The Knack — And How to Get It

A Cultural and Fashional Prelude to Mod

It is a story akin to the greatest of dramas: rich with twists and turns, romance and tragedy, optimism and despair. In the aftermath of the Second World War, Britain emerged battered yet resolute — still bound to long-served traditions, but now carrying a profound sense of dislocation. For many of the nation’s young people, the war had not only stripped material certainty, but also direction.

Outmoded social conventions and an inflexible moral conscience began to feel stifling. Creativity, individuality, and self-expression were constrained by expectations that no longer resonated with a generation coming of age in a changed world. The result was an inevitable reaction — a quiet rebellion that would soon find its voice through fashion, music, and the arts.

This rebellion did not erupt overnight. It evolved. And before Mod, there was something else.

What Next for Britain’s Youth?

The Teddy Boy Inheritance

The first true post-war British youth subculture to emerge was the Teddy Boy. Drawing on Edwardian styling — hence “Teddy,” short for Edwardian — young men adopted drape jackets, velvet collars, drainpipe trousers, bolo ties, creepers, and carefully sculpted quiffs. By 1953 the look had crystallised, and when the Daily Express printed the term Teddy Boy in September of that year, a movement had been named.

Teddy Boys seen here at the Thirteen Canteen, Elephant and Castle, London, 1955.Daily Mirror/Mirrorpix/Mirrorpix via Getty Images

American rock ’n’ roll provided both soundtrack and attitude. Elvis Presley, Bill Haley, Eddie Cochran, and films like Blackboard Jungle supplied archetypes for rebellion, masculinity, and self-definition. Teddy Boys did not merely dress differently — they performed identity.

Their clothing was expressive but also functional. Heavy wool drape jackets were ideal for long nights on cold street corners, complete with concealed pockets that served both warmth and less innocent purposes. The jacket itself became a symbol of status: the sharper the cut, the higher the standing.

Footwear followed suit. Gibson shoes and brothel creepers with thick crepe soles contrasted starkly against narrow black trousers cropped to expose bright socks. Shirts featured wide American-influenced collars, finished with bootlace ties. Hair was obsessively styled into exaggerated quiffs, tapering into the iconic ducktail at the back.

Teddy Girls were no less transgressive. Toreador trousers, circle skirts, low-cut tops, and American rock ’n’ roll styling rejected the prim respectability of previous generations. Their fashion shocked by design — a declaration of autonomy and intent.

Yet by the late 1950s, the Teddy Boy movement was waning. Its pioneers aged, its symbolism dulled, and a restless younger generation began searching once more for something new. The conditions were set. The cultural ground was fertile.

I Had a Dream… And That Dream Was Mod

Modernists, Beatniks, and the Birth of a New Sensibility

The 1960s would become the most mythologised decade of the modern era — and with reason. It was a time of optimism, innovation, and social recalibration. For youth in particular, it was an era defined by possibility: new music, new art, new freedoms, and new ways of belonging.

Mod was both a product and a catalyst of this change.

The term Mod derives from modernist, originally used in the late 1950s to describe fans and musicians of modern jazz, distinguishing them from trads (traditional jazz devotees). This usage, immortalised in Colin MacInnes’ Absolute Beginners, referred to sharp-dressed, style-conscious young jazz enthusiasts immersed in contemporary European aesthetics.

Modernists were difficult to define precisely — and deliberately so. As Paul Jobling and David Crowley observed, the subculture was “prone to continuous reinvention.” Peter Meaden famously summarised the Mod ethos as “clean living under difficult circumstances.” Mod was pluralistic, fluid, and evolving — an umbrella for multiple scenes united by taste, precision, and intent.

Coffee Bars, Beat Culture, and the Modern Mind

To understand Mod, one must understand the coffee bar.

In contrast to pubs — which closed at 11pm and carried rigid social codes — coffee bars stayed open into the early hours, housed jukeboxes, and fostered creative exchange. By the late 1950s, they played jazz and blues; by the early 1960s, raw American R&B began filtering through. These venues became melting pots where class, education, and background blurred.

The 2i Coffee Bar 59 Old Compton Street, Soho, London.

The influence of the Beat Generation was profound. Existentialism, self-definition, and cultural exploration were not academic ideas but lived experiences. As Jack Kerouac wrote, beat was about beatitude — a belief in meaning beneath the surface chaos of the world.

Modernists embraced this mindset. Education mattered — not merely formal schooling, but self-education through film, literature, music, and style. French and Italian cinema, Sartre, modern jazz, and European fashion became points of reference. Mod was as much intellectual posture as visual statement.

That’s Why I’m a Mod, See

Style, Discipline, and the First Mod Look

Early Mods inherited lessons from both Teddy Boys and Beatniks. From the Teds came precision, pride, and the importance of tailoring. From Beat culture came bohemian minimalism: roll-neck jumpers, black drainpipe jeans, and understated sophistication.

Italian tailoring became the cornerstone. Slim suits with narrow lapels, sharp silhouettes, pointed-collar shirts, and winklepicker shoes defined the look. Hairstyles were neat, short, and European in influence — the antithesis of rock ’n’ roll excess.

Cleanliness was paramount. A misplaced crease or dirty cuff could ruin a day. Mod was about control, restraint, and refinement — a sharp rejection of post-war drabness.

The arrival of scooters — Vespa and Lambretta — completed the picture. Practicality demanded a solution: the parka. Military surplus coats, oversized and utilitarian, protected suits from road grime and weather. Thus, an icon was born.

Mod teenagers in 1965 Credit: Photo: Rex

Boutiques, Media, and the Explosion of Mod

As the Mod movement grew, media attention accelerated its spread. Disposable income among youth — and their willingness to spend it on clothing — gave rise to the first generation of youth-focused fashion boutiques.

Boutiques empowered young people to dress for themselves, not their parents. This shift reshaped the High Street forever and established fashion as a legitimate form of youth expression.

Swinging London and the Mainstreaming of Mod

By the mid-1960s, Mod had become synonymous with Swinging London. Pop art, Carnaby Street, live music, and discothèques defined an era captured in films like Blow-Up. Bands such as The Who and Small Faces — many formed by Mods themselves — brought the look and attitude to a national audience.

As Mod expanded, its edges softened. The dandy subculture emerged, psychedelia loomed, and by 1966 the original scene began to fragment. Internationally, Mod aesthetics spread — particularly to the United States — where the look merged with pop culture, psychedelic rock, and eventually early hippie fashion.

Dick Hebdige would later argue that Mod lost its vitality once commercialised — when styles were manufactured rather than assembled by youth themselves. Yet even in dilution, its influence endured.

Why Mod Still Matters

Mod was never just fashion. It was a way of seeing the world — precise, curious, modern, and self-aware. It gave young people identity, belonging, and control in an uncertain time. Its legacy lives on in tailoring, music, youth culture, and the enduring belief that style can be an act of defiance.

What follows in this guide is a closer look at the clothes themselves — the details, the rules, and the nuance that defined a movement obsessed with getting it right.

Because having the look was one thing.
Having the knack was everything.

Inside the 1960s Boutiques...

From Biba's Postal Boutique to Big Biba and Big Business.

As promised this chapter is set to explore the intricate interiors of some of the Sixties most iconic shops and boutiques. Looking into the roles of key players within the fashion industry and celebrating their inspiring stories and innovative ideas. Kicking off with the tale of Barbara Hulanicki's and Stephen Fitz-Simons famous BIBA store.

From Art College to freelance fashion illustrator to mail order innovator to boutique proprietor. A whirlwind exploration of Barbara Hulinicki's BIBA.

There's always been a certain propensity for the avid fashion connoisseur to acquire designs that their beloved icons so gracefully adorn. Biba's Postal Boutique was the first instance of Barbara Hulanicki pursuing avenues that explored the desirability of the 'As worn by' celebrity culture. The ability to affordably design and dress fashion fans in styles akin to icons such as Bardot was to prove a lucrative career choice. BIBA's Postal Boutique unleashed a suitably chic Retro gingham dress to the Sixties scenesters via an advert in the Daily Mail (May 1964). In less than one day the response was emphatic, with four thousand orders taken and the total eventually reaching a staggering seventeen thousand. Fast forward less than 4 months and BIBA's first store was all set to open. A haven for Mod Girls with boundless Retro wares, Mod Clothing and raving sounds!

