there is a tendency to think of the Sixties as a whole decade,
in terms of fashion it can, in fact, be viewed as two separate
and quite distinct parts, with the early years clinging doggedly
on to modifications of Fifties styles and the later years
exploding into the wild fashion frenzy for which the decade
is possibly best remembered.
The highly revealing and unprecedented 'Mini' fashions
that shocked society first started appearing in quantity
during 1965 when British designers like Ossie Clark,
Bill Gibb and Mary Quant, along with 'fashion boutiques'
and Carnaby Street, ruled the fashion world, even though
the 'Paris fashions' of Saint Laurent, Courreges and
Ungaro were still iconic fashion names. These mini dresses
and the 'A-line' fashions provided a perfect vehicle
for the colourful psychedelic and dramatic black and
white Op and Pop-art pattern designers and artists.
for men also displayed far greater imagination, incorporating patterns
and bright colours with fitted styling. New synthetic fabrics were increasingly
widely used, including nylon for shirts and blouses, crimplene for coats
and jackets and shiny PVC for footwear, rainwear and decorative trim
effects. Crotchet and knitwear also enjoyed a revival, most particularly
in the manufacture of mini-dresses, hats and women's jumpers.
post-war 'Baby Boom' war meant that there were an unprecedented
number of teenagers at the start of the 60s and, with unemployment
virtually non-existent compared to today, they had plenty of money.
The items on which they chose to spend it were pop music and clothes,
to an extent previously undreamed of.
Boys had established a teenage market in the fifties and made
it acceptable for males to dress for show. Now both sexes became
increasingly fashion-conscious and the trend-makers made the most
of it.The biggest fashion change from the Fifties came in the
rise in hemlines.
Mary Quant, who opened her first Bazaar boutique in Chelsea's
Kings Road in 1955 with partner Archie McNair and future husband
Alexander Plunket-Greene ( after whom the restaurant underneath
called Alexander's was named ), followed by a second in Knightsbridge
in 1961, is generally accepted to be the instigator of the mini-skirt
fashion although its exact roots are unknown. Her ingenue smock
dresses were also influential in the early Sixties. The boutique,
although the idea had been around since the 1920s as a way of
selling the by-products of haute couture, was seen as an innovation
in shopping habits and was, as she said herself, '... a kind
of permanently running cocktail party ' By
1963 Mary had formed the 'Ginger Group' which was exporting its
own mass-produced designs to the U.S.A. and she also launched
her own cosmetics range in 1966 and footwear collection in 1967.
Shopping for clothes had become fun, a fact quickly picked up
on by many others.
Yves Saint Laurent, who had become the house designer for Christian
Dior when Dior died in 1957, started his own fashion house and
also opened up a chain of 160 boutiques called 'Rive Gauche',
but not until 1966. Although not an innovative designer, he is
important because he was the first couturier to develop ready-to-wear
clothes on a large scale.
In 1963 hemlines were just above the knee but the rise gained
extra momentum and popularity when designs by Andre Courreges
appeared in Vogue in 1964. By the end of 1965 skirts six inches
above the knee were not uncommon and some venues barred them from
being worn. Coco Chanel described the mini skirt as 'the most
absurd weapon woman has ever employed to seduce men' and promoted
its more 'staid' opposition, the trouser suit.
The changing fashion scene did not go unnoticed by the Treasury.
In 1965 we spent almost £1.7billion on clothing - on a £10
to £15 weekly wage! Up until 1966 skirts under 24"
long were classed as 'childrens clothing'. In
fact, the dresses were becoming so small that on 5th November
1965 the government brought in new Customs and Excise rules to
prevent women avoiding taxes by buying children's sizes. The 10%
tax depended on the length of the clothes ..... before a rethink!
1st January 1966 womens clothes were assessed for tax purposes
according to bust size, not length.
The Kings Road in Chelsea became one of the main clothes
of Sixties London, following the success of a small lane behind
Regent Street near Oxford Circus, called Carnaby Street. These
were the fashion shrines of British youth in the early to mid
Sixties. By 1965 Carnaby Street had become the mecca for boutiques,
with all the latest clothes for the dedicated fashion followers
of 'Swinging London'. An article in the New York Times in May
1966 described Britain (i.e. London's King's Road to Soho area)
as 'the new Sodom and Gomorrah'.
