Today, Thursday 12 April, marks Chelsea Library being in its current location on the Kings Road for 40 years. Over to the staff there to tell us more…
After having spent its youth and most of its middle years in Manresa Road, Chelsea, one fine spring day in 1978 a new library for the now “Royal Borough of Kensington and Chelsea” opened here at Chelsea Old Town Hall.
At the time of the relocation the King’s Road was arguably a much more diverse place and the vibrant and challenging, fashion and music scenes of the time were very much in evidence along the road.
Some local faces and places were captured for posterity by an ex-member of staff and quite a few of her images are included, with gratitude, in a display here at the library. Also included are some images of the library as it was when it was first opened.
To mark this anniversary we will be running a birthday card making workshop with 70s fashion theme in the style of designer Celia Birtwell as the library has an amazing Costume and fashion collection.
The workshop will take place today in Chelsea children’s library 3 to 5pm with some refreshments. We will also have some games, musical chairs, pass the parcel…come and help us celebrate!
Recently, Rachel Worth, Professor of Dress and Fashion at Arts University Bournemouth, delivered a presentation on the history of Marks & Spencer at Chelsea Library. This post is based on what we learnt about the high street giant from Rachel’s fascinating and insightful lecture.
From very humble beginnings in a Penny Bazaar stall at Leeds Kirkgate Market in 1884, Michael Marks and – from a partnership that began in 1894 – Thomas Spencer together built a company that would become Britain’ s biggest clothing retailer.
Today, Marks & Spencer is a company synonymous with quality, reliability and customer care, but do we associate it with fashion?
Well – yes! Marks & Spencer was at the forefront of bringing accessible and fashionable clothing to the masses, at the same time being a pioneer in using new textiles, displays techniques and marketing methods – including the use of “supermodels” before the word was ever invented.
In the 1890s most working class people made their own clothes, and initially the market stall sold haberdashery (dressmaking materials). The sales slogan of “Don’t Ask The Price, It’s A Penny” summed up the business model. By the outbreak of World War One the company had expanded considerably and had diversified into homewares, but clothing remained at the heart of the business.
Marks & Spencer revolutionised how we bought clothes and also how clothes were sold, focusing on ready-to-wear affordable goods; high quality, well designed and fashionable clothing. In the 1920s M&S was ahead of most other retailers in its marketing and retailing methods setting an upper price limit on clothes. It also accepted the return of unwanted items, giving a full cash refund if the receipt was shown, no matter how long ago the product was purchased, which was unusual for the time.
It entered into long term relationships with British manufacturers, and sold clothes of the “St Michael” brand, introduced in 1928. As the company dealt directly with manufacturers it was able to keep prices low and to maintain input in the design and quality of clothes sold in its stores. It was one of the first companies to introduce standardisation in sizing. It also aimed to cater for all members of the family; children’s clothing and ready-to-wear suits being particularly popular.
Pioneering methods included having its own textile laboratory to enable the testing of fabrics and dyes before mass production, and the use of rainmaking machines to test water repellent fabrics. New synthetic textiles were particularly popular between the 1950s and 1970s. These included Tricell which was first used in 1957. Another synthetic fibre called Courtelle was first launched, nationally, by Marks & Spencer during the 60s as was Crimplene and Terylene.
These fabrics were easy to wash, often drip dry, easy iron and held their colour or shape. Terylene, for instance, meant the fashionable 50’s woman could have a permanently pleated non-iron skirt. The introduction of Lycra in the 1980s revolutionised hosiery, swimwear and underwear because of its elastic properties.
Marks and Spencer has always been design conscious, and no more so than in the 1950s when designs were Paris-inspired with an interpretation of the New Look being all the rage. Colour coordinated clothing and jersey knitwear enabled the fashionable women on a budget to change her look , updating key pieces when on a tight budget.
Display and marketing was always a key element of the presentation of M&S fashion ranges. Before the days of mass advertising it was the window display that dominated; these were eye catching and innovative (see above). Early advertising concentrated on the opening of new stores, but post-war the company began to employ models in print media using the well know faces of the day, including Twiggy in the 1960s:
The heyday of this form of mass marketing was the 1990s when M&S began to use supermodels such as Linda Evangelista and Claudia Schiffer. Here is Vogue’s front cover of July 1996 with Amber Valletta wearing a Marks & Spencer shirt, which we found in our archives at Chelsea Library:
If fashion is a concept based around our attitudes to clothing then Marks and Spencer is part of its fabric: with its high quality/ good value ethos, innovative and strong relationships with customers, and its technological innovations it led the way in fashion for the masses. Our thanks to Rachel for revealing some of the secrets to the success of the company over the last hundred years.