Barbara Hulanicki was always keen on developing Mod silhouettes into a more three dimensional style. She pictured her happy clients looking just like the designs she had originally drawn...

Extravagant, decadent and the place to be, The first BIBA store opened in Kensington in September, 1964. A walk in cat-walk with Retro, Art Deco influences and lavish scenes, BIBA set out to be style, substance and a hip hangout. A beacon of celebrity couture and Mod chic styles, BIBA's reputation rapidly grew. A rock and roll and celebrity haunt, the BIBA interior was a stage, complete with its own wardrobe designer, a plethora of willing performers and artistes as well as a confident crowd of affluent, young clientele. Delightful Mod clothing in clever and innovative colour palettes set against a backdrop of Victorian furniture and Retro antiques caused a stir amongst the customer base of mainly women under the age of 25.

Clever marketing campaigns saw clothes draped on hat stands or period furniture and accessories neatly displayed in bowls. The frenzy for the latest BIBA designs was immense and the shop would be over-run by eager customers. BIBA witnessed unequivocal growth from an entirely unwitting viral marketing campaign that saw brand recognition surge through unbridled word of mouth, after all even the staff formed part of BIBA's loyal customer base. A certain air of sophistication and authority could be assumed by working in a place of such social stature. The instant understanding of what customers wanted, their desire to dress like icons and idols of stage, screen and music made BIBA a hot spot for young society girls, but moreover the affordable prices made their dreams come true and thankfully not at the expense of their bank balance.

For just 10% of the average weekly wage, BIBA could kit girls out like the stars. Even the stars themselves got in on the action, gratefully snapping up the latest new and trendy threads from the boutique BIBA. The relatively new concept of fast fashion it could be argued was born in the Sixties. What the Mod Girls, Cathy McGowan et al dressed in on Friday's Ready Steady Go would be on the shelves of BIBA boutique in the form of an affordable replica first thing Monday morning.

Building the Biba Brand.

Hulanicki and Fitz-Simon had enormous demand for their wares, but their market reach had the potential to be far greater. Ideas of a grander shop and the re-introduction of the BIBA mail order service would open the BIBA enterprise up to customers who lived outside of London. The bold Retro designs and vibrant colours combined with the ever recognisable BIBA label began to create such a buzz that every discerning fashion lover wanted to be seen in a BIBA garment, a feeling of owning an exclusive design from an exciting boutique and just how happy it could make one feel.

From Abingdon to Kensington Church Street and the Second Biba Store.

In 1966, BIBA mark II opened on Kensington Church Street and just the same as the first store, but this time on a wider scale the demand for their designs was unrivalled. Barbara Hulanicki herself recounted in her book A to Biba an interesting story regarding the birth of the Mini Skirt. Shortly after the grand opening in Kensington Church Street, some new stock of skirts had arrived. Made out of stretchy jersey fabric the skirts had shrunk significantly since leaving the manufacturers to the eventual arrival at the store.

...'I nearly had a heart attack. The skirts were only 10 inches long. "God," I thought, "we'll go bust - we'll never be able to sell them." I couldn't sleep, but that little fluted skirt walked out on customers as fast as we could get it onto the hatstands.'

The enthralling sound of the latest music echoed through the BIBA stores, the faster the song, the seemingly faster the interaction between customers, clothing on the shelves and one another would be. A team of dedicated Mod Biba girls would gladly assist and serve the merry band of Mod customers the latest fashion trends. Retro decor enhanced by elaborate clothing designs in all styles, shapes and sizes. A loving sentiment to all things BIBA, the acknowledgement of grand style at great prices and the anticipation of next weeks fashions, today would continue to be the cornerstone of the BIBA ethos and attitude. These little Retro look boutiques were in tune with the beat of swinging London, their finger on the pulse of fashion.... and from the smallest nucleus, its humble beginnings, BIBA was about to undertake its most ambitious venture yet.

Big Ideas and Big Biba!

Roof gardens, resident flamingo's, Andy Warhol's condensed soup shelving... an Art Deco interior enhanced by elaborate designs. This is not a snap shot of the intricate workings of Salvador Dhali's mind, but an actual representation of features within the Big BIBA Emporiums interior. From it's Art Deco fascia, the former Derry and Toms seven storey department store on Kensington High Street was an instant draw for BIBA founders, Hulinacki and Fitz-Simon. Well placed with plenty of foot fall, coupled with the desirable location within London's busy Kensington district meant that BIBA could open its doors to its growing numbers of clientele and in theory cater for them all. Fashion, food, homeware and entertainment all under one roof and in BIBA's own imitable style... The Big BIBA Emporium was born.

A massive renovation that cost in excess of £1,000,000 saw the department store transformed to conform to BIBA's idiosyncratic design and compliment the hand picked, versatile product range.The first floor attempted to smooth the gap between the move from small boutique to big store layout with a familiar Edwardian vibe, polished furniture and Victorian hat stands, gracefully adorned with attire and accessories. Other floors had their own themes and personal signs imitating the classic BIBA motif and elegantly describing the goods therein. There was a Children's floor, a Menswear floor, food hall, homewares and a book store. The decadent Thirties Art Deco theme attempted to re-create the original facade and interior of the fine period building.

The Fifth floor Rainbow Room restaurant ushered in a new era in BIBA entertainment, the concept of a whole, fulfilling lifestyle available under one roof. BIBA's intriguing idea of not showcasing its products within its window displays was a further artistic attempt to lure and captivate customers into the fairytale world of BIBA.

The Decline and Demise of the Big Biba Empire.

The move from 9,000 square foot premise to a whopping 80,000 square foot Retro inspired emporium was not without it's problems. Since it's opening in 1973 Big BIBA was under pressure. Opening its doors in the midst of a recession, giving a temporary boost to the local area, Big BIBA would would eventually succumb to the difficult economic circumstances itself. British Land's* brush with the property crash proving the final straw. It's worth noting that Hulanicki had already distanced herself from the demise of the brand and left citing creative difficulties some time earlier. Big BIBA closed it's doors for good in 1975. Huainicki's amazing BIBA story eventually ended with the sale of the brand to a company with which she had no connections in 1977. The scrutinising press, the flamboyant excesses of each grandiose floor space and the stocking of a mammoth department store had posed obvious financial risks and a huge burden on the creative minds of Hulanecki and Fitz-Simon.

Whilst initially the reaction of the public was in the main positive, the Big BIBA Emporium had become something of a museum featuring unusual objet d'art. Crowds would flock to view, but not necessarily purchase the latest BIBA designs and offerings. Under increasing pressure from backers, Hulinecki began to tire of the bureaucracy involved within the increasingly complicated group structure.

"Every time I went into the shop, I was afraid it would be for the last time."

In 1969 chain store Dorothy Perkins had bought a 75% stake in BIBA, offering financial backing and freedom of creative control to Hulinecki. Thus Biba Ltd was formed. In 1973 Dorothy Perkins was bought out by British Land, just prior to the opening of Big BIBA. Hulinecki would later accuse British Land of running the BIBA arm of its business down to protect other parts of its business empire.

The BIBA cosmetics range remains big business to this day, the iconic Mod clothing brand lives long in the memory. An icon of Sixties Mod culture and a beacon of pure Retro and Vintage style.

In keeping with the BIBA Boutique and Emporium philosophy of good quality, affordable attire, Atom Retro has put together a little collection of Mod and Retro Clothing with a cool Vintage Sixties appeal.

The King of Carnaby Street.

This is the in place to be!

A figurehead of British fashion, a lost icon rediscovered and perhaps previously overshadowed by his contemporaries. The name John Stephen, the legacy Carnaby Street.

John Stephen's success in the Menswear arena more than matched the impact of Quant and Hulanicki on Women's fast fashion in the Swinging Sixties. Whilst not always being recognised in such high esteem as some of his peers, John Stephen is gradually coming to prominence, now regarded as one of the Uk's most innovative and inspirational fashion entrepreneur.