The most influential retailer there, having great success in getting
men to follow fashion as much as women did, was John Stephen,
a grocer's son from Glasgow. He acquired his first boutique in
1963 and ended up owning ten shops in Carnaby Street with names
like 'Male West One', 'Mod Male' and 'His Clothes'. He also owned
a similar number around other areas of the capital as well as
at least two in Brighton. Although John's name is inextricably
entwined with the gimmickry and 'fad' perception of 'Carnaby Street'
fashion, he also had a very good understanding of other aspects
of the business, including updates on classic styles of ready-made
suits. For example, in 1968 he was advertising 'Mohair, cashmere,
wool and worsted jackets and suits…cut with the flair of John
Stephen designs - but gently'. Other Carnaby Street establishments
included 'Lord John' owned by Warren and David Gold and 'Lady
Jane' owned by Harry Fox. in 1967 there were more than 2000 'boutiques'
registered for business in the Greater London area.
Away from Carnaby Street another leading London fashion name was
Barbara Hulanicki who started 'Biba' as a mail-order operation
in 1964 with her
ad-man husband Stephen Fitzsimon. They
felt that the price of designer goods was far too high for most
people and adopted and promoted the 'use for a while, throw away
and buy more' marketing philosophy.
Barbara designed her own fabrics, generally using combinations
of 'art deco' and 'art nouveau'. The business really took
off when the Daily Mirror featured one of their gingham dresses
at under £3 and orders started to pour in.
Hulanicki's ultra modern, affordable and attractive styles
made her a cult figure in the fashion business leading, in
1963, to her opening the BIBA
boutique in Abingdon Road. Dark wood screens, low lighting
and pop music gave the place the air of a discotheque and
potential customers were actively encouraged to go inside
and try whatever they liked.
The largest store was opened in Kensington High Street in
1969, which had an all-black 1930s style décor with
twenty or more potted palms and even more hat stands. Selling
Biba clothes, Biba make-up, Biba everything! it survived until
1973 when it moved to the old Derry & Toms store in Kensington,
finally closing it's doors in the mid-seventies.
Another trendy place to shop was Cecil Gee in Shaftesbury Avenue.
boutiques with bright lights, colours and pop music opened with
enthusiasm all over the country. Of course, to display the clothes
to their best effect, fashion models were required and the big names
in fashion modelling were Jean 'The Shrimp' Shrimpton and Lesley
'Twiggy' Hornby, known as The Face and The Image of the Sixties
respectively. Other top Sixties models were Patti Boyd who married
Beatle George Harrison, Penelope Tree, Paulene Stone, the incredibly
tall Veruschka and willowy Peggy Moffitt. In 1964 the World In Action
programme produced by Granada Television made an edition called
'The Face On The Cover' in which a TV crew followed Jean Shrimpton
on modelling assignments in New York and London.
Terence Conran had set up his own furniture-making business in 1952,
which started in a basement studio in London's Notting Hill. In
1956 The Conran Design Group was founded, initially as part of the
furniture-making business. Fast becoming a leader in raising design
awareness, he opened his first 'Habitat' store at 77 Fulham Road
in May 1964, concentrating on modern furniture and home accessories.
Conran provided innovation and good design at affordable prices,
much of it imported from Europe. Habitat soon introduced Swinging
London to a range of French cookware, displayed in a simple, austere
environ of white-painted walls and quarry tiled flooring. Fashion-conscious
Londoners flocked to his first shop, with customers such as John
Lennon, Mary Quant, George Harrison and Julie Christie all buying
their furniture there. The staff's uniforms were designed by Mary
the age of 15, Twiggy was already dating one of the top hairdressers,
Justin de Villeneuve. Woman's Mirror magazine had been searching
for models who were young and exceptionally thin, and found
their ideal match in Lesley Hornby. Twiggy was only six and
a half stone and a size 6. Villeneuve arranged a modelling
photo session for her, the results of which led to her being
featured in all the leading fashion magazines and attaining
celebrity status virtually overnight with her boyish looks
and 31-22-32 figure. \she was commanding fees of £80
an hour at a time when the average wage was £15 a week.
She further influenced the fashion scene by bringing out her
own range of clothes in 1967. Between them, Twiggy and The
Shrimp changed the general public's concept of fashion models,
and fashion itself, completely. Driven by the need for constant
change in fashions the mini skirt soon became a mini dress
which, combined with the 'A' line design which hung straight
onto the hips, ignored the fact that girls had a waist at
This 'waist-less' look soon became apparent in the design
of trousers as well, which became much lower-cut, sitting
on the hips instead of the waist, hence their name - 'hipsters'.
