Binder, Edwards & Vaughn

Binder, Edwards & Vaughn were a design group specialising in psychedelic murals and paintings. They were active in London between 1965 and 1967, and during that short period they received a lot of attention from press, most notably The Sunday Times, and they attracted 'hip'  clientele - Paul McCartney, Ringo Starr, London boutiques Dandie Fashions and Lord John and many others.
Their brand of psychedelia was characteristic for its rejection of Art Nouveau as an influence. They tried to make their work unique and forward-looking.
Doug Binder, Dudley Edwards and David Vaughn met in Bradford Art College where they studied in the early sixties. Binder and Edwards main designers, while Vaughn took on the role of a manager. Dudley Edwards remembers: The Input between me and Doug was 50/50. To begin with the earliest influences were the panted door fronts in the Asian ghettos near Bradford Art College. Those doorways glowed like gems in the dark. We also loved the dissonant color combinations they used. It was similar to the effect that Thelonious Monk would get on the piano. (...) There was also an influence of certain Marvel comics, like the backgrounds in Steve Ditko's "Dr. Strange" (Norman Hathaway, Dan Nadel, Electrical Banana, p 65).

Article in The Sunday Times Magazine, 1966. From left Doug Binder, David Vaughn and Dudley Edwards.

Binder, Edwards and Vaughn moved to London in the mid-1960's and set up a studio on Gloucester Avenue. They started out from painting and selling furniture. One of their earliest clients was their Gloucester Avenue neighbour, photographer David Bailey, whom they tricked into buying a painted chest of drawers by 'accidentally' displaying it right outside his front door. We thought, If we put a painted chest of drawers on David Bailey's doorstep in the middle of the night, it'll be the first thing he sees in the morning and he's bound to want it. It worked! (Hathaway, Nadal, p 65). Soon after they began exporting their painted furniture to USA, Canada and Belgium.
They also began beyond the furniture buisness. A design group Wolff Olins commissioned them to paint the facade of their studio.

 The address was number 81, so we used a combination of numbers and words, '8ONE' where the 'O' served a dual function as both a digit and a letter, all portrayed in 20th Century Fox style (Hathaway, Nadal, p 65).
They also started painting cars. They have painted a 1960 Buick convertible.

 The car have captured attention of The Kinks, who have used it for a photo on a cover of their 1966 'Sunny Aftenoon' EP.

The cover was noticed by Tara Browne, who commissioned Binder, Edwards and Vaughn to paint his AC Shelby Cobra....

...and a facade of his new boutique, Dandie Fashions

1967

Through Browne, they have met Paul McCartney , who commissioned them to paint his piano.

1967

Other famous projects by Binder, Edwards and Vaughn was a mural for Lord John boutique on Carnaby Street..

  1967

and  a mural for fashion departament of Woodlands 21 store.

1965

Binder, Edwards and Vaughn parted ways in mid-1967. Dudley Edwards, who struck a friendship with Paul McCartney, was commissioned to do some more work for a Beatle. Paul called and asked if I was free, and would I like to stay at his place and paint a mural for him. Stash (Stanislas Klossowski De Rola) was staying there as well, so it was just the three of us. A lot of the time I got the feeling Paul wasn't really bothered with me doing a mural, really. He just wanted a mate around. So every time I started painting Paul would say, 'Let's go off to a studio and lay off some tracks' or 'Let's go to a nightclub' (Hathaway, Nadal, p 66)..
Edwards also did a mural for Ringo Starr.

 Edwards' mural for Ringo, 1967.

Dudley Edwards formed a buisness partnership with Mike McInnerney, an art editor of International Times. They did a few projects together, of which the most impressive one was the mural for The Flying Dragon Cafe in King's Road.

 

1968

After that Dudley Edwards went into designing poster art. He is still a graphic designer today.

Because Binder, Edwards & Vaughn did not work  within a usual popular media, like album covers, posters or even ads, their work is not very well remembered today. But between 1965 and 1967, they were called 'The Beatles of the art world' and during their short existence , they had a tremendous impact on visual culture in Swinging London of the 1960's.

For the full story of Binder, Edwards and Vaughn (and more examples of their artwork) read 'Electrical Banana' by Norman Hathaway and Dan Nadel.

  

Documentary film about Tara Browne from 1966

Following my recent post about Tara Browne, I am posting this newly uploaded film about Tara Browne - a French documentary from 1966. A fascinating insight into a life of a socialite in 1960's Swinging London - we get a rare glimpse of clothes , music, cars and girls....and of course, Tara.

