Archive for the 10s category

Richard Hell shirt for sale

Shirt with screen print hand-tinted by Richard Hell in 1977.

//Shirt with decorated screen-print on back panel, 1977. Price: £650.//

This Richard Hell shirt – one of 12 produced in 1977 by NY punk photographer Eileen Polk – is currently for sale by UK memorabilia specialists Dig Gallery.

“I picked the image from a photo-session I had done with Eileen,” says Hell. “Then she got on with producing them to be sold in Manic Panic, who also hand-painted each one. ”

Manic Panic was the boutique opened on July 7, 1977 in St Mark’s Place NYC by Tish and Snooky, the sisters who had been singers in the original Blondie line-up and also performed as the Sic F*cks.

More on the shirt, and the opportunity to buy it, here.

Inside Johnson’s Kensington + King’s Road stores in the 80s

Johnson's King's Road 1986 (from Ni Ikitai London)

//Manager Trudi Gartland, Johnson's, King's Road, Chelsea, 1986. Photograph: Haruko Minakami.//

Thanks are due to Derek Harris of Lewis Leathers for scans from 80s Japanese magazine London Ni Ikitai (I Want To Go To London) featuring the Johnson’s stores in Kensington Market and at 406 King’s Road, World’s End.

Johnson's King's Road 1983 (from Ni Ikitai London)

//London Ni Ikitai, 1983.//

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Rod Stewart in his Lloyd Johnson/Colin Bennett jacket, 1970

Inner gatefold, Gasoline Alley, Rod Stewart, Vertigo, 1970. Jacket: Lloyd Johnson/Colin Bennett. 500

//Inner gatefold, Gasoline Alley, Rod Stewart, Vertigo, 1970. Photo + design: Keef.//

Among the artefacts featured in forthcoming exhibition Lloyd Johnson: The Modern Outfitter will be an original copy of Rod Stewart’s second solo album, the magnificent Gasoline Alley.

Released in 1970 on the Vertigo “swirl” label and now highly collectable, the album’s inner gatefold features this image of Stewart wearing an extraordinary  trimmed jacket designed by Johnson and produced by his fellow Kensington Market occupant at that time Colin Bennett, who specialised in leather work.

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David David pops up again

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Tonight see the launch of the new pop-up shop from designer David Saunders’ print label David David.

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Hussar! It’s Seven Foot Cowboy – Pokit’s new denim range

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//Crazyhorse side fastening + pocket detail, Seven Foot Cowboy, Pokit 2011.//

Denim maybe the most rock & roll of fabrics, but it’s rare these days to encounter an inventive and effective approach to cut and style, which is why Seven Foot Cowboy – the ambitious new jeans label from London boutique Pokit – is to be applauded.

The range of six styles ( four for men including a regular jean shape and wider 40s cut and two for women) convey the quality, attention to detail, individuality and flair we have come to expect from Pokit’s Bayode Odowulu and Claire Pringle.

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Visual feast from Demob + Modern Classics

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Thanks to THE LOOK follower Salv Macasil for sending us this visual feast: images of five key pieces of clothing from the historically important London boutiques Demob and Modern Classics.

In very good condition, the garments convey many stories about the development of the particularly British aesthetic which thrives today at Will Brown’s Old Town Clothing.

Demob’s most popular design was the much emulated plaid-lined, hooded checker-cab strip anorak, notably worn by Paul Weller in the promo clip for The Style Council’s 1984 hit Shout To The Top.

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Tommy Nutter: The Rebel on the Row

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Today THE LOOK was granted a sneak preview of some of the incredible exhibits to be featured in Rebel On The Row, the forthcoming exhibition celebrating the talents and legacy of the late Tommy Nutter.

The show is currently being installed at London’s Fashion & Textiles Museum, where it opens a week on Friday (May 20).

Curated by Timothy Everest – who was a Nutter trainee (others include John Galliano) – and the FTM’s Dennis Nothdruft, the show centres on exhibits contributed by such Nutter clients as Mick Jagger, Elton John, Cilla Black and Justin de Villeneuve.

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Westwood asserts rights to Let It Rock + Too Fast To Live

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//Vivienne Westwood (third right) with LIR assistant Addy Isman + Teddy Boys outside 430 King's Road, Chelsea, 1972. Photo: David Parkinson.//

Vivienne Westwood has asserted her rights to the marks Let It Rock, Too Fast To Live Too Young To Die and Worlds End (the names of the shop at 430 King’s Road operated by Westwood and Malcolm McLaren in 1971-72, 1973-74 and 1980 to date respectively).

This is significant. While Worlds End has clearly been Westwood’s since she split with the late McLaren in 1984, they adopted a laissez-faire attitude to enforcing their intellectual property rights to the shop names and dozens of designs created during the 13-year partnership which also included the incarnations of 430 as SEX (1974-76) and Seditionaries (1976-80).

