Friday, 30 December 2011
From Draper's Record, January 1968.
Last post of this year should be devoted to the dominant subject of this blog so far - 1960's Peacock Revolution - a style in 1960's male fashion that marked a transition between a sharp elegance of Mod and colourful flamboyance of Hippy. So, here are some more photos of key designers, their amazing clothes, and their famous customers - the dandies of 1960's London.
Also I would like to thank all the readers and followers of this blog and wish you a happy new year!
Clockwise from left: Nigel Weymouth (designer behind Granny Takes a Trip), Rufus Dawson, Jess Down and Amanda Lear. 1968.
George Harrison wearing a jacket from Granny Takes a Trip, and Patti Boyd, 1967
Jimi Hendrix wearing a jacket from Granny Takes a Trip, 1967
John Crittle (right) - the designer and owner of Dandie Fashions, with his wife Andrea in 1967 (Photo by Philip Townsend)
Brian Jones wearing a jacket from Dandie Fashions, 1967
Velvet suit from Blades (right) and Mr. Fish modelling his own design (left) in Vogue, January 1968. (Courtesy of Get some Vintage-A-Peel by Miss Peelpants )
James Fox wearing a shirt from Mr. Fish at the premiere of his film Duffy, 1968
Wednesday, 21 December 2011
I will never forget my first visit to Camden Stables Market around 2004, and my excitement when I discovered Velvet Illusion - a Psychedelic/Op-art boutique that sold clothes inspired by 1960's Swinging London.When I entered the shop, I felt like I was magically transported from 2004 to Carnaby Street circa 1967.
Exterior of Velvet Illusion in Camden Stables Market, 2004
Ad for both Velvet Illusion stores from 2004.
First Velvet Illusion store was opened in the late 1990's on Kensington Church Street. The owner was an American called Mickey Wolf - an enthusiast of 1960's Fashion and Music. He personally designed all the clothes sold in his shop. His designs for menswear were strongly inspired by late 1960's Peacock Revolution and designers such as John Pearse (Granny Takes A Trip) or Mr.Fish. His womenswear was characteristic for the generous use of Bridget Riley-style Op-Art patterns.
Mickey Wolf in Velvet Illusion suit, early 2000's.
Velvet Illusion corduroy jacket
Flyer from 2004 advertising Velvet Illusion on Kensington Church Street
A short documentary about Velvet Illusion from 2004 featuring an interview with Mickey Wolf who lists John Pearse of Granny Takes A Trip and Mary Quant as his main influence.
My girlfriend in her Velvet Illusion dress
Velvet Illusion became a cult shop for Mods and 1960's obsessives, attracting customers from all around the world. Unfortunately, both branches of the boutique shut down in 2007. Some of their stock is still available from www.atomretro.com. Mickey Wolf relocated to Los Angeles, where apparently he opened Velvet Illusion USA (I say apparently, because I could not find any proof of that on internet - but if that is really the case, I hope that one day he will open an online boutique).
Velvet Illusion Fashion show at Modstock in 2004.
Thursday, 15 December 2011
Syd Barrett, September 1967
What can be said about Syd Barrett that hadn't been said already? His brief musical career as a lead singer/guitarist of Pink Floyd and solo artist, followed by acid-induced madness and withdrawal from the world still continues to fascinate and, over the years, he has been a subject of numerous books, articles and documentaries.
Syd in January 1967.
As well as being an influential guitarist and songwriter, Barrett also deserves a credit as a style icon. In the spirit of the times, his look was very flamboyant - Paisley shirts, frilled shirts, satin or velvet trousers, double breasted jackets, cravats etc. Like many other London musicians at the time , Barrett was buying his psychedelic/peacock gear in King's Road boutiques.Some of his clothes were made to measure by designer Thea Porter. Julian Palacios wrote in his biography of Barrett: For Syd, the image tied in with his art, rather than simple vanity. The era demanded peacocks. Barrett stepped up and took on the role of a star (Julian Palacios, Dark Globe : Syd Barrett and Pink Floyd, p 205).
Pink Floyd, 1967
Pink Floyd, 1967
Syd in 1967
Barrett had a rare ability of pulling off nearly any outfit. It is visible in the photos of Pink Floyd circa 1967. Your eye is instantly drawn to Barrett, while his band mates look rather uncomfortable, or even ridiculous (just look at Roger Waters) in their psychedelic gear.
Pink Floyd, 1967: Nick Mason, Rick Wright, Roger Waters and Syd Barrett
Syd Barrett, 1967
Syd and Roger Waters, 1967
Nick Mason, Syd Barrett and Rick Wright in De Lane Lea studio, October 1967
Pink Floyd performing at Top Of The Pops, 1967
Syd In July 1967
Syd in July 1967
Pink Floyd on tour in Denmark, 11.09.1967. Syd Barrett, Roger Waters, Nick Mason and Rick Wright.
Where's Syd? - Pink Floyd on a package tour with Jimi Hendrix Experience, The Move and Amen Corner, November 1967.
Syd on tour, 1967
Syd's girlfriend, Lindsay Corner was his sartorial advisor. Julian Palacios wrote: As his star rose, Lindsay's sharp eye and expert combination of King's Road cool were crucial to his new look. Her keen eye made for inspired choices. With hair grown out his trendy Carnaby Street trousers and candy striped shirts sacrificed for velvet, satin, silk in red, lilac and green, and crimson. Syd and Lindsay took to the King's Road fashion scene with relish, migrating to Granny Takes a Trip, where Barrett was fitted for a satin outfit in green and red. Next was Gohil's leather Goods store in Camden, where the owner outlined Syd's feet for custom-made short ankle boots with elastic gussets.
