 1960 Lady Chatterley’s Lover trial allowed publication of this ‘pornographic’ novel 7 1961 Private Eye launched P 8 9 1961 Suicide Act means that those who fail to kill themselves will no longer be 20111 prosecuted ENDORSED 1 1962 Colour supplementsM first appear in Sunday newspapers 2 1962 The Pilkington Committee Report on television is published 3 4 1964 Mary WhitehouseA launches her Clean-Up TV campaign 5 1964 Television Act increases the regulatory strength of the Independent Television 6 Authority and calls for the creation of BBC2 7 YET 8 1965 Murder (AbolitionS of the Death Penalty) Act is passed.
    [Show full text]
  • Large Print Guide
    Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir.
    [Show full text]
  • June 14.Indd
    KensingtonTHE MAGAZINE June 2014 Fashions in Kensington Front Cover: THE Image of ‘King George II, Queen Caroline and his mistress, Henrietta Howard’ at Kensington Palace by kind courtesy of KensingtonMAGAZINE Historic Royal Palaces This month being the start of the summer ‘season’, we thought it might be fun to look at the various fashions in vogue, over time. We consider the impracticalities of the mantua, worn by women in Georgian times, the provocative and never-previously-seen- before mini skirts of the 60s, inspired by Biba, and consider the fashionable hats of today. We have been very busy in Kensington recently: from pop star Bryan Adams visiting Royal Hospital Road, The Roof Gardens exhibiting a scaled down replica of the original 1939 gardens at the Chelsea Flower Show and a sleepover for children at Kensington Palace, among other events. June looks also to be a very busy month with exhibitions, talks, concerts, fetes and lectures - all taking place within walking Lucy Elliott, Editor (Image: By kind courtesy Michael Potter) distance of your homes, so do please give your support and enjoy, Lucy CONTENTS Hidden Kensington: Georgian Fashion 4 History of Kensington: Biba, Fashion in the 1960s 6 Review: South Kensington GP Clinic 8 Kensington News: 12-14 Maria Perry: A Fashion for Hats 18 Landscape & Horticulture: The Fashioning of a Button Hole 22 Restaurant Review: Pizza Express 24 Recipease: Beetroot and Chocolate Brownies 25 Book Review: May we be forgiven by a.m. Holmes 28 What’s On 29-30 Sciences Bites: The Arrival of Lab Grown Organs 31 Editor & Photography: Lucy M Elliott [email protected] GET IN TOUCH PUBLISHER: The Kensington Magazine Ltd 0203 667 8762 07921 558520 WEBSITE: www.thekensingtonmagazine.com | www.lucyelliottphotography.com Jenny Davis-Peccoud, Raphaella Thomas, Benedict Bull, Ffiona, Elizabeth Reid CONTRIBUTORS Sarah Goldsmith, Maria Perry and Dr Alex Anderson Read by 34,500 residents and businesses each month.
    [Show full text]
  • Audio Tour Final Quant
    TRANSCRIPT – Mary Quant Audio Described Tour led by Juliana Capes and supported by Anne Dignan [V&A Dundee Team] Hello and welcome to V&A Dundee. We are an international design museum, showcasing the brilliance of Scottish creativity and the best of design from around the world. The following audio was recorded live at V&A Dundee as part of our digital access programme. We hope you enjoy it. [Juliana Capes] Okay, so we're outside the Mary Quant exhibition at the V&A in Dundee. I'm quite excited. It's in the temporary exhibition space on the main first floor of the museum. And what an entrance! We can see the really strong branding of the Mary Quant brand, I'm sure you remember it. [Anne Dignan] I remember it first-hand, Juliana. I'm a lot older than you are. [Juliana Capes] Yeah, well we've got the Mary Quant, her big name in typography, hanging over the front door of the exhibition in bright red and then, on either side of the door, the walls have been painted the kind of black and white, monochrome stripe like a zebra crossing and also there's a pink and an orangy beside too in the iconic Mary Quant daisy on the right-hand side wall. So already we've got a flavour of the swinging sixties that we're going to go into. [Anne Dignan] Can't wait. [Juliana Capes] It kind of feels like a shopping street in parts and each of- [Anne Dignan] Carnaby Street by any chance? [Juliana Capes] Yeah.
    [Show full text]