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Tales of Tommy Roberts

Among my current book projects is the life and career of Tommy Roberts, the British design figure whose track record includes operation of an amazing run of retail outlets – Kleptomania, Mr Freedom Kings Road, Mr Freedom Kensington,  City Lights Studio, Practical Styling + Tom-Tom – and associations with the who’s who of music, fashion, art + design over the last five decades.

Tommy has sent me a number of reminiscences which I’m posting occasionally on my own blog as tasters for the book, which will be out next year.

The first of Tommy’s tales, about City Lights Studio, is here.

The story of the Chelsea Boot

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//Anello & Davide Baba Boot, mid-60s.//

The story of the Chelsea Boot goes back to the 1830s, when they were known as paddock boots, their elasticated sides, snug fit, sturdy design and relative lightness a boon to the equestrian community.

According to traditional footwear suppliers Samuel Windsor, the shoe was originated by J. Sparkes-Hall, bootmaker to Queen Victoria (who wore them regularly).

In the mid-1950s they were sported as leisure-wear by the monied, young  Chelsea Set which gathered in the King’s Road and frequented The Markham Arms, Mary Quant’s Bazaar and her partners Archie McNair and Alexander Plunket Green’s jazz club/restaurant Alexander’s.

Slimmed, with a centre seam and a heightened Cuban heel for Flamenco dancers, London’s theatrical shoemakers Anello & Davide introduced their version, the Baba boot (“a new Italian-inspired version of that long, lean look”) in the early 60s.

Soon the shoe design entered the visual language of rock & roll via fashion-mad teenage beatniks, art students and modernists.

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//Baba boots, Anello & Davide catalogue, 1966. (C) Lloyd Johnson.//

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Sex, Drugstores and Rock & Roll

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//John Lennon, Amanda Lear + George Harrison (in a Granny Takes A Trip jacket) at the launch of Apple Tailoring at 161 Kings Road, May 22, 1968. (c) Bill Zygmant//

Sex, Drugstores and Rock & Roll, which opens at Proud Chelsea next week, is a photographic exhibition chronicling the music + fashion scenes in the Kings Road from the 1960s to the 80s.

The show was sparked by the realisation among Proud staff that their premises at 161 Kings Road were occupied in the 60s by Dandie Fashions (which, as explained in this post, became The Beatles’ bespoke business Apple Tailoring under the stewardship of John Crittle in 1968).

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Lennon + Paradise Garage’s 70s workwear revolution

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//Second right: Lennon; far right: T.Rex manager/stylist Chelita Secunda.//

Over the last couple of years, the recession has inspired the return to popularity of utility clothing. As this cutting shows,  the first British workwear wave occurred in the early 70s when a former Beatle’s penchant for denim coincided with the opening of Paradise Garage at 430 Kings Road.

In London local newspaper the Evening Standard, Janet Street-Porter described how fashionistas and music fans took their cue from John Lennon’s US-flag emblazoned bib & braces and flocked to Trevor Myles’ shop in World’s End for hickory stripe dungarees, Women’s Land Army overalls and second-hand Levi’s.

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Malcolm McLaren’s role in Banksy trial

THE LOOK can reveal that the late Malcolm McLaren was to be a witness for the prosecution in the trail which has resulted in suspended jail sentences for conmen Grant Champkins Howard of Croydon, south London and Lee Parker, of Eastbourne, Sussex.

At Kingston Crown Court yesterday (July 1), the  pair were each handed 12-month suspended sentences for selling fake Banksy prints on eBay.

“Neither of you should be under any illusion that I regard both of you as nothing more than a pair of old-fashioned conmen,” said Judge Suzan Matthews, who ordered the pair to complete 240 hours of unpaid work in the next 12 months and imposed restraining orders preventing them from selling on the internet.

Parker, 45, and Champkins-Howard, 44, pleaded guilty to selling copies of genuine numbered prints on eBay, earning £57,000 over a three-year period.

Prosecutor Richard Mandel said they passed off the copies as being from official limited-edition numbered print runs made early on in the artist’s career, forging ownership documents and adding official numbers and stamps to some, which were sold for up to £2,000.

The Metropolitan Police recovered 120 prints during the investigation which, if sold as genuine, could have fetched £200,000-plus.

Champkins Howard and Parker denied conspiracy charges of copying and embellishing clothing by Malcolm McLaren and Vivienne Westwood and possessing articles for use in fraud.

It was this aspect of the case for which McLaren supplied testimony on behalf of the prosecution. His death in April – and Westwood’s unwillingness to comment – are understood to have been factors in the decision  for those charges to be ordered to lie on file.