Stretch trousers made from wool and helanca or Bri-nylon were
also still an extremely popular commercial style. To emphasise
the slim line they were made with stirrup loops to fit around
the feet and stretch the fabric straight down from the seat
rather than clinging to the hips and thighs. Slimma, the well-known
British ladies' trouser makers, sold them in large quantities
for years, although the style had been around since the late
Another style born in the previous decade was trouser suits for
women, which became more popular and socially acceptable in the
mid sixties. The advent of the rising hemline heralded the end for
traditional stockings and suspenders which were virtually obsolete
by 1965. They were replaced by the new, seamless, one-piece 'tights'
in various colours and patterns. Among young males, 'quiff' hairdos
were still around, but were being fast replaced by Beatle-style
'mop tops'. Drainpipe trousers survived quite happily for a while,
with 'winkle picker' shoes and slim 'college' ties.
Stockings returned much later, but as self-supporting items which
did not need a suspender belt. New materials were also being produced.
Crimplene and Trevira arrived in 1961 and happily joined the other
synthetics such as Acrilan, Bri-nylon, Orlon, vinyl and PVC which
provided a whole new design medium for fashion garments. Imitation
leather and suede was widely used for shorter length 'car coat'
styles, often with woollen collars and cuffs. A
popular leather substitute was 'Corfam', made by DuPont, used by
Rayne to make court shoes and also by Mary Quant for ankle boots.
also provided the basis for the shiny, sometimes collar-less 'Beatle-style',
wet look two-tone suits favoured by the mods of the early Sixties.
As the decade progressed, styles converged towards a unisex look,
hipsters and 'T' shirts being the most common denominator. The first
'topless' dress designs appeared in 1964 at the ever more outrageous
fashion shows but were unsuitable for general public wear as the
proud owners soon found themselves on indecency charges. The idea,
though, soon translated itself into baring other, less taboo, parts
of the anatomy leading to bare midriff designs, Courreges bringing
out the 'cut-out' dress with large holes cut in the sides or at
the back and front, and the even more adventurous large-stitch crochet
and linked-plate creations.
predictably, also succumbed to this minimalist trend. The
bikini, a more revealing version of the earlier two-piece
swimsuit, had been commonly available since 1959, gradually
becoming smaller until, in 1964, Rudi Gernreich hit the fashion
headlines with his infamous 'topless swimsuit'. He was also
responsible for the highly revealing bra-less body stocking
fashion of the time. These items exposed breasts for the first
time in commercially available fashion and almost instantly
became an international controversy. They were allegedly designed
as a symbol of women's liberation - as Gernreich himself stated,
"...in fashion, as well as every other facet of life." The
topless swimsuit soon led to the topless dress, and also gave
birth to another revolution, the 'no-bra bra' which effected
quite a change to the fit of clothes and was somewhat more
acceptable in public.
Trouser styles had started the Sixties being about 10" around
the leg, the drainpipe fashion preferred by the Teddy boys,
but gradually increased in size becoming 'flares' by 1965.
Hats, noticeable by their absence as soon as hair styling
for men became a fashion consideration, did not become popular
again until hairstyles became longer and more casual, and
took the form of peaked soft caps in the style worn by Donovan
and Dylan. Female trousers went even further into the pantaloon
range - almost full-length culottes.
John Pearse, Sheila Cohen and Nigel Waymouth offered a very different
view of fashion when they opened 'Granny Takes a Trip' at the World's
End in 1965. Behind a very surreal series of temporary shop frontages
they promoted a mysterious and unique 'look' based on nostalgic
and psychedelic concepts - a sort of grown-ups 'dressing-up box'.
In 1966, the discovery of rolls of unused snakeskin in a warehouse,
purely by chance, inspired Ossie Clark to develop a look that sculpted
and accentuated rather than concealed the torso. He formed the skins
into fitted jackets, based on black leather 'biker' jackets, to
be worn with culottes and midi or maxi skirts.