Moving from his native Glasgow to London at the age of 18 in 1952, Stephen found work within the Military Department at Moss Bros in Covent Garden. Here he honed his talent as a tailor, studying and practicing in traditional tailoring. Soon, Stephen moved on to find work at avant-garde and pioneering menswear shop Vince Man shop situated in Newburgh Street, London. Here, John Stephen saw first hand the huge potential and indeed the longing of the gentleman customer for a neoteric Fashion Menswear Boutique. One that expressed freedom through fashion, a modern outlook and that was in tune with the youth of the today and their social scene. As John Stephen was already part of this scene he already had a key understanding of customers wants and desires. Using Vince as a stepping stone to further his fledgling fashion career, Stephen worked double shifts as a waiter and at Vince to save up enough money.

In four short years, John Stephen with his new business partner Bill Franks was ready to embark on his first foray into shop keeping and success as an entrepreneur. The shop, opened in 1956/57, a first floor unit in Beak Street was short lived, not due to a downturn in sales, but a fire at the premises, forcing focus to shift to London's as yet unheard of Carnaby Street. Having already acquired the use 5 Carnaby Street thanks to his kindly Beak Street landlord, Stephen's empire was steadily growing.

Peacock Revolution to Pedestrianisation - The Carnaby Crusade!

The year 1958, the setting Carnaby Street, a drab back Street in London's Soho district. Painting his shop a incandescent shade of canary yellow, playing the latest hit records and producing short runs of jeans, shirt and jackets. This fast fashion approach facilitated rapid turnover and is a business model that has been emulated a thousand times over. Growing up with the burgeoning social scenes and with his finger on the pulse of mens fashion, Stephen was to be a forerunner and key player in the mod subculture his clothes would come to define. Within six years, Carnaby Street, thanks to John Stephen was transformed from dreary back street to bustling epicentre of Swinging Sixties London. From the iconic and original His Clothes, Stephen also owned boutiques named Mod Male, Domino Male and Male West 1.

Stephen had a knack for coming up with fresh and 'of the moment' Mod styles with a limited edition ethos that saw lines deleted no sooner had they arrived in stock and flown out the door. This avoidance of repetition in lines meant Stephen's reputation and dominance in Menswear was guaranteed. Dressing a lifestyle with attention to detail and knowledge of the here and now enabled Stephen's empire to flourish into a Menswear monopoly. Soon, Stephen would occupy 15 shops in Carnaby Street alone. He presided over an era forever engrained in fashion history, positioning himself as king of Mod fashion and Mod Clothing, that would also open up the door to contemporaries such as Lord John (Warren Gold), Take 6, Gear, Mates and allowed notable tailors such as Dougie Millings to stamp their mark on the Mod and music fashion scene both in London and afar. Stephen's flamboyance and flair for Mod and Retro Clothing also paved the way for other fashion visionaries such as John Pearse, Nigel Waymouth and Sheila Cohen's 'Granny Takes a Trip' and Ian Fisk's and John Pauls, 'I Was Lord Kitcheners Valet'.

Such was Stephen's affinity with the Mod scene, the likes of Mod icons, The Who, The Kinks and The Small Faces would all dress in the Mod attire from one of Stephen's many boutiques.

"Carnaby is my creation. I feel about it the same way Michelangelo felt about the beautiful statues he created."

From His Clothes to Her Clothes.

Paying careful attention to the desires of Mod Males, Stephen would tailor his Mod Clothing packages to incorporate specific detail. He pioneered the use of triple and double button sequences on Mens shirts, incorporated Psychedelic Retro paisley patterns on shirts and ties and also manufactured collarless Mod suits, which he first introduced in the late Fifties, a few years prior to the famous Beatles (Dougie Millings designed), Pierre Cardin inspired collarless suits.

John Stephen had found a unique way to offer contemporary Mod Clothing at affordable prices. A passer by could count the money in their pocket and realise that the eye catching piece in the window of His Clothes was within their budget. Regency Dandy attire at reasonable rates - a must have have for any discerning Mod Clothing connoisseur.

In 1967, Stephen added women's clothing to his Mod orientated repertoire, opening shops such as 'His N Hers' and 'Tre Camp'. Once again anticipating hot styles and applying the same innovative approach to designs, John Stephen was easily able to attract a female following to his previously male orientated boutiques. Audacious Psychedelic prints on classic Mod shift dresses, Stephen also embraced the lates Sixties Kaftan culture with outlandish oriental inspiration to tunics, shirts and accessories. Mod mini's with mad prints were perfectly suited to the Dandy-ist fashions found in the male counterpart boutiques. As his shop declared, this was a real 'His 'N Her' story. Famous celebrities including screen icons Elizabeth Taylor and Marlene Dietrich were even sporting John Stephen Mod inspired women's attire. Stephen's androgynous themes cleverly crossed over from women's to men's fashion. Coupled with this, the direction of store layout's could easily cater for a myriad of flamboyant tastes and be quickly adjusted to reflect the latest trends.

The Times They Are A Changin'.

By the lates Sixties, the Mod subculture Stephen's designs epitomised was changing. Stephen realised this and began developing new ideas to encapsulate the changing fashion trends. With links to football manifesting itself in the form of advertising hoardings at the Mexico 1970 World Cup, Stephen was attempting to broaden his market reach and scope. Stephen would even have franchise agreements in place in Russia and the USA.

As the Seventies and a new decade dawned, Stephen's business model had been replicated on London's busiest high streets. Carnaby Street once a hub for Mods and Mod Clothing was now merely a tourist haunt, a shadow of its former glory. Stephen realising this decided to branch out and opened a wholesale arm to his operations that included a factory for clothing manufacture in his native Glasgow. This factory would employ in excess of 100 people.

The End of an Era and a New Dawn...

John Stephen floated his company in 1972, but after a series of leaner years and a downturn in fortune, Stephen sold the brand and ceased trading under his name in 1975. Stephen would then go on to re-invent himself as Francisco-M, focusing on cutting edge fashion with a continental influence, inspired by the fashions of Italy and France.

In 1975, amidst the closure of his Mod related operations, the V&A museum in London acquired John Stephen's complete archive of works. This is held by the V&A costume department and to this day a number of retrospective exhibitions have taken place to celebrate his work.

As a further accolade, John Stephen was commemorated with a blue plaque on Carnaby Street to celebrate his achievements in transforming the street into a mecca of Swinging London, an icon of Mod culture and of course Mod Clothing. After all, His Clothes was the first fashion boutique to open down Carnaby Street all those years ago in 1958.

From the 'Peacock Revolution' to dandy Mod and Edwardian fashions, John Stephen put his sartorial stamp on the Swinging Sixties, Carnaby Street and Mod Clothing. A vanguard of young Mods had Stephen to thank for allowing them to ditch the staid and tired threads of their fathers and and dress impeccably, with originality and outlandish Mod flair. His Clothes signalled the start of something special, the start of a Mod revolution and the start of a whole new concept in Mens fast fashion.

The Carnaby Collector.

As an intersting sign off, Atom Retro has picked out a few Carnaby Street and Stephen era influenced garments in an attempt to reflect Carnaby Street and John Stephen style. Some Mod Clothing gems, a Retro Clothing archive of suitable dandy attire, inspired by 'The King of Carnaby Street' John Stephen.

Let us begin with the Dandy-esque, Edwardian frock coat, the famous 'In Crowd' and 'Rare Breed' Jackets by Madcap England. Two Mod Clothing classics and an Atom Retro staple for quite some years. Avaialble in different fabric variations from the classic cord to a more flamboyant velvet version. Sublime Retro Clothing that is well suited to the John Stephen era of Carnaby Street Mod Clothing.

Another of John Stephen's best sellers was of course the hipster trouser which Atom Retro has in abundance in the form of cool and classic Hipster Flares (in both cord and denim). There's also the odd bootcut flare in stylish Elephant Cord to cast an eye over too! Retro Clothing staples and in tune with the John Stephen Carnaby Boutiques! Atom Retro also offer a more flamboyant range in Hispter flares with their striped 'Holy Roller' Jeans.

Finally, to round things off let's look at something for the ladies. Retro Mod shift Dresses with bold Psychedelic Sixties prints for that ultimate Mod Girl, John Stephen inspired look. Typically audacious attire, the likes of which would not look out of place gracing the window displays in the 'His 'N Hers' or 'Tre Camp' Boutiques.

 

Mary Quant's Bazaar.