With Lindsay, Barrett made the scene dressed in silk and velvet, in pied patches like medieval minstrels. Walking on King's Road on Saturdays, dressed in all their finery, the couple were splendid peacocks on parade. In a luminous dash, they prowled boutiques, piecing a unisex wardrobe mix of gypsy, aristocrat, harlequin and harlot (Julian Palacios, Dark Globe : Syd Barrett and Pink Floyd, p 205).
Following Lindsay Corner's advice, Syd also started using kohl eyeliner, which, combined with his black, messy hair made him a precursor of Gothic look. There is indeed a very Gothic feel to certain photographs of Syd Barrett and Pink Floyd.
Pink Floyd, 1967 (or is it The Cure in 1981?)
Pink Floyd , 1967
Pink Floyd , 1967
Pink Floyd , 1967
Syd Barrett with a friend Jenny Spires in July 1967.
Syd Barrett's uncontrollable LSD intake was a cause of his increasingly erratic behavior which was a reason for his departure from Pink Floyd in early 1968. Despite his problems, he managed to record two great solo albums: "The Madcap Laughs" (1969) and "Barrett"(1971) - both produced by Dave Gilmour - Barrett's friend and his replacement in Pink Floyd.
Syd in 1969, during recording of "The Madcup Laughs".
Syd Barrett photographed by Mick Rock, London 1969.
Syd Barrett posing for the photoshoot for a cover of "The Madcap Laughs". This photo was taken in Syd's flat in South Kensington by Mick Rock in 1969.
After a last, unsuccessful visit to studio in 1974, Syd Barrett had vanished from public eye for good. He never came back to playing music, and from seventies onwards, he led a life of a recluse. He became one of the most enigmatic figures in popular music history. The interest in Barrett had increased after his death in July 2006. In 2010, two very extensive biographies of Barrett were published within two months of each other: Dark Globe : Syd Barrett and Pink Floyd by Julian Palacios and Very Irregular Head by Rob Chapman.
Although there are similarities between the two publications ( In both books, for example, chapters start with quotations from The Wind In The Willows by Kenneth Grahame - one of the biggest lyrical influences on Syd) they are surprisingly different. Rob Chapman makes rather unconvincing attempt to portray Barrett as a modern-day English Romantic. He spends a lot of time doing pseudo-academic analysis of Syd's lyrics, and devotes
a lot of too much space to his literary influences. There is surprisingly little about his musical influences - his teenage love of blues and R'n'B hardly gets mentioned, neither does the fact that he abandoned blues in order to venture into more experimental fields. Chapman fails to remember that Barrett was, above all, a rocker. His innovative ways of playing guitar were more influential than his work as lyricist.As Julian Palancios notices in his, much better book, Barrett was one of the few iconic 60's musicians whose work was embraced post-punk musicians of late 70's. For that generation of musicians who sought to play a guitar music that is not based on blues, Syd's work was a big influence. Public Image Ltd, Echo and The Bunnymen, Jesus and Mary Chain, Siouxsie and The Banshees, The Cure (Robert Smith's look seemed to be also partly inspired by Barrett) - all of those acts spoke of their love of Syd Barret and early Pink Floyd (while the 1970's incarnation of Pink Floyd represented everything they stood against).
In Dark Globe : Syd Barrett and Pink Floyd Julian Palacios also makes a very interesting account of London underground psychedelic scene between 1966 and 1967 - a parallel story which is almost as fascinating as the story of Syd. I throughly recommend Julian Palacios's book as the best one ever written on the subject of Syd Barrett.
Sunday, 11 December 2011
David Bowie in 1965 photographed by Cyrus Andrews.
Before Thin White Duke, before Alladin Sane, before Ziggy Stardust , David Bowie was one of the 'faces' of the London Mod scene. At the time, between 1965 and 1966, he released few singles for Pye Records. And even though the singles "I Dig Everything" and "I Can't Help Thinking About Me" did not make it to the charts, they definitely put young Bowie on a map and gave him a fair amount of press attention as a rising young talent.
Article from 1966
The feature on Bowie in Fabulous magazine (30.09.1967) right next to an article about Twiggy. The two would pose together six years later for a cover of Bowie's album Pin-Ups.
Bowie's style from 1965-1967 was absolutely immaculate - one of the finest examples of 1960's Mod look. Three-button suits, white button-down shirts and inch-wide ties - it was minimal, simple, and yet sharp and cool as an ice cube.
David Bowie and model Jeanette De Souza photographed by Fiona Adams, London, 1965.
A recent CD anthology of Bowie's 1966 Pye singles.
Bowie always felt warmly about his Mod period. In 1973, he paid homage to his Mod roots by releasing Pin-Ups - an album on which he covered songs by bands such as The Who, The Kinks, The Pretty Things or Them (it has to be said - he completely butchered "Anyway, Anyhow, Anywhere" and Kinks' "Where Have All The Good Times Gone?". His version of Easybeats' "Friday On My Mind" was pretty good, though).
Bowie musical output from 1965-1966 period is relatively obscure, but it is still worth attention. It is probably better than his Syd Barrett-influenced, self-titled debut album ("Laughing Gnome", anyone?).
Finally, I bet you did not know this: In 1964, Bowie started a Society Of Prevention Of Cruelty To Men With Long Hair, and he appeared on BBC Tonight.