1960s Fashion - Exhibit at the V&A Museum London - Page 3 - the Fashion Spot
 
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Dress, Jean Muir (1933-95), 1966. Museum no. T.250-1978.

Dress
Jean Muir (1933-95)
1966
Suede
Museum no. T.250-1978
Given by Mrs Ernestine Carter

Unlike her art school peers, Jean Muir learned her trade in the fashion industry. Celebrated as a gifted dressmaker, she worked for Liberty, Jaeger and Jane and Jane during the 1950s and '60s. Her clothes were always a subtle demonstration of the sculptural qualities of fabric, with suede a particular favourite.

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Suit, Marion Foale and Sally Tuffin, 1964.

Black and white check suit, Foale & Tuffin, Photograph by Duffy. Vogue, 1 September 1964, Duffy/Vogue © The Condé Nast Publications Ltd

Suit
Marion Foale and Sally Tuffin
1964
Wool
Retailed at Woollands 21 shop (16 guineas)

Inspired by Mary Quant's example, Marion Foale and Sally Tuffin set up their own shop in 1962, straight after leaving the Royal College of Art. They became known for finely tailored suits, like this dazzling two-piece with its new long, lean jacket. Later they made clothes for several films, including the exquisitely cut coats and suits for Susannah York in Kaleidoscope of 1966.

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Dress, Caroline Charles(1942), 1964

Dress
Caroline Charles(1942)
1964
Cotton
Lent by Cilla Black
Fashion and pop music were hand in hand in the 1960s. Cilla Black wore this elegant dress for a performance of her second number 1, 'You are my World', on the cult TV show 'Ready Steady Go'. Viewers tuned in to see what the presenter, Cathy McGowan, and her guests were wearing each week, as much as for the music. Would they be wearing Biba, Foale & Tuffin, or something from a new boutique? Caroline Charles was a favourite with many performers including Cilla Black, Lulu, and Barbra Streisand.

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Menswear Revolution
Piccadilly 1964–1970


'I remember going to Turnbull & Asser and having a bright pink shirt made, then being asked to leave the Cavalry Club for wearing it. This happened again in about 1966. I was wearing a white suit made by Blades.... I was asked to leave Annabel's Nightclub for having a white suit on!' David Mlinaric, interior designer.
Fashion-conscious young men set out to challenge the staid rules of masculine etiquette that had prevailed since Victorian times. Circulating in the overlapping worlds of fashion, the media and high society, they forged new styles of dress and deportment. The result was the modern dandy, a flamboyant figure in frills and velvet, whose adventurous wardrobe perfectly suited the creative atmosphere of the time.
A new group of entrepreneurs, often from aristocratic backgrounds, spotted this shift in taste. They moved into the area around Piccadilly Circus, long famous for dressing the British gentleman, and opened shops whose peacock products combined traditional tailoring with the design flair of fashion graduates. Many of the new designers had emerged from the first menswear courses, recently set up at the Royal College of Art and London College of Fashion. The results were spectacular, a new 'man about town'.

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Suit, Mr Fish, About 1967. Museum no. T.310&A-1979

Suit
Mr Fish
About 1967
Printed velvet
Museum no. T.310&A-1979
Given by David Mlinaric
Michael Fish opened his Clifford Street tailor's shop in 1966, having built up his reputation as the designer who brought traditional hosier Turnbull & Asser up to date with fitted shirts and kipper ties.
The interior designer David Mlinaric was the owner of this flamboyant suit. He acquired the cloth from American furniture fabric manufacturer Hexter.
View a rotating image of this suit.

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Suit, Blades, 1968. Museum no. T.353-1980

Suit
Blades
1968
Jacquard-woven silk, designed in 1953
Museum no. T.353-1980
Worn and given by Rupert Lycett-Green
Blades was one of the first companies to challenge the boundaries of Savile Row tailoring. It was opened in 1963 by Rupert Lycett-Green and Charley Hornby, with the help of two expert cutters, under the slogan 'For today rather than a memory of yesterday'. The company attracted a varied clientele, including the Beatles. This suit combines a resolutely modern cut with a jacquard-woven silk in a Victorian pattern.

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Suit, Tom Gilbey (1939-), About 1968. Museum nos. T.642:1, 2-1995; T.643-1995

Suit
Tom Gilbey (1939-)
About 1968
Suit: wool tweed
Shirt: Huntsman, silk
Museum nos. T.642:1, 2-1995; T.643-1995
Given by Kenneth Swift
Tom Gilbey opened his couture house and design consultancy in Sackville Street in 1968. He was one of the young generation of designers who had trained at art school and were interested in new style combinations. Here he has given the traditional lounge suit jacket a futuristic accent by adding zips to the front and pocket fastenings. A black silk roll-neck from Savile Row tailor Huntsman replaces the usual collared shirt.