A life leading up to Bazaar...

Born in Blackheath, London to Welsh Parents, Mary Quant finished her studies at Blackheath High School and went on to study illustration at Goldsmith's College. Upon finishing her course, Quant took up a post as an apprentice couture milliner, whilst also taking a pattern cutting class in her spare time. It was her experiences during her apprenticeship that led Quant to realise that fashion shouldn't just be reserved for the upper classes, but should also be accessible to a younger, less privileged clientele. Quant surmised that at the time fashion simply wasn't tailored to the youth market. Inspired by memories from childhood, images of Chelsea Beatniks and flamboyant dance outfits, Quant was to assume the mantle as a pioneer of youth fashion. Teaming up with her husband and Business Partner, Alexander Plunkett-Greene whom she had had met whilst studying at Goldsmith's College and Archie McNair to take on accountancy, legal and commercial aspects, Quant plotted a fashion revolution that would begin at 138A Kings Road, London.

The Beginning of a Bazaar World...

1955 was a busy year... No sooner had she started her apprenticeship in millinery, Quant was preparing to embark on her own fashion adventure. Her very own Clothing Boutique along The Kings Road. A £5,000 cash injection, courtesy of Greene (acquired from an inheritance) had allowed them to rent Markham House. The first floor of which would be allocated to the iconic Bazaar boutique. Also at this time a chic five petal daisy motif, a seed that would grow into an icon of the Swinging Sixties era and a symbol of Mod Culture - a stylistic hallmark to usher in the embryonic world of Bazaar was born. Quant carefully selected lines of clothing to sell in Bazaar and straight from the word go sales flourished. With shelves left empty on a daily basis, Bazaar's problem it would seem was not buying enough stock... or was it that the margin they were making was less than adequate, at least compared to other local retailers...

...'it was no wonder we did such a roaring trade the moment we opened. The shop was constantly stripped bare-sometimes we hardly had enough to dress the window because we never bought enough of anything'.

Mary Quant, dismayed at the lack of inspiring garments and wares with which to furnish her shop, decided to literally take matters into her own hands. The clothing landscape of London was set to change forever.

The Mod Era and the Chelsea Look!

With a small manufacturing set up, a factory out of her own home, Quant would sew dresses through the night to sell in Bazaar the next day. Hiring a dress maker to help out during the day, Quant's aim was to create the right clothes for the fashion conscious young female. From here the innovative and conceptual Mod designs would begin to come into fruition. Quant would later credit Mods as a major source of inspiration. Her designs were often simple, tunic and shift dresses, easy to wear and with special attention paid to colours, patterns and fabrics. Acknowledged as being the first to use PVC in clothing, recognised for her use of striking colours in pantyhose as an accessory to both dresses and knitwear, Quant's vivacious and sexy designs were soon the talk of the town. Quants work with *Butterick's, a prominent name in sewing patterns would see some of her designs sell over 70,000 units. Her clothes combined simple shapes and bold colours, the very embodiment of young women's fashion. Influenced by pop culture, Quant's designs were the epitome of swinging Sixties London. From her very own Vidal Sassoon Bob hair cut, Quant was beginning to position herself as Mod Girl and her wares as Mod essentials. Cleverly co-ordinated Mod Clothing such as pinafores, laced with colour and layered over simple tops, colourful accompaniments to match knitwear and accessories such as PVC collars to accentuate style and of course the most iconic of Quant' Mod Clothing innovations, the Mini Skirt! ... a trademark of the Chelsea Look and the Swinging Sixties Mod era.

The Mini Went Massive!

Mary Quant was uniquely positioned at the dawn of a new fashion era, a renaissance in modern clothing that would afford Quant her own chapter in fashion history and folklore. Since the late 1950's skirts were gradually getting shorter, elements of practicality, style and demand of the young female consumer to dress differently. Quant would take these traits and add an element of shock into the mix. Something the discerning Chelsea Girl gladly identified with. Sharing credits with the girls on Kings Road and two other contemporaries, Andre Courreges and John Bates who also experimented with shorter length skirts (though the three did not work together), Quant would develop a cool concept in ladies fashion... eventually going on to coin the phrase Mini Skirt, named after her favourite mode of transport. Quant later suggested the girls who shopped in Bazzar encouraged her to boldly experiment with the length of the skirts. The discerning fashion connoisseurs of the Chelsea Set constantly wanted them shorter and shorter and to accessorise the look with colourful and patterned tights. Quant's radical designs were garnering more and more attention and the Mod Look was about to turn into a Worldwide phenomenon.

Plastic Raincoats, Revealing Skirts and Pretty Pinafores...

The creation of a colourful world through colourful garments had made Quant into a household name, a celebrity in her own right. A pioneer of Lades Mod Clothing and fashion, drawing on Vintage and Retro culture and adding contemporary twists to designs. Quant's range of vibrant plastic raincoats, striking shift dresses, Mini skirts and tights were the toast of the Chelsea Set, the whole of London and by now much farther afield. In 1961, she had opened up a second Bazaar in Knightsbridge, an equally successful venture. By the mid 1960's demand was high, the optimism and feel good factor that was taking London by storm, fuelled by Sixties Pop culture, Mod fashions and economic prosperity was now travelling overseas, taking Quant's fashion philosophy along for a ride. In 1963, the opportunity to design for JC Penney in the USA meant Mod Clothing that was born out of Swinging London was soon to be explored overseas, a mass market expedition for Quant's innovative Mod wares. JC Penney widely recognised as one of the US's largest retail chains had faith in Quant's ability to overhaul its fashion house and promote a younger, fresher feel. An up to date image makeover would see Quant's Mod geometric pattern shift dresses, vibrant mini skirts and classic pinafores hit the shelves and become a massive hit with a whole new clientele. Swathes of colour, delightful designs to dress and impress... the Mod look was going global. JC Penney were overwhelmed by the success of the range and as sales soared Quant was inevitably kept on board. In the late 1960's Quant had huge success with her range of colourful hotpants. Another lasting impact on the landscape of British fashion history. 1967 saw a third shop open in London's New Bond Street.

Not since the 1920's had fashion witnessed such radical change. The social constructs of wealth and status that had previously dictated fashion trends were overhauled and affordable fashions levelled the playing field. As Quant herself would later remark:

"Snobbery has gone out of fashion, and in our shops you will find duchesses jostling with typists to buy the same dress."

Quant was awarded with the order of the British Empire for contributions to fashion in 1966. Further accolades followed and in 1990, Quant received an award from the British Fashion Council for her lasting impact in the fashion world.

The End of the Sixties and the Movement from Mod Fashion to Household Goods.

Prominence in Sixties Mod culture and fashion gave Quant the confidence to expand her offering. From cosmetics to household goods including duvets, bed linens, carpet designs, toys and more, Quant's influence was widespread. In 1988 she even designed the her very own Mini vehicle decorated with an array of familiar features. The cosmetics that she had started in 1966, offering wild colours to match her Mod Clothing designs would gain significantly in popularity through the 1970's and 1980's. Later in her career, the Mary Quant brand name was bought by a Japanese company and Quant finally stepped down as Director in 2000.

*Ebeneezer Butterick created the first graded sewing pattern in 1863, changing the face of home sewing forever. The company he founded would go on to be one of the prominent players in DIY fashions.

As in previous chapters, some select designs from Atom Retro's product portfolio will be on show, to demonstrate a certain amount of Quant flair and to celebrate her lasting impact on fashion. Including Sixties Mod Clothing such as Retro shift dresses, Mini Skirts and colourful knitwear. A collection of Retro Clothing inspired by a legend of British Fashion, Mary Quant.

Lord John, Warren and David Gold. 

From Petticoat Lane to Carnaby Street.

Their origins in the busy market district of London's Petticoat Lane where they operated a stall selling Mens suede jackets to discerning fashionistas, Warren and David Gold soon expanded their horizons... Carnaby Street beckoned.

Brothers Warren and David Gold opened their first store in Carnaby Street in 1963. Hot on the heels of the John Stephen led Carnaby Street fashion renaissance, their shop Lord John was perfectly positioned to attract the dedicated followers of the Mod Clothing scene. An uncanny knack of pre-empting the latest fashion trends, Warren and David Gold had a constantly changing inventory of up to date Mod threads with which to furnish their loyal customer base.