We noticed some new trends on the King’s Road over the past week… garden inspired shop-fronts, beautiful floral dresses and new visitors to Chelsea Library, who are exploring the area whilst visiting the Chelsea Flower Show. Surrounded by so much floral beauty and enthusiasm, we’ve also caught the flower fever and been inspired to explore fashion and flowers in our Costume & Fashion collection.
The Chelsea Flower show in the 1920s:
And we love this image of the flower show in 1918, showing off the fashions of the time:
In our Vogue magazine archives we found lots of garden-inspired illustrations, fashions and adverts from the May and June issues in the 1920s. In May 1926, as well as checking out the flower show, here is what you mind find shopping along Sloane Street:
And from the same month, an illustration of a fashionable garden of the time:
And when it rains…
We liked this arty picture from Vogue May 1924, with the shadows of trees in the background, entitled Flowered crepe is a medium of the mode:
In June 1929, a model poses in a rock garden:
In fact, everywhere we looked in the May and June Vogue issues we found flowers and gardens. Here is Twiggy in May 1967 and on her dress is a “Pyramid Myriad of Flowers, triangles of tiny multi colored ones….”:
In the 60s Ossie Clark and Celia Birtwell had a chic Chelsea boutique Quorum, and we found this great floral design of theirs from 1968:
Fast forward again to May 1988, a budding affair:
We hope you enjoyed taking a quick browse through the flowers and fashions at Chelsea Library. There is lots more to discover in the library and online, in the Berg Fashion Library Online, which you can access for free with your library card.
Have you ever looked at old family photographs from before 1940 and wondered what they could tell you? I found out that they can give a direct connection into the lives of the people portrayed in them through the clothes that people wore.
In an absolutely fascinating presentation at Chelsea Library in late October by the fashion expert and author Jayne Shrimpton, I learnt about history of fashion in ordinary family photographs.
In the nineteenth century photography was a cutting edge technology, but by the early twentieth century photography became more accessible with the advent of the Box Brownie camera. This meant that ordinary families could start to take their own photos and as a result pictures were more informal and can give us more information on the daily lives and fashion preference of our forebears. This eventually began to replace the more formal professional images often printed on postcards done in a studio setting.
Jayne showed us that by reading the fashions in a photograph correctly you can date images, but you can also study the history of fashion by looking at the images.
Fashion a hundred years ago was moving away from the formal and quite restrictive styles of the late Victorian era.The period between 1910-14 saw the development of a much more practical style with the introduction of shirts and ties for working women, and the gradual raising of hemlines. That fashion staple the pencil skirt first appeared. It was during this time the lounge suit for men began to appear and moustaches became all the rage.
Women of all classes would dress for formal occasions, and we saw some great images of women in afternoon dress of linen or cotton, wearing extremely large hats and gloves even when taking tea with their neighbours outside the back door.
Children’s clothing began to change: some of the photos we were shown had little boys still dressed as girls until they were of an age to be “ breeched”, when they would start to wear trousers or even shorts. By 1914 girl’s dress was moving towards a more boyish or more practical style, maintaining their femininity by wearing a huge bow on the side of their heads.
The development of more active life styles led to the development of sportswear and also influenced the introduction of knitwear for a more casual look. Jayne showed us images of specific clothing for cycling, golf, and tennis and for the more wealthy and intrepid ski-ing and skating outfits
During World War One women’s garments became shorter, they began to cut their hair shorter and the overall look was much looser. Many young women undertook war work whether in factories or in the Women’s Land Army (est. 1917), where for the first time women wore breeches or jodphurs, covered by an overall coat to maintain modesty. Of course after the war it was straight back to wearing skirts.
When dating your family photographs Jayne advise looking not only the rise and fall of hemlines, but also what people are doing and what is in the background, for example the modes of transport, so if there is a car you can often date the image from the make and model.
In the 1920s people still “Dressed to Impress” but studio images were in decline and these would only be taken for special occasions such as weddings, christenings etc. In these images as Jayne explained, you can see a history of fashion through the generations with older women still wearing black floor length gowns and their daughters and granddaughters in more contemporary clothes and hairstyles.