Tara Browne ("He blew his mind out in a car") - 1960's Peacock Style icon

Tara in 1966

Perhaps 'an icon' is not a right word here. But Tara Browne had become something of a cult figure - mostly among Beatles fans - since it was his death that inspired the lyrics of "A Day In The Life" (Little known fact: his death also inspired another song: "Death Of The Socialite" by The Pretty Things).

Born in 1945, The Hon. Tara Browne was a son of Dominick Browne, the 4th Baron of Oranmore and Browne and Oonagh Guinness  - an heiress to the Guinness fortune. After completing  his education in public school in Paris, he came to London, and, like other 'hip' aristocrats in Swinging London, he invested money in a tailoring venture - Foster and Tara. He provided financial backing for tailors Pops and Cliff Foster. Foster & Tara initially were making clothes on order for boutiques such as Granny Takes a Trip, before Tara decided to open his own boutique - Dandie Fashions, which would exclusively sell F&T designs.

Tara Browne and his wife Nicky photographed by Michael Cooper for Men In Vogue in November 1966

Tara Browne with Brian Jones on Tara's birthday, 04.03.1966

 On  December the 18th, 1966, Tara was driving his Lotus Elan through South Kensington with his mistress, model Suki Poitier - the was on their  way to meet decorators Binder, Vaughan & Edwards to discuss designs for the shopfront of Dandie Fashions. While passing the junction of Redcliffe Squre and Redcliffe Gardens, he "didn't notice that the light had changed", and crashed the car with a parked lorry. He died in hospital few hours after (Suki Poitier survived, and soon started dating Tara's friend - Brian Jones).He was 22. The following day, Tara's friend John Lennon picked up a copy of Daily Mail which contained the article about the accident. The rest is a well-known story...

Suki Poitier (centre) and Tara Browne (right), 1966

Apparently, Irish writer Paul Howard is currently writing a biography of Browne. He interviewed several close friends of Tara's. One of them, Hugo Williams shared some of his memories of Tara on The Spectator website: At 15, in 1960, Tara was barely literate, having walked out of dozens of schools. He smoked and drank but he hadn’t got on to joined-up handwriting yet. He was living at home with his mother Oonagh Guinness and her third husband, a louche Cuban ‘shoe-designer’ presently named Miguel Ferreras, who was gaily going through her fortune. Tara was two years younger than me but years ahead in sophistication and fun, dealing jokes, insults and ridiculous boasts from an inexhaustible deck like a child delightedly playing snap. In his green suits, mauve shirts with amethyst cuff-links, his waves of blonde hair, brocade ties and buckled shoes, smoking menthol cigarettes (always Salem) and drinking Bloody Marys, he was Little Lord Fauntleroy, Beau Brummell, Peter Pan, Terence Stamp in Billy Budd, David Hemmings in Blow-Up. His drawly Irish blarney was the perfect antidote to our public school reserve and what would come to be called ‘postwar austerity’.

All the white-gloved pre-debs doing time at Paris finishing schools found their way to Oonagh’s apartment, where they encountered their first taste of Sixties hedonism, without Daddy being around to say no to drinks and cigarettes and staying up past their bedtime. There was the chauffeur-driven Lincoln Continental to conduct us to the clubs and swimming-pools. There was fresh milk in the fridge picked up daily by the Irish butler from the American embassy canteen, the only place in Paris where you could find it in those days. If there was any embarrassment about money Tara would pretend to find a ‘dix milles’ note in the street.

Tara could hardly have failed to be a success in Swinging London. While I was wandering around the globe in ’63 and ‘64, he embarked on the second and last phase of his meteoric progress. He got married, met the Stones and the Beatles, opened a shop in the King’s Road and bought the fatal turquoise Lotus Elan in which he entered the Irish Grand Prix. He let me drive it once in some busy London street: ‘Come on, Hugo, put your foot down.’ I had just got my first job and our ways were dividing. His money and youth made him a natural prey to certain charismatic Chelsea types who turned him into what he amiably termed a ‘hustlee’. He reputedly gave Paul McCartney his first acid trip. The pair went to Liverpool together, got stoned and cruised the city on mopeds until Paul went over the handlebars and broke a tooth and they had to call on Paul’s Aunt Bett for assistance. There is still a body of people — and a book called The Walrus is Paul — who believe that Paul is dead and is now actually Tara Browne with plastic surgery.