Shirt collars became wider, rounded and button-down. Suit lapels
also became wider and 'kipper' ties abounded in ever more startling
combinations of colour and design, combining the neat look of the
mods with the expressive, bright colours of hippie flower-power
psychedelia which reached its peak in 1967, flooding the 'alternative'
fashion world with kaftans, afghan coats, beads, body paint and
flowers in the hair. This year, above all others, was probably the
peak in variety and diversity of cultures and fashions. It was generally
a matter of the opinion of your own personal 'group' whether something
was actually 'in' or not.
apart from being 'The Summer Of Love', 1967 was also the 'Year Of
The Turtle' according to fashion paper The Daily news Record. Turtle
in this case being the turtle-neck sweater which doubled both as
an acceptable alternative to a collar and tie with a suit or a completely
informal top with almost anything else. The garment had been around
since the 20's, being a favourite of Noel Coward, but re-emerged
in the Sixties both as a Beatnik favourite and, later, celebrity
fashion as popularised by such as Bobby Kennedy, Paul Newman, Steve
McQueen and James Coburn, among others.
more or less popular 'fads' of the Sixties included false
fingernails, false eyelashes ( male mods often used eye makeup
or mascara to enhance their looks ) and, for some reason,
disposable paper knickers. 'Disposable' clothing really reached
its zenith around 1966 - 68 (estimated sales in the US in
1967 were between 50 and 100million dollars!) but was generally
more of a gimmick than a viable alternative. Society was adopting
an increasingly 'throw-away' attitude and disposable cutlery,
nappies and cigarette lighters were already commonplace. Throw-away
clothes, furniture etc. were the next logical step. Even NASA
had considered producing paper clothing for future space-travellers.
The Scott Paper Company pre-empted them when, in a 1966 publicity
stunt, they released their psychedelic paisley shift, a dress
that cost $1.25. It originally came in two designs, a black
and white Op Art motif and a red bandanna pattern. Scott advertisers
described the paper dress as "created to make you the conversation
piece at parties. Smashingly different at dances or perfectly
packaged at picnics. Wear it anytime...anywhere. Won't last
forever...who cares? Wear it for kicks -- then give it the
air." They sold over half a million in the USA in six months!
When paper clothing hit the UK's shores in 1967, even the
Beatles got in on the fad and wore paper jackets in public.
However, disposable clothes were not really much cheaper to
make than ordinary dress production.
In the latter part of the Sixties, particularly
with Hippies, there was a feeling of the need to divest yourself
of 'excess baggage' and, for some people, this also included clothing
- to be replaced with 'body art', and the use of the skin as a canvas
for peace symbols, smiley faces, flowers and all sorts of psychedelic
artistic impression. One size fitted all! Not only that, but you
could have a new 'wardrobe' every day as long as you had the time
(or inclination) to shower. The fad never took off in the full-blown
concept (potential arrest and prison presumably having a major influence
on this) but body art in various forms was certainly widely used
as for fashion augmentation and individualisation.
ties became a popular unisex accessory, and a revival of
19th Century fashion brought back the 'choker' - a collar
of pearls or fabric, gleefully known as the 'dog collar.
to 'come back' into fashion in 1964 was the wig, particularly
when it was discovered that The Supremes used them on stage.
Wigs were also used by men, notably Andy Warhol (who owned
more than 500 including silver, blue and white).
There were also the famous 'Beatle' wigs (which were one
of the best selling pieces of pop-related merchandise ever)
although the band themselves made very little from the marketing
of them after Brian Epstein failed to recognise the potential.
A variety of fashionable 'groovy' wigs were also created
and marketed by John Stephen (right) which found considerable
popularity with trend-setters. In the latter part of the
Sixties the 'afro' wig also enjoyed popularity with both
Films and pop groups also affected the fashion
scene. Berets became popular again after Faye Dunaway wore one in
'Bonnie and Clyde', blonde streaks after Audrey Hepburn's appearance
in 'Breakfast at Tiffany's' and knee-length vinyl boots and 'space-age'
designs after Jane Fonda in 'Barbarella' to name but three from
the movie world. Following an appearance by The Beatles at Wembley
in 1964 wearing new-look suits designed by Douglas Millings, the
style was on sale in John Temple and Neville Reed shops the following
October priced at 12 guineas ( £12.60 ).
