Monday, 17 June 2019

On the Boutique Beat! Hung On You, Pygmalia, Gladrags, Dee Doe, Trend, and The Red Queen (1967)





  ON THE BOUTIQUE BEAT BOY/GIRL BOUTIQUES

(1967)



HUNG ON YOU
430 Kings Road, London S.W. 10
Difficult to notice as the name is written Arabic-style on the door. The shop is filled with simple Arabic clothes too, backed by Arabic music. Michael Rainey, the owner, has clothes made that are straightforward and uncomplicated, and ''not symbolic of the commercial rat race of most clothes today.'' Some of the clothes are made in Morocco, like the robe and headband in the sketch below―they're for boys or girls. ★ For being one of the most way out and mysterious boutiques in London.






TREND
80 Abelwell Street, Walsall, Staffs.
An eye-catching frontage with psychedelic paintwork. The interior is on a spilt level with menswear at ground level and the girls' department a few steps up, the interior is in midnight blue, lime green and orange. Pop music booms all dayhas done since last April when The Move opened Trend. In the mens department there are flared hipster trousers in tweed from 47s 6d., Regency jackets and coachmen's suits. Hooded corduroy culotte dresses at 89s 11d. are very popular in the girls' shop. Tent-dress styles in light wools from 65s. in camel. burnt orange, bottle green, and lilac are exclusive to Trend. Also clothes by Slimma, McCaul's, Highlight Sports, and Susan Barry. ★ For a good selection that's at everyday prices.




PYGMALIA
3 Backpool Fold, Manchester 2.
Used to belong to The Hollies pop group, now owned by ex-Dakota. A really big shop with two floors―girls up top, menswear down below. Decor is Regency-influenced but not the loud pop music. Most of the stock is specially designed for Pygmalia which has lots of snazzy culotte dresses in brown, black, gold and red. In the men's section they have caftan's in Bush Baby and satin. There are flared trousers more waisted than last year, and frock coats in brocade and velvet. Lots of shirts in new muted colours, dark green, blue and cream. Very popular now, cape-coats in red and black from 8gns. each. ★ For a friendly atmosphere and reasonable prices.

*Pygmalia, which opened in November 1965, was originally owned by Graham Nash and Tony Hicks of The Hollies, the boutique was run by Nash's first wife Rose Eccles until the couple moved to London. It was then taken over by Tony Mansfield (the drummer from The Dakotas) along with his wife Brenda, and remained open until the 1970s. 







GLADRAGS
76 High Street, Croydon, Surrey.
The shop is packed full of beautiful clothes for boys and girls. They have lots of other bits and pieces too., like little Victorian books, and big personality posters. One of the main features of their Autumn stock is the maxi skirt: they have maxi dresses, skirts, capes and coats. Most popular labels: Gerald McCann, Foale and Tuffin, and Veronica Marsh. Lots of separates too. Accessories include bags, tights, belts, hats and jewellery. Note for male readers: the menswear section downstairs specializes in made-to-measure caftans. ★ For a selection unlimited.





DEE DOE
13 Meer Street, Stratford-Upon-Avon, Warwickshire.
A genuine fifteenth-century building with genuine oak beams and a large, chopped off tree on the ground floor. Some of the stock is exclusive to Dee Doe but most of it is Quant, Twiggy, and John Craig. Their specialty for November is long velvet skirts at 5gns., teamed with frilly Victorian-style blouses at 49s 11d. In the male section next door the 1930 Gangster look is strong with dark shirts, bright and gay ties and striped suits.★ For unusual decor and friendly atmosphere. 





THE RED QUEEN
78a Liverpool Road, Newcastle-under-Lyme, Stafs.
A very old building-used to be a public house. The walls are now 'marbled', the ceiling red. They have old-fashioned dummies decorating the shop, painting from the local art school liven up the walls. Half the merchandise is their own stock and second-hand fur coats are on sale at £5. Special buy: Sailor trousers which are updated surplus government stock. Plenty of corduroy dresses at £3 19s 6d. and zippy wool dresses at 4 gns. In the boys section, floral shirts at £2 10s., needlecord waistcoats, sailor trousers and cloaks. ★ For a bit of everything.


IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from an original article for Intro Magazine, November 1967. Artist uncredited/unknown. Discover more about the British Boutiques of the 1960s and 1970s in some of my previous posts: The British Boutique Boom! (1965); The New Boutiques (1965)Biba Postal Boutique, Victoria & Albert, Topgear and Harriet; The Carrot On Wheels - David Bailey's Boutique! (1965); View an example of the Art Nouveau window designed by Antony Little for  Michael Rainey's Hung On You boutique at 22 Cale street (1966).  Lift Up Your Skirt And Fly, Sheffield (1969). Gear Guide: A hip-pocket Guide to Britain's Swinging Fashion Scene―Who's Who in Carnaby Street & Kings Road etc. (1967); The first Mr Freedom outlet located at 430 King's Road (1969) which previously operated as Michael Rainey's  Hung On You;  Quorum, Biba, Bus Stop and more in The Boutiques Business (1970). Further reading on unisex fashion via Swop Shop―Fashion is for him and her. (1970). See also, Girls are stripping men of their shirts! Well, not bodily, but girls are crowding into men's stores to snap up their snappy shirtsPinch the shirt off his back! (1968). Read an excerpt from Sex and Unisex: Fashion Feminism, and the Sexual Revolution by Jo B. Paoletti over on Pop Matters. And finally, a film clip of ⚤ shopping at Irvine Sellar's Mates  boutique,  25 Carnaby Street, 1966. 

