Mary Quant’s and John Stephen’s Contribution to Mod Fashion Style in 1960 Essay Sample

8 August 2017

The purpose of this essay is to compare the influence of Mary Quant’s and John Stephen’s manner accomplishments on mod motion in Britain in 1960. Although. they had performed within the similar manner tendency. during the same clip period. interior decorators proposed wholly opposed constructs of new muliebrity and maleness for modern young person. Mary Quant led the young person power motion in female vesture. by dressing immature misss comfortably yet sexily. in a different manner from their female parents. Oppositely. John Stephen has influenced men’s attitude to manner through his presentation of a egotistic and ambivalent expression for modern adult male. Both interior decorators achieved a great success within their bearer and made a important discovery in British manner of the clip.

Introduction
The 1960s were characterized by the rise of young person power in Britain. It has happened due to several grounds. First. Post World War ll adolescents were eager to arise. to specify conventions of the clip and they had an ability to make so. Most of them were employed and had a disposable income. that gave them independency and freedom to move the manner they wanted. Besides. with the spread of mass communications and amusement beginnings. childs became easy informed about latest innovations in manner and music. That allowed them to declare which of these tendencies had more value to them and by following new influences they began to organize their ain manner. The one of the most conspicuous illustration of the clip was the development of mods subculture. David Grosshans. ( 2009 ) describes this motion as «streamlined. egotistic. and androgynous» . Indeed. visual aspect and vesture manner was the representative characteristic of mods civilization. Young people wanted to encompass the bright. fresh. «…youth-centric look» to counter «… the deadening manners worn by their parents» . ( Breward. C. 1999. . Pp. 81 ) .

Mary Quant’s and John Stephen’s Contribution to Mod Fashion Style in 1960 Essay Sample Essay Example

Mod vesture was characterized by bright colourss. geometric and colour block prints. which were chiefly taken from Italian Pop-Art Movement. As the mod manner grew in popularity. many other groups picked it up. So. the rapid rise in demand of apparels ingestion among childs and their ability to devour turned the original countercultural motion into commercial stylish tendency. Fashion interior decorators of the clip captured the young person needs for manner alteration and rapidly responded with radical solutions. Mary Quant and John Stephens were the most celebrated people for specifying the manner and holding a important impact on British manner in1960s. Sing the fact. they had performed within the similar manner tendency during the same period of clip ; their work had a batch of resembling and typical characteristics. The intent of this essay is to compare the part of these two British interior decorators and place the differentiations and similarities within their influence on mod manner manner in 1960.

Mary Quant and creative activity of «Chelsea Look»
Mary Quant is normally known for presenting more relaxed and provocative expression for immature “fashionistas” of the clip. «With the observation. Quant desired to authorise young persons to have on apparels to experience good and to experience sexy. ” ( Horton R. . Simmons S. . 2006 ) . Without holding any formal preparation in the manner industry. she started create apparels that she would desire to hold purchased herself. ” As a interior decorator. she disclaimed clannish and juicy expression imposed by high manner tendencies. Sleek design and beguiling manner became typical characteristics of Mary Quant line. As cited in The Guardian. Oct. 10. 1967. Quant stated herself – «Good gustatory sensation is decease. coarseness is life» . Taking into history. the youth’s demand for alterations and spread of mod motion in Britain. Quant was the right individual on the right clip with her provocative designs. Indisputably. she achieved a manner breakthrough with the innovation of her fancy hot bloomerss. popularising mini-skirts and the use of PVC fabric. These manner freshnesss brought a extremist alteration into young persons dressing manner. They wholly deposed the misss dressing manner of the past and offered the new dressing construct. which was called «Chelsea Look» . Harmonizing to Gerda Buxbaum ( 1999 ) . historically. «the young person apparels for misss were ever simpler. smaller. cheaper versions of what their female parents wore» .

Figure 1: Simplicity Patterns for Girls-1950s

Figure 2: Simplicity Patterns for Women- 1950s

Figure 1 and Figure 2 illustrates the young person and grownup frock forms in 1950s. As it follows. youth manner strongly imitated their mothers’ manner of frock – clinched waist. gored skirt and knee-length dressing manner. Overall. manner tendencies did non vary significantly within different age groups. Oppositely. Mary Quant created the spread between young person and grownup manner with creative activity of her «Chelsea Look» . She strongly believed that «young must look like the young» ( as cited in J. Olian. 1967 ) . Therefore. she led the young person motion in frock through debut of «new femininity» . which was wholly differnet from their mothers’ .