By the late twenties and early thirties the photos showed another shift for both men and women. This is particularly true of sport and leisure wear. During this period it became increasingly fashionable to have a suntan and as a result women’s bathing costumes began to change from the modest and concealing fashions of the early 20’s to the much skimpier versions with cutaway sections by the 30’s, and other beachwear clothes such as the introduction of beach pyjama’s.
Men’s swimwear generated some discussion after the presentation because men used to swim in the nude but with the introduction of mixed bathing this was no longer acceptable. By late Victorian times they were wearing trunks but with a vest section which everyone agreed was to hold the trunks up as they were of a knitted fabric . Most of us may have heard a story from our grandparents about their swimwear being so wet and heavy it fell down when they came out of the water!
During this time men’s began to wear informal styles, flannel trousers, sports jumpers, plus fours, and even on occasion shorts. Three piece suits became more relaxed, and had a boxier style; pinstripes were popular as was the Trilby hat.
Women’s and girl’s hemlines rose even further to knee length and their hair became shorter. Knitwear became an established part of dress and new fabrics such as jersey and rayon enabled more women to look stylish and modern and to keep up with the latest trends.
I went home after the talk and dug out some of the family photos and looked at them with renewed interest- large hats, hairstyles, hemlines, were all there and as a result of Jayne’s talk I was able to get a better idea of the dates.
If you are interested in fashion, or forthcoming fashion related events, why not join our mailing list by e-mailing your name and contact details to firstname.lastname@example.org. Or, if you follow this blog, you will see regular features on our fashion and costume collection, and you can look at photographic images from our archives in our local studies Library Time Machine blog.
With thanks to Jayne Shrimpton, who allowed us to use her images here. You can find these photos, and much more, in her book Family Photographs & How to Date Them.
Shrimpton, Jayne. Family Photographs & How to Date Them. (Berkshire: Countryside Books, 2008) pp.123, 138, 161 and 163.
Chelsea Reference Library had a bit of space on the wall above our costume collection, and what better way to fill it than with some beautiful images from our fashion and costume periodicals?
Staff at the library were asked to pick their favourite images from a shortlist, and choosing was tricky! The images, depicting costume spanning the Regency and Victorian eras, were all picked from our own magazine archives of La Belle Assemblee, The English Woman’s Domestic Magazine and Les Modes Parisiennes. We like the fact that the winners show how the shapes and styles of fashionable dress changed over 5 decades:
Classical Greece influenced dress was at the height of fashion in 1808, featuring a high empire waist line and long straight skirts. Woman dampened the muslin draperies so that they clung to their figure!
This evening dress from 1812 features a great turban – indoor caps for daywear weren’t that fashionable in this era but essential for evening wear and turbans were a very popular choice.
By 1928 a very different silhouette was in fashion –with so called leg-o’-mutton sleeves and skirts with tiny waists and wide bases. Check out the elaborate trimmings and hats!
By the 1850’s ladies skirts were so domed that they had to be supported by hoped cages called crinolines and lots of petticoats.
And then by the 1870’s the fashion was to have a flat front of the skirt, with lots of fabric pushed to the back… called a bustle. This image features a popular style called the Dolly Varden (Charles Dickens fans will get the reference) – where you have an overskirt which is shorter at the front with the sides and back bunched up.
Here are a few other images that were on the shortlist but didn’t make the final cut. We hope you like our choices!
The colours of these prints are really vibrant even after all these years, but we also loved seeing some amazing pictures of the actual fabrics in one of the books that we have in our collection – Nineteenth-Century Fashion in Detail by Lucy Johnston published by Victoria & Albert Museum:
To find out a bit about costume in this era we also read History of Women’s Costume by Marion Sichel. Come along to Chelsea Library to find lots more about the world of Costume and Fashion, or log on to Berg Online with your library card!
As it’s World Book Day, we thought we’d take the chance to show off some of our latest aquisitions from the Chelsea Library fashion collection…any excuse really!
From Vogue: the Editor’s Eye,(edited by Eva MacSweeney, 2012), a glossy new purchase full of fantastic images. This photograph is by Annie Leibovitz, from December 2003.
This image is from Isabella Blow: Fashion Galore! (edited by Alistair O’Neill, 2013), a publication that accompanied her fabulous collection, photographed by Nick Knight at Blow’s ancestral home.
Another new purchase… Avedon Fashion, 1944-2000, a book encompassing seven decades of extraordinary images by phographer Richard Avedon. This black-and-white shot was taken in 1959.
