No one embodies London’s swinging sixties as fashion designer Mary Quant. In the autobiography ”Quant by Quant” in 1966, when she was at the peak of his career, ” explains the designer himself his incomparable success with a singular ability to interpret the spirit of the times in klädform earlier than all the others. In addition, she was fortunate to begin his designbana just when something entirely new was in the air, as she was a part of.
The new – it was the approaching poperan, then the whole world’s eyes were directed at the young, creative energy in London.
the Exhibition at the V&A puts the focus on the period 1955-1975 when the Quant, which was most influential. An era which vibrated of optimism and confidence in the future. When outdated social structures was foiled last, the young women went out into working life and the women’s movement were fired on by the sexual revolution as the newly launched p-the pill made possible.
Mary Quants kjolfåll climbs upwards, from 1962 to 1966. Photo: V&A
the passage of progressive esprit in a playful and functional look that she created for herself and her ilk. Caught in the museum-resistant glass display, today it stands out as equal parts childlike innocence and cheeky provocative. With short skirts, small jerseyklänningar, hot pants and colorful tights, knitted jumpers and long trousers. A look for a young efterkrigsgeneration that neither wanted to live or dress like their parents.
In another part of the museum now displays a large, acclaimed fashion exhibition about Christian Dior. Pariskreatören that dominated the haute couturens golden era in the 50’s and represents just the dated establishment and the stereotypical image of women that the Quant questioned with its radical design.
unlike the Dior cool beauties and perfect elegance shows Quants promo graphics young girls on the go, out on the street. With low-heeled shoes, the large, marked eyes, and easy to keep clean, closely cropped hair. No stiff poses in the studio. No laced waists, No high heels, no tight hairstyles.
Model Kellie Wilson in the mini skirts and shorts by Mary Quant, 1966. Photo: Brian Duffy
London’s young rebellfotografer as David Bailey, Brian Duffy and Terence Donovan. To the Quants favorite models heard, among other things, new stars such as Twiggy, Jean Shrimpton (The Shrimp) and Grace Coddington (also referred to as The Cod), the legendary fashion editor of american Vogue. And Donyale Luna in 1966, went down in history as the first black model on the cover of british Vogue.
the Trademark Mary Quant was born in 1955, when the then 25-year-old designer opened the store in the Bazaar. This, together with her husband Alexander Plunket Greene, whom she had met during her studies at the art school Goldsmiths College of Art, and good friend and lawyer Archie McNair.
the restaurant in the basement and lay on the King’s Road, Chelsea, which came to be in the 60’s most talked about fashion.
Mary Quant outside her shop Bazaar on the king’s Road, 1960s. Photo: the Fashion and Textile Museum.
the Bazaar quickly became a gathering place for the anticipated Chelesa set. London’s young, creative click with, among others, the designer Terence Conran, who decorated Bazaarbutikerna and in the middle of the 60’s opened his own influential interior design store Habitat. More about Quants and Conrans cooperation there is to see in a current exhibition in London; the smaller, but informative and well-made ”Swinging London: A lifestyle revolution” at the Fashion and Textile Museum.
was she as a young working woman with an innovative look and unconventional lifestyle himself personified the desirable Chelsea girl-the ideal.
Mary Quants short, asymmetric bob created by Vidal Sassoon in the mid-60s. Photo: Ronald Dumont
She filled the store with a mix of interesting gadgets, clothing and private design. A young, accessible fashion that appealed to not only those who shopped in the store, but also all who bought the cheaper line with the label of the Ginger Group or sewed for themselves with the help of the Buttricks mönsterark designed by Quant.
The equal period as signaturstarka the garments were influenced by the 20th century, menswear, children’s clothing and school uniform. But, above all, inspired the Quant of the customers who came to the store on King’s Road. Young women who embraced the new and fought for equal rights, wearing pants, or mini skirt.
Quants most iconic garments. It occurs frequently in the extensive exhibition at the V&A and was highlighted as the epitome of the youth triumph over the establishment, and for the passage of liberated women.
According to the exhibition’s curator, Jenny Lister was minikjolen a provocative garments, which symbolized both the physical and mental freedom of movement.
the V & A from the 1960s. Photo: V & A
of the many older women who have contributed to the extensive exposén with garments from their own 60-talsgarderober. This is because only around half of the exhibition at the V&A which is all about the designer Mary Quant, the other half emanates from the women who wore her clothes and told their stories about how they experienced the unconventional design when it went.
In all cases, it is about the garments that have been saved in half a century precisely because they represent something significant in their lives. An interesting grip, which contributes with an additional dimension to the sandwich exhibition, and which convincingly confirms Mary Quants status as an epoch-making revolutionary.