Her garments were designed in order to stress the sexual temptingness of contemproary miss. This fact is chiefly connected with the sexual revolution. which took topographic point in 1960. As adult females started to play more self-asserting function in society. they besides wanted to» regain control over their ain organic structures. With innovation of new prophylactic steps. adult females became «the sex in charge» ( M. Quant. as cited in The Guardian. Oct. 10. 1967 ) . Sexual release allowed immature ladies to have on more provocative and sexy apparels. which revealed bare parts of the bodó and displayed female curves. For case. Quant miniskirts could be seen as a jubilation of female signifiers. asseverating the right to be proud of their figure and an ability to demo it. Additionally. uncovering miniskirts ( 6 to 7 inches above the articulatio genus ) became improbably popular with mod misss. because they embodied female liberation-active immature adult females could now travel easy instead than being restricted by long skirts. ( Horton and Simmons. 2006 ) .

Figure 3: Mary Quant Models. in her mini skirt design. uncovering long legs

In order to sell her apparels. Mary Quant founded her first dress shop called “Bazaar” on Kings Street in London. where she sold her designs in monetary value scope of immature people. Apart from making conspicuous window shows. Quant hired immature misss. who promoted her garments and act as «sandwich» to work forces. Harmonizing to Breward C. . ( 2004 ) . «these misss. elegantly dressed. and looking enormously smart were a esthesis and 1960’s coevals of young persons was clearly thrilled by such innovations» .

Figure 4: Bazaar’s»window show

Figure 5: Mary Quant and three Models in her designs

John Stephen and the presentation of «new man» maleness While Mary Quant was covering the market of women’s vesture with her advanced «Chelsea look» construct. her manner co-worker -John Stephen was merely as radical in a field of male manner. After traveling from Glasgow to London. at the age of 18. Stephen got a occupation in orienting establishment Moss Bross. specialized in flushing suits. While larning nuances of men’s manner wear. he spotted the deficiency of mercantile establishments. selling modern apparels for young person in London. Stephen observed the detonation of mod motion among local young person and he had seen it as – «a beginning of an epoch where adolescents would seek for their ain individuality which they could show through clothing» ( as cited in John Stephen – A Forgotten Fashion Revolutionary. 2011 ) . Bing a portion of «youth» himself. John clearly identified the kineticss of street manner.

He realised. that modern childs no longer wanted to follow their male parents manner of dressing. have oning work Grey suits and flannel pants. Oppositely. immature modernists were hankering to be seen. to be the “Face» of the motion they represented. Sing these facts. Stephen was aimed to alter old attack to men’s manner with a modern. eye-catching and hideous expression. Stephen’s biographer. Jeremy Reed ( 2010 ) stated that. «Stephen had a mission that was compounded into vernal cistrons. non merely to alter the manner work forces looked everlastingly. but o brand apparels and the compatible consciousness of self-image into necessary lifestyle» . John Stephen started to introduce with a fresh thought of conveying colour and sex entreaty into menswear. He introduced paisley and polka point forms as print designs for his garments. In add-on. he decided to use buttons in an advanced manner. by puting them in two-base hit or ternary groupings on the shirt and jacket foreparts. Then. he was the first to import Levi jeans and present them to the streets of London.

Figure6: Paisley- print form kaftan by John Stephen. 1967

Figure7: Double-buttons suit. 1968

Additionally. the fact of sexual revolution besides had a important impact on the manner adult male started to look like. Following manner tendencies became no longer an inappropriate activity for males. Particularly. egotistic coevals was obsessed with their visual aspect. Selfadornment. ambivalent expression – became new manner tendencies among male modernists. These alterations became the get downing point in creative activity of «new man» maleness. which has been successfully developed through John Stephens designs. Reed J. ( 2010 ) claimed that the attitude of «Mods was one of staying unachievable. and their exclusively male clique invited mental homosexualism and chitchat as a replacement for familiarity with misss. While Modss were their ain. and non John Stephen’s creative activity. their sexual ambiguity ideally suited his every bit ambivalent clothes» . this phenomenon has its beginnings from societal motion of the clip.