Naomi Campbell races a cheetah in Hair: Fashion and Fantasy by Laurent Philippon, 2013. Photographed by Jean Paul Goude, another striking image found on our shelves.
Looking through the large scale images in these books is a great way to appreciate some amazing work. As well as our shiny new books, our costume collection also contains some treasures from a bygone age… fashion from before the birth of photography even. The contrast between fashion images then and now is astonishing.
These old volumes are really tactile things that we love to pore over. Do come along to the library to have a look! Happy World Book Day!
Hair: Fashion and Fantasy by Laurent Philippon, 2013
I have been looking through David Sassoon’s marvellous book in Chelsea Reference Library. I’d seen Bellville Sassoon gowns at the V&A’s Ballgowns exhibition last year, but nothing prepared me for the out-and-out glamour of the Bellville Sassoon exhibition at the Fashion and Textile Museum (ends 11 January 2014).
Bellville Sassoon was founded in 1953 as Bellville et Cie by Belinda Bellville. Sassoon joined in 1958 Lorcan Mullany joined in 1987. It’s the people who wear the clothes that are of interest to me. You need an occasion to wear such glamorous outfits. So who wears Bellville Sassoon? As Britain’s foremost couture label from the 1960s onwards, Bellville Sassoon have dressed many of the world’s most stylish women, including Diana, Princess of Wales.
Many well known clients of Belleville Sassoon had lent dresses for the exhibition: Lady Shakira Caine, Cilla Black, Minnie Churchill, Angela Rippon, Lady Jane Rayne, Lady Anne Glendower, Lady Woolf, Baroness Fiona von Thyssen, Gaby Harris-Lyons and Brazilian socialite, Renee Behar.
Princess Diana, Princess Alexandra, Princess Michael of Kent, the Duchess of Kent and Princess Margaret were also clients. Princess Diana needed a dress for her engagement to Prince Charles. A formidable member of staff in Bellville Sassoon didn’t recognize her and suggested Harrods might be more appropriate. When David Sassoon found out, he was horrified.
She did return to Bellville Sassoon to purchase a number of outfits, including the one below:
The Princess of Wales arrives for a 1993 film premiere in Bellville Sassoon’s little black dress, with beaded jewelled straps, one of the glamorous evening dresses that were auctioned at Christie’s New York in 1997.
From an interview with David Sassoon in the Sunday Telegraph February 17 2013:
Another sketch, for a claret taffeta dress with bows, shows her enthusiasm to have the dress made up, with the words “Yes please!” next to the design, which she subsequently wore to the opening of the Barbican Centre with the Queen in March 1982, when she was six months pregnant.
“We had to let it out at the very last minute because her bump had suddenly grown,” said Sassoon. “She was very excited about the baby but also conscious of looking appropriate for the occasion during her pregnancy.”
Bellville Sassoon are also famous for their wedding gowns. In April 1971 when Sarah Donaldson-Hudson married Nicholas Haydon at Caxton Hall, she wore Bellville Sassoon, but as she was marrying a divorcee, her mother forbade her to wear white. She wore a hand-painted coat, lined with silk, which had graced the pages of Vogue in November 1970.
Sarah Donaldson-Hudson on her wedding day with Dorothy Donaldson-Hudson and Lt. Col. Ralph Davies-Cooke 23 April 1971:
And the coat as it appeared in Vogue, 1970:
Bordered and panelled with exquisite flowers from a Persian miniature. Designed and printed by Richard Cawley and Andrew Whittle, who painted the boots by hand to match.
The coat proved to be very popular. The Glamour of Bellville Sassoon reproduced an article from Women’s Wear Daily 6 October 1970. Rajputana was ordered by ‘a tall member of the Royal Family’, but the name was not to be revealed. Baroness Fiona Von Thyssen (former fashion modelFiona Campbell-Walter) also ordered this costume.
The Indian theme continues. In The Glamour of Bellville Sassoon, David Sassoon has a picture of Lady Londonderry wearing one of his Indian inspired costumes (in the December 1974 issue of Harpers & Queen, alongside the original picture, her name is given as Mrs Clive Powell. At the time of publication, she was married to Georgie Fame, a pop star, and Clive Powell was his real name.)
Mrs Powell wears blue and coral printed silk georgette long sleeveless dress embroidered in gold, with wide waistband and gathered skirt. Matching printed and embroidered cardigan, with gold sequins.