In Tune and In Time...

Keeping abreast of the latest developments in Mod culture meant the Warren and David immersed themselves in the scene attracting a few famous friends along the way. The likes of The Small Faces had a clothing account there, whilst The Kinks, Brian Jones, The Who and even The Beatles coveted the latest Lord John styles. Fighting their way through mad crowds of Swinging Sixties trendsetters, perfectly coiffed, well dressed Mods and the hundreds of tourists who converged on Carnaby Street customers would pour into Lord John. By now a bustling beacon in one of London's hippest streets, Lord John was decked out with not just tailored continental attire such as suits and rain coats, but with brightly coloured shirts, hipsters, bright coloured knitwear including ski jumpers and a striking array of suede, corduroy and denim jackets. Lord John was fast to adapt and was one of the first boutiques to offer kaftan jackets to the mass market. As with other retailers of the era, emphasis was on affordability, style and innovation and Lord John had a reputation for all three. Here was a shop where famous actors and musicians would vye for the same garments as daytrippers, dandies and Mods. It was one of the first instances of fashion breaking down barriers between status, wealth and position, placing everyone on the same level... as the devilishly and delightfully dressed.

Carnaby Street Rivalry...

A bitter dispute with the King of Carnaby Street, John Stephen would make headlines in the early Sixties as Warren Gold accused Mr Stephen of registering a company 'Lord John of Carnaby Street', despite the fact it was clear the name was already in use. John Stephen had argued that he registered the name to differentiate himself from the Gold's brothers boutique after becoming concerned people were believing the two were linked. The feud would last for some time.

A Psychedelic Dawn.

By the time of the Summer of Love in 1967, Lord John was already firmly engrained in the fabric of Mod fashion history. Commissioning artist David Vaughan (of famed design team Binder, Edwards and Vaughan), the Lord John boutique was bought to life with the unveiling of the famous and iconic Psychedelic Retro wall mural. One of the most eye catching buildings in the area, Lord John was consistently featured in newspapers and magazines through organic press pieces and a skilled advertising campaign. By 1970 the Gold Brothers owned 8 boutiques. This was expanded to 30 in just a few short years.

What Comes Next?

Warren Gold operated as a Mens Clothing retailer from his Big Red Building in Golders Green Road, London. The shop was based on his pioneering Goldrange factory outlet business model that he had perfected with his brother David. Goldrange operated in Petticoat Lane some years previous.

Lord John garments are frequently displayed at the V&A museum in London, a further testament to the Gold Brothers success.

John Simons Ivy Shop.

Another fave hang out for those into their Mod Clothing was the fab Ivy Shop in Richmond owned by John Simons. Originally the store vision was to incorporate an Ivy League, Collegiate and Americana look for fashionable clientele. Dapper gentlemen that envisaged themselves as a Cary Grant, Chet Baker and of course the likes of Paul Newman and Steve McQueen. The Ivy Shop opened its doors in 1964 and quickly garnered a following of young executive customers and with this followed a deserved and cool reputation.

The Ivy Look was something of a enigma when it first arrived on British shores, originally with US military personnel who would attempt to shift odds and ends round the clubs of London. A cool Retro collegiate vibe with such wares as smart shirts, denim jeans and playboy (Creeper Sole) shoes proving to be staple garments. The Ivy Look was all about looking modern, with pared down attire, clean lines... essentially the epitome of casual cool. There was no need for intricacies, bells and whistles.. just a clean, smart image.

Just like Mods, those who had discovered the Ivy Look had an affinity with music. The modern garb of the Ivy Look was perfectly in tune with the Blues scene and Jazz movement as well as prominent feature of coffee shop culture. Mods on the other hand whilst influenced by the Ivy Look also looked to Italian fashions for their inspiration, and thus delighted in a fusion of Americana and Italian Tailored style. John Simons Ivy Shop was at the heart of the Ivy Look, a Mod Clothing emporium that catered for those who revelled in fresh, contemporary threads.

Prince of Wales Check suits, Dogtooth fabric trousers, smart long collar button down shirts, brogues and basketweave shoes... the refined fashions adopted by Suedeheads opened up a further niche for John Simons. The now established Ivy Shop was central to the fashion revolution of the Sixties. The place to buy American Clothes in England... a sentiment expressed in advertisements circa 1968 that featured both the Ivy Shop and John Simons second store, 'Squire' situated on Brewer Street, London.

Life Before Ivy....

Seeing US soldiers decked out in stylish Gaberdine trousers, tailored uniform jacket and finished with shiny leather brogues was the beginning of a story, a vision in sartorial style that would inspire IVY Shop founder John Simons. A career in fashion that started with a position as apprentice window dresser for Cecil Gee. Cecil Gee had managed to carve a niche in nouveau gentlemen's clothing, nurturing links with the fledgling modern jazz scene. The Fifties saw Cecil Gee import fine fabrics from Italy and introduce brands such as Brioni, Canali and Hugo Boss to the UK. John Simons acquired a keen interest in the rapidly changing fashion environment, noticing new trends, Italian influence and of course the Americana gear that was on sale at Austin's of Shaftesbury Avenue. Lou Austen was a jazz saxophonist that played on the Queen Elizabeth Cruise Liner. Making regular excursions to the US, Austen fetched the latest American fashions back home to sell. Austen's success allowed him to live in residency at London's prestigious Savoy Hotel. John Simons managed to get himself the gig as window dresser at Austen's store of an evening, his main motive being to root the through the extensive range of American inspired Mens Clothing. The seed was sewn and John Simons Ivy Shop was ready to grow.

The Ivy Shop Climbs to the Top.

The Ivy Shop in Richmond is legend, in its day a haven for Ivy Look enthusiasts, Mod Clothing connoisseurs and young executives about town. A vital cog in the wheel of working Richmond, adding soul and texture to the very fabric of the busy urban landscape. Whether looking for Wing Tip's, Button Down Oxford Shirts, College Tie and Crombie or opting for a classic Mod mohair suit with 3 button fasten and four to the cuffs, the Ivy Shop was the place to go. Sixties photo shoots featuring a whole host of top bands would feature the staple styles that were available in the UK courtesy of John Simons Ivy Shop. Styles akin to those the high profile A-list stars of the screen such as Paul Newman and Steve McQueen adorned became highly sought after. As was the Kennedey-esque college style. Admiration for attire that embodied the clean cut American Collegiate look was growing not just in London, but also in other metropolitan areas.. Customers would often travel from afar to visit the famous Ivy shop. The Ivy Shop represented a different hang out, a change from the flamboyance of Carnaby Street, the Dandy-esque boutiques, the Ivy Shop was still engrained in Vintage, Heritage and Mod Culture, but in a wholly different way. A well recognised importer of the finest American Clothing brands.

The Further Works of John Simons.

John Simons famously owned the J. Simons Shop is London's Covent Gardens. Opening in 1981 the J. Simons store still prided itself on the same high quality product, iconic fashion brands from the states and of course the iconic Baracuta G9 Jacket, originally born out of Manchester, UK in 1937. John Simons himself is widely recognised as coining the term Harrington, after Rodney Harrington (Ryan O'Neals Character in Peyton Place) who would often wear the Baracuta G9. J. Simons also hand picked a selection of Vintage attire as an alternative option of dress. A sensible strategy aimed at offsetting the price increases witnessed in clothing manufacturing that had risen sharply since the mid-Eighties. 

Before I Was Lord Kitchener's Valet.

There was most definitely a gap in the market for nostalgia, a glimpse at the grandeur the British Empire, a time fondly remembered, the land of our Victoria. 'Lord Kitcheners Valet' was a porthole for those that sought out Victoriana, true pioneers of Retro Clothing, a voyage that took in Military splendour, objets d'art and various trinkets from the Victorian era. Ian Fisk, John Paul and Robert Orbach were instrumental in bringing the Retro Clothing revolution to prominence. Tapping into Mod Culture, Vintage Couture and the growing Music Scene, these three connoisseurs of Retro fashions cooked up a Boutique that would become synonymous with the Swinging Sixties. Before 'I was Lord Kitcheners Valet' there was never a shop that possessed such a great name and there was a distinct lack of places to procure a military tunic to bedazzle, amaze and take centre stage. The Victorian Dandy image that 'Lord Kitchener' epitomised raised a few eyebrows and captured the essence of an exciting change in youth culture. A haven for Mod Clothing afficionado's, Vintage lovers and Retro enthusiasts... oh and rock and roll stars too!