Figure8. 9: Illustration of how the immature mod should look like. May 1966

As his designs were turning in popularity. Stephen opened his ain dress shop at 49/51 Carnaby Street. which became the epicentre of mods manner universe.

Figure10: Carnaby street in 1966 – at the tallness of Stephen’s calling.

Apart from selling his original designs for comparatively low monetary values. the success of the store was assured by the fact that many famous persons of the clip became its frequent clients. Rock’n Roll idols. such as David Bowie. members of the Rolling Stones set. the Who and the Kinks were invariably featuring John Stephen’s apparels. The show of Stephen’s designs on such cultural figures. besides resulted in enlargement of the «new man» maleness manner among immature modernists.

Figure11: Mick Jagger and Keith Richards shopping at John Stephen’s. 1965.

Figure12: Mick Avory from The Kinks mold for John Stephen. 1966.

Differences and similarities between Mary Quant’s and John Stephen’s influence on mods manner motion The rise of both Mary Quant’s and John Stephen’s bearers fell within the period of clip. when the mod motion has started to construct up. Belonging to «new» coevals. helped immature interior decorators to descry the absence of vesture for quickly organizing subcultural niche. Interior designers seasonably captured mods demand and their handiness to follow new things and started to make full the youths’ market spread with advanced designs. Whereas. Mary Quant led the young person motion in misss dressing. John Stephen played the cardinal function in «new men’s» expression development in 1960. Both interior decorators aimed to make a bran-new dressing construct for their mark audience. nevertheless their public presentation resulted in displacement of gender functions within men’s and women’s manner manner. For case. the debut of «Chelsea Look» could be seen as a brave proposal of new muliebrity construct. Through her designs Mary Quant created the hideous. fanciable and independent expression for liberated adult female.

Even though she standed by tempting vesture manner. Quant’s designs were «classless. androgynous and bold» ( Buxbaum G. . 2006. Pp. 132 ) . Taking into history. that adult females have started to derive more power and struggled for female release – the new icon of «courageous woman» . suggested by Quant. greatly suited and appeled to their involvements. Conversely. as female vesture design was simplified. men’s apparels had became brighter. more attention-getting and featured tonss of inside informations. Young mods started to demo more involvements in manner tendencies. as they had felt the demand to show themselves. Catching this motion. John Stephen wore the immature mod in bright suit. patterned shirt and hippie pants. This expression has wholly changed the established thought of man’s maleness and presented the new. self-centric and ambivalent hero of the clip.

Figure13: Modern Girl’s Look. 1960

Figure14: Modern Boy’s Look. 1968

Furthermore. with opening their ain stores. Mary Quant and John Stephen were closely involved with the 1960ss revolution in shopping wonts. First. the success of stores was closely related with prevalence of ocular impact through window shows. Furthermore. thence force. work forces became equal manner consumers. as adult females were.

Decision
To sum up. the Post World War ll. newborn coevals in London wanted to displace the atavist of the past with new. modern life style. The young person started to organize its ain subcultural motion of modernists. who tried to show themselves through advanced manner expressions and creative activity of their ain popular civilization. Bing a portion of «youth power» themselves. Mary Quant and John Stephen rapidly identified the demand for voguish and low-cost apparels and started to plan for immature fashion-obsessed consumers. While. Mary Quant was act uponing immature women’s manner market. John Stephen desired to alter men’s attitude to manner. Although. they had performed within the similar manner tendency. during the same clip period. interior decorators wholly shifted the common tendencies for both sexies. Mary Quant led the young person power motion in female vesture with the proposal of her advanced «Chelsea Look» . She started to dress immature misss comfortably yet sexily. in a different manner from their female parents. in order to make the hideous. tempting and liberated expression of modern adult female. Whereas. immature adult females began to follow androgynous manner. their male coevalss started to see more sophisticated and ambivalent expression through John Stephen’s presentation of «new man» maleness. Both interior decorators achieved a great success through their public presentation and set in the revolution in British manner of the clip.