Everyone has got some golden boy or girl in their life whose death or sudden departure distils the period into the long party it should have been but probably never was. When my first girlfriend was trying to think of something really nice to tell me she came up with ‘Your eyes are nearly as nice as Tara’s’. I remember being tremendously pleased about this and could hardly wait to tell him. I discussed titles for the book with Paul Howard and there seemed to be no choice: A Lucky Man Who Made the Grade" 

(http://www.spectator.co.uk/books/7156433/part_4/the-short-life-of-tara-browne.thtml).

        

Carnaby Street Vs. King's Road

By 1966 the phenomenon of 'Swinging London' had reached its peak. The momentum that started from The Beatles, Rolling Stones, Mod Subculture, the emergence of new designers such as Mary Quant or John Stephen had put London on the map as a new capital of music, fashion and design. This phenomenon was brought to the attention of the rest of the world by American journalist Piri Halasz, who, in her cover story for Time magazine titled 'London: The City that Swings' (April 15th, 1966) described the changes that had taken place in the capital of Britain. As a result, the places described in the article, such as Carnaby Street, became swamped with tourists from all over the world trying to have their share of 'swinigng action'.

The guide books for tourists were being published, such as Karl Dallas' 'Swinging London - A guide to where the action is'. In the introduction to this book, Barry Fantoni seems bewildered with he new phenomenon and criticizes "Fleet Street hacks who when hung up for two thousand words take a taxi into Carnaby Street or Kin's Road and write a fab load of switched-on rubbish that gets subbed down to a caption for a photo of some swinging dolly with her skirt up over her knickers".  He claimed , rightly, that "London has been swinging for ages, it's just that Time magazine and supplements hadn't noticed it". (Max Decharne, King's Road, p 207)

A Map of Swinging London's boutiques and clubs in Rave magazine, April 1966

A map of Swinging London's boutiques and clubs in 16 magazine, 1967

Both, Barry Fantoni and Piri Halasz cashed up on the new phenomenon and wrote guides to Swinging London. 

Carnaby Street was the biggest victim of the phenomenon it helped to create. From 1966 onwards it was associated less with the emergence of new trends for fashionable young people, and more with kitsch for tourists. As George Melly writes in Revolt Into Style: "Soon there were as many girls as boys, as many adolescents as adults and more tourists than anyone. The 'In' group wouldn't have been seen dead in Carnaby Street by 1966. Chelsea, after a period of decline, reasserted its role as the stage of fashion, and so it remained ever since ( George Melly, Revolt Into Style, p 154). Even John Stephen - a designer who was largely responsible for making Carnaby Street what it was, seemed to have agreed with this statement. Asked by Nik Cohn about post - 1966 Carnaby Street, he said: " Who are they? (...) They are nobody in particular. They're mister average" (Nik Cohn, Today there Are No Gentlemen, p 117). Barry Fantoni wrote that: "Carnaby Street customers are (to use unfashionable expression) working class. While they think nothing of spending the week's wages on a complete outfit, the class that shop on King's Road will spend that sort of money on shirt" (Decharne, p 207).

Go Mod! - By 1966, everybody did.

Michael English's interpretation of Carnaby Street and its boutiques, 1970

Swinging London poster sold at I Was Lord Kitchener's Valet circa 1967

The Peacock Revolution, which was sparked by such designers as Bill Green ( Vince) and John Stephen in the late 1950's had reached its crescendo with the arrival of Mr. Fish and King's Road boutiques. However, there was a significant difference not only between the clientele of Carnaby Street and King's Road, but mainly between the designers and entrepreneurs themselves. Bill Green (of Vince), John Stephen and Michael Fish were all from poor backgrounds, and spent years climbing in a hierarchy of fashion industry. All three of the were also homosexual. Designers associated with King's Road boutiques - John Pearse, Nigel Weymouth (Granny Takes A Trip), Michael Rainey (Hung On You), Tara Browne (Dandie Fashions) were, by contrast, heterosexual and extremely upper class. This difference between class and sexuality is very poignant for the whole Peacock Revolution pehaps maybe even for the whole Swinging London phenomenon. It is worth to quote Nik Cohn on the issue of class that owned King's Road boutiques:

" Public school boys, arriving in London, were no longer faced by clear out alternatives - politics, The Army, The City. They were no longer born to govern, had no inbred function (...) Where once they would have been busy building empires, now they gambled and smoked hash, and immersed themselves in Pop. From time to time, they would acquire new toys, like a boutique or an antique shop or a photographer's studio, to give the illusion of purpose"(Cohn, p 92).