Who could imagine such as fab name? ...

Ian Fisk thought of the name 'I was Lord Kitchener's Valet' simply because he thought it reflected the wares that they sold. He wanted a name that suggested and represented a bygone era, and conjured up images of Victoriana and Edwardian themes. A nostalgic name for a Retro Clothing and Vintage furniture emporium.

The Rapid Rise of the Humble Valet.

The idea of bringing a hint of nostalgia via furniture and fashion form through sale of Vintage wares to the greater public was an astute observation that although slow to start was soon to become big business. Heralding an era in Military Tunics for the everyman, Mod fashions for all, 'I Was Lord Kitcheners Valet' had a huge slice of luck to help it on its way.

One fateful day in 1966...

As Robert Orbach remembers in an interview with the V&A Museum…

"I'm sitting there one morning and in walked John Lennon, Mick Jagger and Cynthia Lennon. And I didn't know whether I was hallucinating, but it was real. And Mick Jagger bought a red Grenadier guardsman drummer's jacket, probably for about £4-£5. They all came from Moss Bros and British Army Surplus...

...So Mick Jagger bought this tunic and wore it on Ready! Steady! Go! when the Stones closed the show by performing 'Paint it Black'. The next morning there was a line of about 100 people wanting to buy this tunic and we sold everything in the shop by lunchtime."

With a new reputation as outfitters to the stars, 'Lord Kitcheners Valet' success sky rocketed. Other notable famous clients included Eric Clapton who bought a Military tunic just as Cream's debut album was about to hit the shelves. Jimi Hendrix also famously acquired a tunic from 'Lord Kitcheners' as featured in many iconic photographic images.

Anti Establishment or Merely Fashion?

The appropriation of Military uniform and insignia by young hipsters was frowned upon by some sections of society. Ex-soldiers lamented the lack of respect from the younger generation to those who had fought bravely for their country. Others thought the attire could be construed as anti-establishment and represented a rebellion of youth culture. The reality is that the look was considered fashionable, innovative and with it. The very epitome of cool!

The original Lord Kitcheners Valet opened up at 293 Portobello Road in London's busy Notting Hill in 1964, but was soon followed by 5 other stores. Wardour Street, Fouberts Place, Piccadilly Circus, Carnaby Street and one in the fashionable, up and coming Kings Road. The Carnaby Street store was a unit that was rented from Lord John's Warren Gold (Manager Robert Orbach had previously worked for Warren Gold). A perfect location, close to the famous Marquee Club. In fact it required a person to walk pass the shop to get to the Club. In 1966, a song that affectionately referenced the shop, imaginatively entitled, "I was Lord Kitchener's Valet' was recorded by The New Vaudeville Band.

Sgt Pepper and Lord Kitchener.

Peter Blake claimed that the iconic Sgt Pepper's album sleeve was conceived when he and Paul McCartney wondered past Lord Kitcherner's Valet and were inspired by the scenes and themes in the shop window.

Lord Kichener's Valet lays out his last outfit...

Lord Kitcheners Valet would grace the Sixties and most of the Seventies with its presence, eventually closing its doors in 1977. The legacy of this Swinging Sixties legend lives on however. An icon of Mod Clothing, Retro Clothing and Vintage wares.

The Curious Tale of Granny Takes A Trip

Turn on, Tune in, Drop Out.

 

The era of psychedelia and the boutiques that flourished and grew alongside it!

 

As the 1960s progressed, music, fashion and recreational activities became more experimental. Amidst the spectre of liquid light shows, hazy smoke filled rooms and the psychedelic sounds of the underground a new subculture was born. Buoyed by the emergence of out there zines, the underground press and the metamorphosis of music, those that desired caught a momentous wave. Established and new artists and swathes of the worlds youth, all championed the cause, psychedelic disciples flicking through pages of the International Times, Oz and Freindz, dreaming of tomorrows, feeding off freedom and wearing the latest threads from boutiques such as Granny Takes A Trip, Mr Fish, Tommy Nutter, Jump Like Alice and Apple Boutique! 

 

The Acid Test!

 

One of the most famous and first Psychedelic Boutiques was Granny Takes A Trip, the brainchild of two London entrepreneurs, Sheila Cohen and Nigel Waymouth. John Pearse, a Savile Row trained tailor (known as the Mod Tailor) soon joined the venture and the psychedelic triumvirate embarked upon creating a unique fashion legacy. 448 Kings Road, Chelsea and the unfashionable (at that stage) Worlds End was to play host to the eclectic blend of vintage bordello, Vaudevillian style and futuristic fashions. The experimental exterior façade, ever changing and ever captivating, works of art that drew the eye and drew thee in. Inspired by Victorian style, decadent dandyism and Oriental design, Granny Takes A Trip featured old vintage styles, often re-worked by the hands of John Pearse into new fashionable works of art. The Juxtaposition of the two words; Granny and Trip appeared to symbolise the ventures ideology, whereby the past meets the future, two entirely different generations emphatically fused to create a bona fide article of modern mid-century style. The rise of drug counterculture and trends for Victoriana thoughtfully encapsulated in the offbeat name, Granny Takes A Trip was genuinely in tune with Psychedelia. 

 

The premium fabrications and thoughtful tailoring that went in to the fashions at Granny Takes A Trip reflected in the prices. The famed William Morris floral designs like the Golden Lilly Jacket worn by George Harrison and garments that utilised Liberty fabrics were priced accordingly, desirable all the same.

 

Take a Trip Inside…

 

The interior of Granny Takes A Trip, described by Nigel Waymouth as New Orleans Bordello featured blown up versions of Aubrey Beardsley’s risqué postcards, hand marbled wallpaper and at the rear of the shop was a grand Wurlitzer Jukebox. The atmospheric surroundings were infused with purple paint, the smell of incense and an abundance of vintage Victoriana to envelop the senses and entice you in to the wonderful world of Granny Takes A trip. The fashions and décor were intrinsic and integral to the overall aesthetic, a bold experiment in Art Nouveau. The shop mimicked the very essence of Art Nouveau with its dynamism, movement and cohesion of interior styling and textiles unifying every aspect of the shop. The premise that one should utilise the means and knowledge of the present environment chimed with Art Nouveau phiolosophy and the boutiques own ethos. The very fact that famed proponents of Art Nouveau movement such as William Morris had their time served designs re-fashioned into new Psychedelic attire resonated with boutiques customers and bought Modernisme and Stile Liberty to London’s West end in a new and innovative way. Author Salmon Rushdie, who lived in a flat above the shop remembers the store being quite a scary place and it seems this ambience was in some part deliberate, so as to ward off and intimidate those patrons that weren’t submersed in the scene or part of an In Crowd.

 

 The ever changing façade of Granny Takes A Trip. 

 

Avis Aux Artistes et Artisans…

 

A little advice to artists and artisans. If the window of your beloved boutique gets smashed, turn it In to a work of art! …

 

… and that’s exactly what Nigel Waymouth did when the window of Granny Takes A trip was smashed. As part of Hapsash and the Coloured Coat with Michael English, Waymouth designed lasting images that will forever define 1960s psychedelic counterculture. Waymouth and English’s art was and still is coveted by many. They created a grand collection of psychedelic masterpieces, of the era works of art, moments in time captured in technicolour. Whilst Hapsash and Waymouth fashioned collectible artefacts from a unique time in Britain’s history, some of the creations are consigned to pictorial archives, pieces lost, but captured in imagery… notable parts of this are indeed the façade of his Granny Takes A Trip Boutique.