List of mentions

1. Adburgham. A. . ( 1967 ) Mary Quant negotiations to Alison. Adburgham. The Guardian. [ Online ] . Available at hypertext transfer protocol: //century. defender. co. uk/1960-1969/Story/0. . 106475. 00. hypertext markup language. [ 10 October 1967 ] . 2. Breward. C. . ( 1999 ) . Singing London. In: Buxbaum G. . erectile dysfunction. 1999. Icons of Fashion. Pp. 81 3. Breward C. . ( 2004 ) Clothing Desire: The job of the British Fashion Consumer. 1955-1975. Cultures of Consumption. [ Online ] . Available at: hypertext transfer protocol: //www. consume. bbk. Ac. uk/research/breward. hypertext markup language [ 19 March 2004 ] . 4. Buxbaum G. . erectile dysfunction. 1999. Icons of Fashion. Pp. 132 5. Dandy in Aspic. ( 2011 ) . John Stephen – A Forgotten Fashion Revolutionary. . [ Online ] . Available at: hypertext transfer protocol: //dandyinaspic. blogspot. ru/2011/08/john-stephen-forgottenfashion. hypertext markup language [ 3 August 2011 ] . 6. The Goldsmith Magazine. ( 2012 ) no-37. Interview. Looking back with manner icon Mary Quant [ Online ] . Available at: hypertext transfer protocol: //www. gold. Ac. uk/media/Issue37_small. pdf. [ Summer 2012 ] . 7. Grosshans D. ( 2009 ) . The Mod Movement-Mod Clothing and Style. [ Online ] . Available: hypertext transfer protocol: //EzineArticles. com/2629438. [ 18 July 2009 ] . 8. Hebdige D. . ( 1979 ) Subculture: The significance of manner 9. Horton R. . Simmons S. . ( 2006 ) . Womans who
changed the universe. United kingdom: Quercus 10. Olian J. . ( 1999 ) Everyday Fashions of the Sixtiess: as pictured in Sears catalogue 11. O’ Neill A. . John Stephen: A Carnaby Street Presentation of Masculinity 1957-1975. erectile dysfunction. In Fashion Theory. Volume 4. Pp. 487-506 12. Reed J. ( 2010 ) John Stephen – The King of Carnaby Street. Pp 24. 67

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List of figures
Figure1 – Simplicity Patterns for Girls-1950s [ Online ] . Available at World Wide Web. OldPatterns. com Figure2 – Simplicity Patterns for Women- 1950s [ Online ] . Available at World Wide Web. OldPatterns. com Figure3 – Mary Quant Models. in her mini skirt design. uncovering long legs [ Online ] . Available at World Wide Web. tester. com/article/mary-quant-from-miniskirts-to-makeup-video Figure4 – Bazaar’s»window show [ Online ] . Available at hypertext transfer protocol: //fabmagazineonline. com/fab-fashion-mary-quant-by-rachael-divers/bazaar/ Figure5 – Mary Quant and three Models in her designs [ Online ] . Available at hypertext transfer protocol: //www. fashionencyclopedia. com/Pi-Ro/Quant-Mary. hypertext markup language # B Figure6 – Paisley- print form kaftan by John Stephen. 1967 [ Online ] . Available at hypertext transfer protocol: //dandyinaspic. blogspot. ru/2012/01/johns-children-modeling-for-john. hypertext markup language Figure7 – Double-button suit. 1968 – [ Online ] . Available at hypertext transfer protocol: //dandyinaspic. blogspot. ru/2011/08/john-stephen-forgotten-fashion. hypertext markup language Figure8 – Illustration of how the immature mod should look like. May 1966 [ Online ] . Available at hypertext transfer protocol: //www. paulgormanis. com/ ? p=6568 Figure9 – Illustration of how the immature mod should look like. May 1966 [ Online ] . Available at hypertext transfer protocol: //www. paulgormanis. com/ ? p=6568 Figure10 – Carnaby street in 1966 – at the tallness of Stephen’s calling [ Online ] . Available at hypertext transfer protocol: //dandyinaspic. blogspot. ru/2011/08/john-stephen-forgotten-fashion. hypertext markup language Figure11 – Mick Jagger and Keith Richards shopping at John Stephen’s. 1965 [ Online ] . Available at hypertext transfer protocol: //dandyinaspic. blogspot. ru/2011/08/john-stephen-forgottenfashion. hypertext markup language Figure12 – Mick Avory from The Kinks mold for John Stephen. 1966

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