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The Rise of the Boutique
King’s Road 1965–1970


A couple window shopping in King's Road, Chelsea. 1966. © Getty Images

'The King's Road is a wilderness of stoned harlequins.' Christopher Gibbs, antique dealer
Mary Quant's Bazaar, 'the grandmother of all the little shops', provided a new way of shopping. Until then, mature women had bought their clothes in department stores or gone to dressmakers, while many young women created their own outfits.
Young graduates and enthusiastic amateurs sensed the new spirit in fashion and plunged in. Taking advantage of cheap rents on the King's Road, they opened their own boutiques among the fish shops and greengrocers, attracting customers with their outlandish names and anarchic window displays.
A visit to the King's Road became a journey towards self-expression. On a Saturday afternoon the Rolling Stones and the new pop aristocracy would mix with the crowds, and shoppers emerged transformed, as suede-clad American Indians or romantic heroines in satin and lace.

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Dress and Coat, Ossie Clark (1942-96) and Celia Birtwell (1941-), 1970-1, Museum no. T.148&A-1983

Dress and Coat
Ossie Clark (1942-96) and Celia Birtwell (1941-)
1970-1
Printed rayon crepe with chiffon inserts
Museum no. T.148&A-1983
Worn and given by Mrs Pauline Vogelpoel
Here we see the perfect partnership of Celia Birtwell's joyful textile prints with Ossie Clark's unparalleled talent for cutting fluid, sensuous dresses. A husband-and-wife team, they worked together, with Ossie translating Celia's fantasy fashion drawings into three dimensions. Very soon, inherent tensions between creative freedom and the pressures of mass production led to the business's decline.

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I love 60's fashion... Wish I was in London right now!

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Dress, Foale & Tuffin, 1966.

Dress
Foale & Tuffin
1966
Linen
Lent by Marit Allen

Foale & Tuffin's simple shift dress with its clever 'D' shaped pocket perfectly captured the irreverent Pop aesthetic that was so dominant in the mid 1960s. In the June 1966 issue of Vogue a similar dress appeared in a mock 'cartoon-strip' fashion shoot, with a caption announcing that it could be bought at Countdown for 9 guineas (about a month's wages for a young office worker).

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Jacket and Trousers, Granny Takes a Trip, About 1969.

Jacket and Trousers
Granny Takes a Trip
About 1969
Cotton and viscose
Lent by Marit Allen

Granny Takes a Trip offered a very different version of fashion. It opened in the World's End in 1965 with John Pearse, Nigel Waymouth and Sheila Cohen as owners. Behind a series of surreal temporary shop fronts, they promoted an exclusive and mysterious 'look' based around concepts of nostalgia and psychedelia. Much of it appeared to come out of a dressing-up box.

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Dress, Sylvia Ayton (1937-) and Zandra Rhodes (1940-), 1966.

Photograph by Ronald Traeger, 1966(detail) Vogue ©The Condé Nast Publications Ltd

Dress
Sylvia Ayton (1937-) and Zandra Rhodes (1940-)
1966
Organdie and linen
Retailed at Top Gear (9 guineas)
Lent by Sylvia Ayton MBE

Ayton and Rhodes opened the Fulham Road Clothes Shop in 1968, having previously designed for a number of boutiques run by friends. Their clothes were admired for the adventurous prints and flattering shapes. This dress combines a skillfully cut, angular neckline with a circle print inspired by the dresses that Paco Rabanne made from huge plastic sequins.

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Dress, Janice Wainwright (1940-), 1968

Dress
Janice Wainwright (1940-) for Simon Massey
1968
Rayon with printed panels
Retailed at the Sidney Smith boutique
Lent by the Museum of Costume, Bath

Janice Wainwright had trained at the Royal College of Art under Janey Ironside, as did Ossie Clark, Marion Foale and Sally Tuffin. Like these other designers, she was interested in colour and draped cut. She also used some of Celia Birtwell's prints.

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Jacket and Maxi-Skirt, Ossie Clark (1942-96), About 1967.

Jacket and Maxi-Skirt
Ossie Clark (1942-96)
About 1967
Jacket: snakeskin and suede
Skirt: wool crepe
Lent by Celia Birtwell

In 1966, the chance discovery of rolls of unused snakeskin in a warehouse inspired Ossie Clark to develop a new look that sculpted rather than concealed the torso. He made the skins into fitted jackets, modeled on black leather 'Rocker' jackets, to be worn with culottes and skirts cut to a new longer length.

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