Reeves had been creating unique and limited edition
costumes and styles for artists such as Jimmy Page and Jimi
Hendrix under the 'Sam Pig In Love' label for a couple of
years when, in 1967 with partner Pete Sutch, he purchased
a number of Indian bed covers from the now-defunct Kensington
department store 'Pettits' and produced some full length kaftans
collars and half-belts at the back, a couple of which
were purchased by George Harrison and Mick Jagger through
' Emmerton & Lambert' in Chelsea Antiques Market.
In a shortened version, these were to sell in their thousands
became a major
fashion 'craze' of the late Sixties. Reeves launched his company
'Alkasura Wholesale' in 1968.
Hairdressers ( before the later hippie fashion for both males and
females to wear their hair long and uncut ) and photographers were
also closely linked to the world of fashion and were celebrities
in their own right.
Moon worked as a fashion model in the early 60s before becoming
a freelance fashion photographer, working for Cacharel, Elle,
Marie-Claire, Vogue and Harpers Bazaar. She also did advertising
work for Biba. John French used a stark, black and white style
in his fashion photography which influenced many Sixties photographers.
Terence Donovan worked with French and John Adnan before opening
his own studio in 1957, working in the Sixties for fashion
magazines such as Elle, Cosmopolitan, Marie-Claire and Vogue.
Probably the most famous, even notorious, of the Sixties photographers
was David Bailey who started as a photographer with the Daily
Express in 1959 working as an assistant to fashion photographer
John French. He left to set up his own studio
and managed to acquire a contract with Vogue which he used
to turn Jean Shrimpton into one of, if not the, leading models
of the Sixties.
His fresh and irreverent approach to fashion photography launched
his career and made him a leader of style in the emergent pop culture.
His second marriage, in 1965, was to film star Catherine Deneuve,
the best man being none other than a certain Mick Jagger. Bailey
was the inspiration for the story behind the 1967 cult movie 'Blow-Up'
starring David Hemmings. Other well-known snappers were Patrick
Litchfield, a top fashion and celebrity photographer, famous for
the ruffs, frills and velvet creations he wore, Tony Armstrong-Jones,
a fashionable commercial photographer who became the Earl of Snowdon
when he married Princess Margaret and Paris-based Helmut Newton
whose op-art / pop-art fashion shoots graced the pages of Stern,
Vogue and Queen magazine in the Spring of 1966.
The top name
in hairdressing during the Sixties was undoubtedly Vidal
Sassoon whose customers included Mary Quant, Jean Shrimpton
and Mia Farrow who he famously flew to America for, when
she wanted her hair styled, while she was on set making
' the film Rosemary's Baby'. Born in the East End of London
in 1928, he had worked for 'Teazy Weazy' Raymond until 1955
and by the time the swinging Sixties arrived he had his
in New Bond Street.
Creations of his included the 'bob cut', the 'five point
geometric cut' - the neat swinging line as used by Mary
Quant and Nancy Kwan, the 'One-eyed girl', the
'Asymmetric Isadora cut' and the 'Greek goddess' styles.
These 'modern' hairdos had taken over from
the popular but troublesome 'beehive' style . In this, the hair
was back-combed to give it massive height and volume, styled, and
then set in place using huge amounts of hair lacquer. Together with
stiletto heels it could make a girl look up to a foot taller than
she really was! Styles for women varied considerably, new 'cuts'
being created on a regular basis covering a very wide variety of
'looks', but settling down to the simpler, long, shoulder length
( or longer ) hairstyles of the mid to late Sixties, via the chin-length
heavily fringed or centre-parted Mod look. Another name commonly
believed to have been a top hairdresser*
yet another name - Christian St Forget - was
Justin de Villeneuve ( real name Nigel
Jonathan Davies ) who was probably
more famous for his 'discovery' of, and relationship with, the fifteen
year old Neasden girl Lesley 'Twiggy' Hornby. Born in London's East
End and a genuine 'Cockney', Justin was evacuated to a Herefordshire
manor house during World War 2 where he was a guest of writer J.B.Priestley.
He went on to become a photographer,
collaborating on pictures with Klaus Voorman (who created the Beatles
'Revolver' cover) and Erte. He photographed Henri Lartigue in 1968,
and created the Marsha Hunt "silhouette" poster.
Twiggy's boyish 'crop' hairstyle was actually created by Len Lewis
who was better known as 'Leonard of Mayfair'. He also takes the
credit for creating the 'mop top' style of The Beatles who were
brought to him by Brian Epstein after their sojourn in Germany in
order to 'smarten up' their image. Len had been a protégé
of Vidal Sassoon and, working with colourist Daniel Galvin, his
own salon at 6 Upper Grosvenor Street saw many famous visitors including
Judy Garland, Liz Taylor and even John F. and Jackie Kennedy when
they were in town.