More famous clients dressed by Sassoon:
My favorite is the evening dress with gold lame spots on black chiffon:
This was made in 1996 and is in the V&A collection: T.76-1997. In the exhibition, it stands in a glass case, the fabric spreading out in a sumptuous puddle of almost liquid fabric.
You have until 11 January 2014 to visit The Glamour of Bellville Sassoon. Make it a New Year’s resolution!
From Chelsea Reference Library
Vogue from 1923 – current issue
Queen from 1949 – 1970
Harpers & Queen 1971 – current issue
For a full list of newspapers and how long we keep them, click here
Friday the 8 November 2013 will be memorable for any number of people for the chaos on the tube. For me, it was the eve of my birthday and I had booked to attend a talk at the Victoria & Albert Museum that was part of their Club to Catwalk exhibition. The line up was Caryn Franklin, Toyah Willcox and Karen Binns. They complimented each other perfectly, bringing their thoughts, ideas and experiences to a discussion on women who developed, fused and influenced fashion and music in 1980s London.
Caryn Franklin MBE is former Fashion Editor and Co-Editor of i-D Magazine. I immediately remembered her from The Clothes Show. In the Evening Standard Lifestyle Magazine (Print edition: 5 July 2013 ) Caryn writes:
‘There was never any talk of celebrity or success, only credibility and who had it. The style magazines i-D, The Face and Blitz were a triumvirate of street and music fanzines aimed at those with aspirations, attitudes and pretensions to creative grandeur. i-D is still headed by Terry Jones, who gave me my very first job. He put Madonna on the cover before anyone knew who she was. Channel 4’s Swank and Network 7, both programmes I worked on, were appetisers to the BBC’s The Clothes Show. I joined in 1986 with Jeff Banks and Selina Scott, and we covered everything from street style to John Galliano’s earliest work. The Clothes Show reached 157 million homes worldwide for 12 years. And with only four TV channels in the UK, at 5pm on Sunday it was rugby or us.’
‘In a career spanning thirty years Toyah has had thirteen top 40 singles, recorded twenty albums, written two books, appeared in over forty stage plays, made ten feature films and presented such diverse television programmes as The Good Sex Guide Late, Watchdog and Songs Of Praise. Toyah’s influences for her costumes were the Masai, Kabuki and the Mexican day of the dead amongst others. Clothing was like an armour, protective.’ (quote from www.toyahwillcox.com).
Karen is from Brooklyn and has worked as a fashion stylist in the pop and fashion industry. She has styled Tori Amos for 20 years. She is also editor and publisher at WHAT MAGAZINE. Karen described how things were in the 80s:
‘There was no internet or social media. The clubs were the place to see and be seen. You would use clothes to read each other. There were no courses for stylists. Fashion courses were aimed at those wishing to be designers. You proved your worth using your own personal style and your ability to get attention for the right reason at the right time.There was no copying, individuality ruled – if you saw it on someone else, you got rid of it fast.’
As soon as I got into work on the following Monday, I started my research. Chelsea Reference Library has the V&A book that accompanies the exhibition, From Club to Catwalk: 80s Fashion by Sonnet Standfill, V&A Publishing 2013.
This encapsulates the period with plenty of images – including a cover of i-D magazine:
From Club to Catwalk has a number of picture credits citing articles in Vogue and Harpers and Queen magazine.
What you see below are two pictures taken from a whole spread that appeared in the magazine. The costume collection at Chelsea Reference Library has Harpers and Queen and Vogue, so you can compare colour plates reproduced in the book with complete article as it appeared in the magazine, giving an added dimension to any research project! Below is a page from Club to Catwalk which helpfully gives the magazine title, month and year. In this case:
You can see here the full page spread that the book doesn’t give you – plus a chance to read the whole piece.
The trend for street style was reflected in Vogue’s Peacock Parade, featuring pictures of London’s punks and clubbers:
From Vogue September 1983:
‘Street fashion in London is in fine exhibitionist form. No capital in the world harbours such strange, eclectic, individual diversity of appearance. Apparel and appurtenance. Within this kerbside court. Fantasy selves pose and posture, defiance is by design and disguise is a mode of recognition.’
So if you want to refine your own personal aesthetic, why not give Chelsea Reference Library a try?