The Chelsea Set: Neil Winterbotham, Ossie Clark, Julia Cooke and Michael Williams - fashionable, 'young bright things' of the 1960's.

It seems like for the owners of the King's Road boutiques, their businesses were more of a leisure activity than a method of making a living. They did not do it for survival; therefore they could afford to take various risks  - experiments with adjusting clothes, mixing styles, selling flamboyant outfits to rock stars for high  prices. Relaxed, laid back in their attitude, they were not good at being businessmen, which explains why their boutiques were so short lived. They did , however create  one of the most interesting styles in British post-war male fashion. Peacock Style was a true modern expression of traditional dandyism. It was elegant, flamboyant, exclusive and memorable.

An article about Chelsea boutiques in Town magazine, August 1966.

 Map of Swinging London boutiques

Look At Life: A documentary about King's Road boutiques from 1967, narrated by Michael Ingram.

Somebody used the same footage, but speeded up,to make a video to one of my favorite songs: I'm Rowed Out by The Eyes. True lost Mod classic, and it works so well with the footage. Enjoy!

Source of the images: "Boutique London" by Richard Lester, "The Look - Adventures in Pop and Rock Fashion" by Paul Gorman and Away From The Numbers tumblr. 

Dandie Fashions

Dandie Fashions opened on 161 King's Road in October 1966. It was a brainchild of two young entrepreneurs - John Crittle (an Australian, former employee of Michael Rainey in Hung on You) and Tara Browne (an heir to the Guinness fortune) who wanted their boutique to be a retail outlet for their new tailoring business Foster and Tara. Unfortunately, in December 1966, Tara Browne died in a car crash (he was on his way to discuss designs for a shop front with graphic artist David Vaughn). His share of the business was bought by Crittle.

Alan Holston - manager of Dandie Fashions modelling a double-breasted jacket from his boutique, 1967

John Crittle and his wife Andrea, 1968

Dandie Fashions photoshoot circa 1967

Outside Dandie Fashions circa 1967

Crittle, in his policy was essentially copying Hung on You - from Art Nouveau designs for the shop front to clothes themselves - silk frilled shirts, velvet suits in every possible colour and double - breasted jackets. Nevertheless, shop proved a quick success and soon its clients included Brian Jones, David Bowie and Jimi Hendrix. Brian Jones became so friendly with John Crittle, that he had lent him his chauffeur Brian Palastanga and limousine when Crittle was on his way to the court after the drug bust on Dandie Fashions in May 1967.

Brian Jones wearing a jacket from Dandie Fashions. London Palladium, 23.01.1967

 The Who's Roger Daltrey wearing a jacket from Dandie Fashions

Beatles were also customers at Dandie Fashions, and , seeking an investment opportunity, they bought the shop in May 1968 and transformed it into Apple Tailoring - part of their ill-fated, badly ran Apple Enterprise. John Crittle was employed as a director; however his skillful management could not save the boutique from quick bankruptcy in the late 1968. Crittle returned to Australia where he died in 2000.  He is now also remembered for being a father of a ballet star Darcy Bussell - his child with Andrea.

 Dandie Fashions jacket from 1967. It was sold by Kerry Taylor auction house in March 2010 for an undisclosed price.

Dandie Fashions suit, also sold on auction by Kerry Taylor house in 2010.

 

Floral Jacket from Dandie Fashions worn by Jimi Hendrix in 1967.

Floral jacket from Dandie Fashions worn by Jimi Hendrix circa 1967. It was displayed in 2010 during Jimi Hendrix exhibition in Handel House, London.

Status Quo's drummer John Coghlan (far left) also had one.. (1967)

So did this gentleman photographed in Apple boutique in 1968

Jacket with a mandarin collar from Dandie Fashions worn by Paul McCartney in 1967.

Paul McCartney's order receipt for the jacket.

Freddie Hornick (owner of Granny Takes a Trip) and Alan Holston outside Dandie Fashions,  1967

The Revolution That Nearly Failed - an article in December 1967 issue of Town magazine. The photo depicts a group of young men sporting peacock style outside Dandie Fashions.

Dandie Fashions after re-launch as Apple Tailoring, 1968

 Inside Apple Tailoring, 1968

 

Apple Tailoring, 1968

 John Crittle with John Lennon outside Apple Tailoring, 1968

Edited to note - since I originally posted this, a lot more information on Dandie Fashions came into daylight - please read great article by Peter Feely, who did very thorough research and extensively interviewed Alan Holston.  (2015)