The 'In' hairdresser for the mods in the early to mid Sixties was
John Anthony's salon in Twickenham. Hair styles for men gradually
lengthened as the decade progressed, through the 'mop-top Beatle'
style, the raised-back Mod style and the longer, more casual 'Rolling
Stones' style to the shoulder length hair favoured by the hippies
of the later Sixties, often worn in permed 'Afro' style.
Wallace Scowcroft (President of The National Hairdressers Federation)
at the 1964 national conference said:
"Mens hairdressers do not object to youth wanting to wear its
hair long, provided it is shaped. It would be out of step with modern
times to oppose long hair because the hairdresser fears it will
lead to fewer visits to his salon. We shall get all the business
we want by ensuring that the Mods, the Rockers and the Beatles fans
Shoe fashions changed almost weekly ranging from stiletto heel shoes
to thigh length boots, and elastic-sided winklepicker 'Chelsea'
boots which were a slim ankle-high boot with a wedge-blocked heel
and an elastic panel on the side, handy for pulling off in a hurry.
These type of boots were inspired by English horse-riding attire,
but they achieved 'must have' status in the fashion world when the
The Beatles and other top pop artists were seen wearing them. Cuban
heels or the addition of buckles were also an option Other popular
footwear included Hush Puppies, Clarks 'desert' boots or Doc Martens,
depending on your particular taste and what your 'group' were wearing
- bowling shoes were even the height of fashion for a short period!
popular was the 'Courreges boot', mid calf length with open slots
at the top and a tassle or bow in front. These were made of white
kid, calf or patent leather.
'Doc Martens' were invented when the German Dr Maertens injured
his foot in a ski-ing accident in Bavaria. He could hardly have
foreseen that the orthopaedic-style shoe he designed for himself
would become a fashion item, much less the archetypal symbol of
rebellion it's descendents were to find themselves. The Grigg family
acquired rights to the air cushioned sole in 1958 and started making
boots at their Wollaston factory, producing the first boot on the
1st April 1960, hence the style name '1460'.
Back in the early Sixties, carry-overs from the late Fifties Beatnik
fashion (which also influenced design later in the decade) were
sandals for men, flat shoes for women with berets being an early
'must have' fashion item. Even Dior designed a collection of 'beatwear'
which included tight black pants and fitted leather jackets.
The Edwardian-based fashions of the Teddy Boys (teenaged 'rock and
roll' rebels who originated from the more deprived London areas
of the early Fifties) which included long slim jackets with velvet
trim, thin 'bootlace' ties, short stovepipe trousers revealing brightly
patterned socks and suede 'brothel creepers' or 'winkle-pickers'
were being adopted in modified styles by the early Sixties 'Mods'.
By 1962 tight jeans were a key part of the early Mod scene, popular
with both women and men, and more or less retained until they began
being replaced by the flared, shredded and patched jeans of the
The trouser suit for women, introduced by designers in the early
60s, was highly controversial and was frowned upon by the upper
classes, being perceived as 'poor woman's' dress. Some establishments
refused entry to anyone wearing them - an attitude which changed
somewhat in 1963 when the style 'took off' almost overnight after
'Ready Steady Go's Cathy McGowan wore them on the TV pop show.
Prior to 1962, sleeves were either 'long' or 'short'. Then someone
came up with the idea of a three quarter length sleeve which ended
halfway down the forearm. There was no real fashion basis for the
style, just the fact that it hadn't been done before, therefore
it was an instant, massive hit.
Hemlines continued to rise and, by 1968, had become what was not
much more than a very wide belt - the 'micro' skirt - so it seemed
the only way to go was down. The straight midi skirt, calf length,
took over in 1969 soon followed by the ankle length maxi. This design
change also affected the length of coats and it was not unusual
to see mini or micro skirts being worn under an open, ankle length
In 1968 The
Beatles opened their Apple boutique in the West End, run
by Dutch hippie designers Simon and Marijke, combining the
flowery 'hippie' look and 'Sergeant Pepper' military styles
with top designer names. This was followed on May 22nd by
a second shop specialising in theatrical clothing.