Vogue from 1923 – current issue
Queen from 1949 – 1970
Harpers & Queen 1971 – current issue
From Club to Catwalk: 80s Fashion by Sonnet Standfill, V&A Publishing 2013
We Can Be Heroes: punks, poseurs, peacocks and people of a particular persuasion. London Clubland 1976-1984 by Graham smith and Chris Sullivan
When We Were Young – Derek Ridgers: Club and Street Portraits 1978-1987 by Val Williams
Fashion Now – i-D selects the Worlds 150 most important designers by Terry Jones
I was a teenager in the 1980s and I was interested to see if I recognised any of the clothes on display. I was really surprised at how much I recognised – I mean I obviously didn’t buy or wear any designer clothes (my Saturday job at C & A’s didn’t pay that well!) but I was an avid reader of Just Seventeen (a weekly magazine that began in 1983) so I was aware of designers such as Katherine Hamnett and Wendy Dagworthy. Just Seventeen also featured items from a shop called ‘Boy’ on the Kings Road – this is now called ‘Ad Hoc’ and little did I know all the years ago that I would end up working less than five minutes away from there…
One fantastic thing about the exhibition is the 1980s soundtrack they play and hearing some of these songs and these really brought back memories for me – so much so I wanted to share them on this piece.
If you’ve been inspired to listen to some music from this great decade – check out our CD collections in our libraries.
Gillian Nunns, our Reference Librarian with the Chelsea Library fashion collection at her fingertips, writes:
I recognised some of the songs in the exhibition but can’t remember them from the time! To make up for it I have been looking through the books and magazines in Chelsea Library’s fashion collection and getting an idea of the 80s vibe.
It was great to see images from London’s 80s clubs such as Blitz, The Wag Club and Taboo in our collection. The clothes take inspiration from a great mixing-pot of places and times. Here is a picture of a Blitz Kid – Steve Strange from Visage, who features in Jodie’s Playlist:
And here is someone at Heaven’s Day Glo Ball in 1984 that we found in When We Were Young by Val Williams, which is a great book of street portraits taken in London by Derek Ridgers between 1970 and 1987.
In the early 80s there was a shift away from Punk’s anti-fashion stance with subcultures like the New Romantics, who dressed really theatrically and individually, taking inspiration from artists like Bowie. Here is a picture of one of David Bowie’s outfits from his Serious Moonlight tour in 1983:
So with the new club culture growing London seems like an exciting place to have been in the early 80s, with different kinds of music and styles emerging. Here is a nice shot of Sade by the Thames who also feature in Jodie’s playlist:
London’s club scene in the 80s was documented in independent magazines from the time such as i-D and Blitz. These great i-D magazine cover’s are also in the book ‘We Can Be Heroes’:
From the V&A exhibition Jodie and I got a sense of how designers took inspiration from street style, and I came across some great images of some 1980s collections. London’s theatrical and eclectic club scene can definitely be seen in Wendy Dagworthy’s designs. Check out this design with its layers and mix of cultural influences that I found in a book called The London Look:
Punk’s legacy can be seen in Katherine Hamnett’s anti-establishment slogan t-shirts. Hamnett herself wore one saying ‘58% DON’T WANT PERISHING’ to meet Margaret Thatcher at Downing Street. Here is an image of one that we found in Harpers & Queen, October 1986:
And there was also Body Map, which started with a stall in Camden market and was closely linked with London’s thriving club culture, even holding its own Body Map parties. By 1982 there was lots of hype around this brand, which also exploited a younger market by making a more affordable, b-Basic clothing range. This Body Map outfit is from Harpers & Queen, October 1986:
And I haven’t forgotten Vivienne Westwood, whose 1981 Pirates collection saw her move away from the Punk scene but stick with taking inspiration from rebellion. Like with London’s club fashions, her 80s collections including ‘Pirate’, ‘Savage’, and ‘Witches’ took inspiration from a melting pot of places and times. Her 1982 collection ‘Savage’ collection has a tribal look:
Vivienne Westwood’s Worlds End shop is just down the road from us on the King’s Road, which got us thinking about what else was happening on The Kings Road at the time. Of course the Kings Road in the 60s is pretty infamous, but after the 60s the draw continued…
If you enjoyed this, keep an eye out for more 80s fashion posts!
From Club to Catwalk edited by Sonnet Stanfill, V&A Publishing 2013-11-20
The London Look: Fashion from street to Catwalk by Christopher Breward et al
When We Were Young by Val Williams, Photoworks, 2004.
We Can Be Heroes by Graham Smith, Unbound, 2012
David Bowie is, V&A, 2013
Vivienne Westwood by Claire Wilcox, V&A Publishing 2004