 

In 1966, successive murals of Native American Chiefs, Low Dog and Kicking Bear with gradient sunburst background graced the exterior of the store - The colourful sunburst design seamlessly blending in to the door. A giant painting of 1930s Hollywood star, Jean Harlow, emerged a year later, a blend of Pop Art, Art Deco and Art Nouveau styling. An icon of the Silver Screen, Harlow’s image, somehow perfectly suited the fashions, curiosities and objet d’art that could be observed and procured by walking through the painted platinum blonde locks in to the boutique beyond. In 1968 and 1969 the front chassis of a 1947 Dodge Automatic greeted passers by (albeit in slightly differing guises). A twist of Automotive Americana at the Worlds End. There’s something kind of symbolic about a car that found fame in the Naughty Fourties taking a road trip and seemingly crashing  through the window of the swinging sixties. Further supporting the rationale of past meeting present and vintage meeting contemporary in vivid abstract style.

  

This is the in place to be!

 

Granny Takes A Trip quickly amassed an elite clientele. The enviable position that came with having such a high profile customer base ensured that press and promotion came relatively easy. A veritable who’s who of pop stars would parade Granny Takes A Trip’s wares. Beatles, John Lennon and George Harrison adorned the iconic William Morris Jackets, chrysanthemum and Golden Lily respectively. The Beatles would also wear Granny shirts on the inner sleeve of the Revolver album. The Animals posed for photographs outside the shop with the aforementioned Native American era of facades serving as the backdrop, whilst the Purple Gang even recorded their song called Granny Takes A Trip as a homage to the boutique. The Rolling Stones and the Pretty Things also perused and purchased garb from the store as did Anita Pallenberg. Roy Wood of the Move, Noel Redding and Mitch Mitchell from the Jimi Hendrix experience were also snapped wearing Granny’s attire… and the list goes on!

 

What become of Granny’s?

 

As the 1960s drew to a close, the momentum and to some extent, the enthusiasm that the trio shared for Granny Takes A Trip was beginning to fade as other interests took centre stage. Waymouth as one half of Hapsash and the Coloured Coat with partner Michael English became more involved in poster and album cover design. John Pearse meanwhile left for Italy and started work with the Living Theatre Group. Pearse had disagreed with Cohen and Waymouth’s hippie vision for the shop. He preferred a more tailored style and the pair clashed over the direction of the business.  A sale of the store to former Dandie fashions man, Freddie Hornick was agreed and new era of Granny’s was about to begin!

 

From Dandie Fashions to Granny Takes A Trip

 

In 1969 Cohen, Waymouth and Pearse sold the business to fashion entrepreneur, Freddie Hornick. Having worked with Dandie Fashions as a precursor to his new venture, Hornick set about Dandifying Granny’s with appliqued velvet suits, stacked heels and platform boots ushering in a new wave of 70s glam looks. Famous patrons included Sir Paul McCartney, Gram Parson, David Bowie, Rod Stewart, Ronnie Wood, Keith Richards and Marc Bolan. Hornick had bought in Gene Krell and Marty Breslau, two Americans to oversee the operation. Krell had a background in tailoring and Breslau focused on the business side of things. Hornick proceeded to expand the Granny’s name internationally and opened two more successful boutiques in New York and Los Angeles. Hornick closed the Kings Road Boutique in 1974, but the American branches continued operating until the late 1970s.

 

It is safe to say that Granny had one hell of a trip and took many of the worlds young and a hip along for the ride. A trailblazing boutique that is a key  part of swinging 1960s fashion history. 

 

The Clothes They Wore

The roots of the Mod movement began in the late fifties, evolving from The Beatnik and Teddy Boy subcultures that had grown across the USA and Europe since the end of the Second World War. The affluent youth of the late fifties and early sixties found themselves in a unique position. The traditional victorian values were changing, the permissive society of the sixties had started and free from the financial problems the war had created, now young people had spare cash to spend on luxury items - records, cars and clothes.

The Teddy Boys, or Teds, were the forerunners to The Mods - a movement that used style as identity in the same way The Mods came to. For the first time it became socially acceptable for young men to be fashion conscious and concerned about their appearance. Women's fashion would experiment in equally radical ways; skirt hemlines crept up and up, resulting in the Mini Skirt, while other clothing became androgynous, not so frilly or feminine as before.

Saville Row of London, the world famous tailors and suit makers, quickly took advantage of the changing trends. They recreated the 'Dandy' image for The Teds and later, The Mods, with garments such as Drape Jackets and Drainpipe Jeans in the fifties and early sixties, and later the classical Mod Suit.

Drainpipe Jeans.

Drainpipe Jeans - extremely tightly cut trousers, tight to the ankle and tight around the waist, became the must-have article in the late fifties. Already controversial, parents would often disapprove of the look and the 'beat scene' culture that drainpipes had already come to represent. To remedy this, their sons, unable - or forbidden, to have the real drainpipe trousers, would secretly gradually alter their regular cut trousers to narrow the leg and make them fit tight to the ankle.

MENS DRAINPIPE JEANS AND TROUSERS

LADIES DRAINPIPE JEANS AND TROUSERS

Drainpipes - often now referred to as Skinny or Skinny fit Jeans in contemporary clothing circles, are a mod staple. Arguably the first icon of the Mod wardrobe, no budding Mod gentleman or lady can be without a pair or two. Atom Retro's range includes the classic fifties and sixties designs and more recent indie-mod popular designs - but all are styled after the vintage Mod drainpipes - unisex, very tight fitting to the waist and ankle, with a hipster waist.

The Mod Suit.

In 1958, a group of young men in East London began to adopt a new smooth, stylish, sophisticated new look, heavily influenced by contemporary late fifties French and Italian fashions. This was the emergence of the quintessential Mod Suit. Italian styled with narrow lapels, tailoring was the key.

Winklepicker Shoes and Chelsea Boots.

To finish the Mod Suit look, Winklepicker shoes and later in the sixties, Chelsea Boots were the Mod footwear of choice.

The defining aspect of the Winklepicker is the elongated toe which comes to a point and giving the shoes their name, by resembling the type of pin used to eat periwinkles. As the Winklepicker became a mod icon, so the designs and styles became more daring, dashing and sharp. 

The Chelsea boot also usually sported a winklepicker toe. A slim, tight fitting ankle boot, usually with an elastic band to the side, they were originally made for horse riding with a flat, block heel. Later, the addition of the Cuban heel, a slanted stylish heel that was higher than usual for mens footwear, saw the boots become one of the defining fashion icons of the sixties, as they were adopted by The Beatles, Rolling Stones and many others, (Giving rise to their nickname, 'Beatle Boots'). Traditionally in Black leather, black suede also became a staple for Mod Chelsea boots - the 'booted' in 'Suited and Booted'.

Atom Retro's bestselling range of Chelsea Boots includes all the iconic styles which are synonymous with Mod style and clothes. In black leather, either with the flat, block heel or the authentic slanted Cuban heel, or in Black Suede Cuban heel - the ultimate mod footwear and perfect to set off any Mod suit or mod look. The range also includes the striking and unforgettable 'Chelsea Dagger' Chelsea Boots - the fusion of the retro classic sixties Chelsea Boot with a modern indie twist - this pair of boots is perfect for the Mod who wants to create an impression - the footwear of choice for any 'Face'.

Harrington Jackets.

Baracuta and The Harrington Jacket

Apart from the Mod suit, the other staple coats and jackets of the Mod wardrobe include The Harrington and The Parka.

The Harrington Jacket was first made in Stockport, Cheshire by the Baracuta company. Known then as simply the Baracuta or Baracuta G9, it was designed by the Miller Brothers in 1937 who were seeking to make a lightweight short jacket that would be both wind and waterproof. The jacket they came up with was a slim fit blouson jacket with elasticated waist and cuffs. The iconic tartan lining was originally the famous Fraser Tartan, permission having been granted to the Miller Brothers by the decendent of the Fraser clan, Lord Lovat. In the sixties the Baracuta jacket found favour among Mods, as a warm, waterproof jacket and ideal scooter wear. It appealed with its functionality - but also its style - smart and dapper - it fit perfectly with the mod look.

It was also made fashionable by movie and rock stars such as Elvis Presley and Steve McQueen, but was its association with Ryan O'Neal that gave the jacket its new name. Named after O'Neal's character in the American soap opera, Peyton Place, the coat would be forever known as the Harrington Jacket.

Steve McQueen Wears Baracuta.

Steve McQueen wearing a Natural Baracuta G9 Harrington on the box of the 70th Anniversary Baracuta Limited Edition.