Although the establishment was very popular as a showcase
for the latest fashions, the high prices tended to make
the youth buy their clothes elsewhere and the shops closed
on July 31st with huge losses. The Beatles took what they
wanted from the stock and everything else was given away
The Portobello Road was one of the favourite alternative places
to go, offering uniform style items, sometimes the real thing, at
a fraction of the cost of the designer equivalent and pretty well
qualified for the title 'fashion centre' itself, although it supplied
demand rather than created it. RAF roundels and Union Jacks were
a mainstay of the 'Mod' culture also appealed to 'pop art' sensibility
with their cartoon-like basic simplicity and somewhat subversive
intent. 'I Was Lord Kitchener's Valet' was an emporium for post-imperial
spoil-flags, military tunics and other ceremonial ephemera - first
off from their original shop in the Portobello Road and later from
branches in Chelsea and Soho.
Psychedelia was a completely international influence and many European
designers like Elio Fiorucci and Emilio Pucci were making use of
the bolder colours and patterns. Outside of the hippie world, the
'Regency' or 'Romantic' look evolved from Mod in 1967-68, involving
the use of frills and bows and crushed velvet. It was really after
this stage, with fashions diversifying so much that the drive and
vitality started to drop out of the fashion market, with minor changes
and styles coming and going without great success and mingling with
the various 'left over' fashions from earlier in the decade such
as 'skinny-rib' sweaters and tie-dyed garments. Other fashion items
worth mentioning from the middle and end of the decade are wet-look
PVC coats, crocheted dresses and bikinis and the futuristic 'space
age' designs of Paco Rabanne which involved the use of metallic
discs or plates and day-glo colours.
Also, evening and 'formal' dresses were increasingly influenced
by hippie designs. Another 'name' of Sixties fashion was Zandra
Rhodes who came to the forefront in the latter part of the decade
when she and Sylvia Ayton opened their Fulham Road Clothes Shop
in 1968, having previously designed for a number of boutiques run
by friends. Specialising in fantasy evening wear, her use of bright
colours and her outrageous designs were perfectly attuned to the
psychedelic culture of 'flower power'.
more fashion-conscious of youthful males dared to challenge the
standard 'rules' of masculine dress that had hardly changed for
half a century. One of the resulting trends was the 'new romantic'
dandy, flamboyantly attired in frills, velvet, cravats and vividly
printed shirts. Young entrepreneurs, often from aristocratic backgrounds*,
were not slow in taking advantage of this remarkable change of style
and, in the areas around Piccadilly Circus that were already well
known for dressing the British gentry, established outlets whose
brightly coloured products combined the more traditional tailoring
output with the design flair of the 'fashion graduate'. Many of
these new designers were a product of the newly-created 'menswear'
courses run by the Royal College of Art and London College of Fashion.
'Blades' was one of the first businesses to dare the sanctity of
Savile Row tailoring. It was opened in 1963 by Charley Hornby and
Rupert Lycett-Green 'For The company, with its slogan 'Today rather
than a memory of yesterday', boasted an impressive and varied list
of clientele, including The Beatles. Michael Fish opened his Clifford
Street tailors 'Mr Fish' in 1966, having previously established
a reputation as the designer who brought traditional hosiers Turnbull
& Asser more up to date with items such as fitted shirts and kipper
ties. Tom Gilbey opened his design consultancy and fashion house
in Sackville Street in 1968.
The larger shops, although slower to react to the explosion in the
youth fashion scene, also responded to the demands of the market.
Harrods launched its Way In department in 1967and other large, well-established
shops, including Selfridges, also opened 'shop within a shop' boutiques
that, although managing to appear to be intimate and informal, had
the brand names, support and commercial advantages of a much bigger
*Owning a boutique seemed to be the trendy thing to do among the
aristocracy of the time. Socialites Janet Lyle and Maggie Keswick
opened the Kensington boutique 'Annacat' in 1965. 'Hung On You',
an elite Chelsea boutique, was owned by Michael Rainey, who was
married to Lord Harlech's daughter, the hippy socialite Jane Ormsby
would take a very much larger article than this to even start
to investigate the fashions of the Sixties in detail as fads were
regional as well as national and international, and changed almost
weekly, as immortalised in the words of the Kinks' 'Dedicated
Follower of Fashion', but it is probably sufficient just to say
that it was all NEW and, for a while, it was great fun!