The Harrington Jacket is the casual Jacket of choice for Mods and Retro fans. Traditionally a zip fasten, blouson jacket with elasticated waistband and button collar, the Harrington Jacket has been re-worked and re-styled over the years into many different versions, looks, colours and fabrics.

The original Harrington Jacket was the Baracuta G9 Harrington, which first appeared in 1937, created by the Miller Brothers, John and Isaac. The following year, the Millers were granted permission to use the iconic red Fraser Tartan in the lining of the jacket and the Harrington as we know it began to take shape. The G9 is the classic Harrington Jacket, with the trademark G9 reverse which sets it apart from all other jackets, with its famous 'umbrella' shaped 5 point vent to the back. Baracuta also make a flat backed version of the Harrington, known as the G10 and also a open waist version, the G4. View all Baracuta Harrington Jackets

Baracuta Harrington Baracuta G9 Reverse The Baracuta G9 Harrington - showing the classic Fraser Tartan lining and trademark 'Umbrella' pointed vent to the reverse.

The Baracuta Harrington fit in perfectly with the Mod Ivy look, popular in both the USA and UK in the late Fifties and Sixties, and quickly became the casual jacket of choice. John Symons, owner of The Ivy Shop in the Sixties, coined the name 'Harrington', naming it after a character from American soap 'Peyton Place', Rodney Harrington, who wore the jacket. The Harrington was soon picked up by style icons, worn by Steve McQueen, Elvis Presley, Frank Sinatra and in later years The Clash, Liam Gallagher, Johnny Borrell, Daniel Craig and numerous others.

Later in the Seventies and Eighties and onwards the Harrington's popularity continued with Mods, Scooterists, Mod Revivalists and Skinheads all adopting the look, and making it their own. In the Nineties and Britpop, the Harrington Jacket was also adopted by Indie fans and came back to the forefront of fashion and claiming its place as one of the most enduring Mod garments.

Although, Baracuta made the original Harrington Jacket there have been many different versions, with almost every Mod, Retro or heritage clothing brand producing their own Harrington Jacket at one time or another - so there are many to choose from, and enough to fit every taste or budget.

True Mod Clothing purists will point you towards the Baracuta - and you can't go far wrong - as if you only own one Harrington Jacket, then surely it needs to be the Baracuta?! Classic colours include Black, Natural and Navy, but each season Baracuta bring out new and different versions of this iconic jacket in new fabrics, colours and styles.

Ben Sherman also have their own Harrington Jacket made in a very pure, clean, simple and Mod fashion. A classic design which usually sports the Ben Sherman House Check to the lining. [View all Ben Sherman Harringtons]

Merc London are equally as famous for their Harrington Jacket, and make many new colours and designs each year - each season usually features two or three new takes on the classic Harrington Jacket. [View all Merc Harringtons]

[View all Mens Mod Jackets]

 

The Parka.

Another functional jacket that has become synonymous with Mod Culture is the Parka. Again, it was the practicalities of the jacket as scooter wear coupled with the possiblity of getting a good looking one on a budget (as opposed to the tailored, made to measure suit or the designer Baracuta Harrington) that gave rise to its popularity. The Parka was further immortalised and inextricably made Mod by the 1979 film, Quadrophenia and the cover of the same titled 1973 album by The Who, depicting a Parka clad Mod on a scooter - but it was earlier, in the late fifties, that the Parka first became a Mod icon.

Ironically, considering the empahisis on need for the new, the tailor made and the impeccably neat for other items of mod clothing, the original Parka jackets came from an army surplus store. It had been designed with warmth and protection against the elements in mind, based on the design eskimos and inuits wore, for American soldiers in cold climates. Usually fur lined, Parkas are hooded and zipper fastening, in contrast the the anoraks of the time, which were a whole piece, put on over the head. The optional fishtail back of the coat also became iconic of Mod clothing. Originally coming in regulation army green, many Mods of the sixties and seventies would dye their Parka to match the colour of their scooter. Contemporary fashion Parkas are now available in many colours.

The Pretty Things: Mod Clothing in the Swinging Sixties. 

In the beginning, Mod culture and Mod style was dominated by men. From 1960, women slowly started to become interested in Mod life and by 1963 were setting their own Mod trends. One of the most important designers of womens Mod clothing was Mary Quant. She had opened her first boutique in 1955, in the Kings Road, Chelsea - another location that became famous for Mod clothing boutiques and designers. Her second was opened in Knightsbridge in 1961. Famous for designing many iconic Mod garments, it is probably the revolutionary Mini Skirt for which Mary Quant will be remembered. Hemlines had been creeping up since about 1958, and in 1963 were just above the knee. By 1965, a hemline five inches above the knee was not uncommon. Quant invented them, but other sixties boutiques and designers such as Biba and Foal & Tuffin helped to put them on the high street, catapulting the silhouette into Mod and mainstream fashion forevermore!

The Mod Shift Dress was also a staple of any Mod girls wardrobe. A straight dress without a waist, made of almost any pattern and colour, it was the op-art influenced, black and white designs that became the most iconic and perhaps the most Mod styles. This straight style dress removed much of the feminity from a traditional dress design, making it the quintessential Mod womans dress. Most Womens Mod clothing is androgenous in style, or masculinised as male fashions were feminised. Women wore flat shoes, trousers such as the drainpipe jeans that were previously only worn by men and shirts and sweaters that matched or in fact were mens.

John Stephen, often credited as the founder of Carnaby Street, is sometimes overlooked as a key figure in Mod fashion. Carnaby Street became the mecca for Mod clothing in the sixties and was dominated by John Stephen's shops, with 15 along the bredth of it. He began simply in the late fifties, with a boutique just off Carnaby Street, His Clothes in Beak Street. It was to revolutionise Mens clothing. His method was to provide what the male Mods wanted and kept his shops well stocked with the latest trends. His first significant contribution to Mod fashion were hipster (low waist) trousers, designed for young men, which were often made of thick 'elephant' corduroy. He also brought floral shirts, fitted velvet jackets and kilts to the fashion forefront. By 1967 he had added womens clothing to his Mod boutiques and had become one of the defining designers of the Swinging Sixties.

John Smedley is a clothing company that was originally founded in 1784, and is still going today. However, it is perhaps most reknowned for the sixties mod clothing it produced, namely italian polo knitted tops, polo shirts and turtle necks in cashmere or wool. Crew neck and V-Neck sweaters were also popular, but it is maybe the polo knit, with its button neck that is the most iconic. With its large collar, Mods would often wear it buttoned as close to the neck as possble, in long or short sleeves, and frequently with horizontal striped pattern.

John Smedley Style Polo Shirts

We are the Mods: The Mod Revival and Beyond.

Two factions of male Mod culture had developed by the mid sixties; the mainstream slickly styled Mods and the Scooter Boys Mods. Both groups wore the John Smedley type polo knit (also copied and homaged by the Mod Revival Fred Perry Polos), but it was the Scooter Boys who would usually pair them with plaid or checked trousers, bringing plaid and checks in as iconic Mod styles. Later, in the Mod Revival period it would be these patterns and styles that became the staples of Mod clothing in every area, including footwear and accessories.

One artical of iconic Mod Revivalist footwear is the Dr Martens Boots, also known as Bovva Boots, 1460s or Beetle Crushers, although these were worn by the Scooter Mods of the sixties. Designed originally as an orthopedic shoe, when the infamous Dr Marten broke his foot during a skiing holiday, the first Dr Marten Boots were produced commercially on the 1st of April 1960 (hence the 1460s nickname). Available in black or cherry red leather, they were great footwear for scooter riding, and also useful in the legendary Mods versus Rockers Rumbles.

Another iconic garment of the Mod Revival was the striped Boating Blazer. Made famous by Mod revival bands such as The Jam, the jacket was also a mod icon in the sixties and worn then by icons such as The Who or Brian Jones. The Boating Blazer orginated as a Mod article of clothing from the classic Carnaby Street era, and continues now as a great rock and roll iconic jacket, worn by neuveau mods such as The Kaiser Cheifs.

The Harrington Jacket also came back in fashion during the Mod Revival period, along with a variation on the classic jacket style, the bomber jacket. Again, practical as a warm jacket for riding scooters, the bomber jacket also fitted in with the revivalist style. Retro, but hard-looking enough to pass.