Sunday, 28 April 2019

You've heard of Twiggy, you've heard of Jean Shrimpton, but have you heard of Peter Gregory, Nicholas Head, Jess Down, David Platt or James Feducia? The Pretty Boys (1967)



THE PRETTY BOYS

You've heard of Twiggy, you've heard of Jean Shrimpton, but have you heard of Peter Gregory, Nicholas Head, Jess Down, David Platt or James Feducia? Probably not, but they're the gorgeous men on our cover, and they can earn just as much as the girls can and they're top models, too. Their lives are just as exciting. Want to know more? Then turn the page; read all about them and the whole male model scene. 

Cover models: James Feducia and David Platt (1967).


WHAT IT TAKES TO BE A MALE MODEL
Why are our top girl models household names, with powerful influence on the way we dress, make-up and do our hair, while top male models are unknown and unimportant to everyone except magazine and advertisement agencies? The difference is in our attitude. Female models have always been thought glamorously feminine, male models have more often than not been thought simply effeminate. But the attitude is changing. Male modelling's beginning to get glamorous. Successful designer's, actors, and singers are taking it up as a hobby, although there are still boys who admit: ''I don't tell people I'm a model unless I know them very well.'' 


Why the change in attitude? Two reasons: first, modelling's much more difficult than it was ten years ago; a lot of it is television and advertising work, which requires acting ability and intelligence, not just a toothpaste smile. Secondly, young exciting clothes for men, started by Carnaby Street, have woken up even older men's interest in what they look like. Only the die-hard traditionalist thinks it's cissy to look (and smell) nice, and even girl's magazines often include a man's fashion page. And now, a new male model agency, English Boy, has aroused interest in the whole male scene―no rugged, tanned, big-chested he-men here. Most of the models are pale, thin and long-haired, and include well-known names like Brian Jones of the Rolling Stones, actor James Fox, the hon. Julian Ormsby-Gore, and David Mlinaric, the interior designer. 




The Sweet Jane Blog: English Boy Ltd Model Agency head sheet, featuring Julian Ormsby-Gore, Nigel Weymouth, Maldwyn Thomas, and Brian Jones (1967).




Above: A section of an English Boy Model Agency headsheet, which displays a couple of the aforementioned male models on their books. Namely, the hon. Julian Ormsby-Gore, and just seen on the far right is Brian Jones of The Rolling Stones. The layout of the headsheet resembled a full  deck of playing cards spread out over the entire poster, and all of the agency models were each assigned an individual card which represented them, so for example, Maldwyn Thomas was the Jack of Diamonds, Marijke Koger and Simon Posthuma of The Fool Design Collective were given the Joker card, Rufus Dawson was the King of Hearts, Jess Down was the Jack of Clubs and so on, but I particularly love that they printed the photo of Brian Jones on the Ace of Spades! This is just a screenshot of one of the original model agency posters from Hapshash Takes a Trip―a short promotional film clip about the retrospective exhibition of the sixties work of Nigel Waymouth, which took place at The Idea Generation Gallery in London back in 2011. There are some other close-up shots of it in the film, but for those of you who have never seen a complete English Boy Ltd headsheet, you'll find a very good example of one, courtesy of the photographer Heather Harris, whose partner  Mr Twister, was a former model with the agency.




BREAD AND BUTTER WORK

How seriously in the world of advertising is this new-style male model taken? Kelvin Webb of English Boy, with sixty-one male and fifty female models on his books, said they're doing ''marvellously well. We are specialized of course. We're covering the younger market, which no one has catered for up to now. The more sophisticated magazines like Queen , Nova, Town, use us, and our models advertise 'young' products like Coca Cola, cider, cigarettes and so on. Actually, we're mainly interested in film and acting rather than modelling. ''The point about our models is that they aren't just clothes-hangers. They're more natural looking, and have more interesting faces than the old fashioned cheese-cake type.'' English Boy models get a lot of work in Germany, France and Spain because they've got the new gear-y look, but the big advertising in this country is based on American ideas. Advertising campaigns are very carefully thought out-every product has an image, and the male model has to project that image. Although some products, like sports cars or alcoholic drinks require a sophisticated, man-about-town appeal, the products most advertised call for a family image―food of all kind, soap, powders, etc.



Cover Models: Top: Nicholas Head. From left to right: Jess Down, and Peter Gregory (1967).


Scotty's, one of the top model agencies, said: ''The kind of man most used in advertisements has changed over the last three or four years. There's still a call for the big, virile family man, but the trend is to the account executive type, who may have two children but still manages to be young and 'swinging'. This doesn't mean long hair though; two of our youngest models bought very expensive long-haired wigs, but they've only worn them once.''  J.Walter Thompson, probably the biggest advertising agency in the country, described the new type as ''mid―atlantic definitely American influenced. He's still got to be healthy and wholesome looking, but not as 'square' as the old British-dad image.'' Advertising films for television have made a big change in the modelling business, and helped make it more respected, more and more actors are doing part-time model work, and more models need acting ability.  ''Actors used to hate doing television commercials,'' said Peter Benison's agency. ''They said they would never get serious roles after doing commercial work. Now they find that it doesn't really make much difference and, of course, basic modelling fees are nothing compared to  the repeat fees on a big commercial job.'' (Apart from the basic fee, models are paid a repeat fee for every time the film is shown.)''


''The old male model image couldn't work in front of a moving camera―the actors are used to it.'' Apart from acting talent, athletic ability is often needed for films, which can include riding, swimming, rowing, playing tennis or football and dancing. Fashion work is still a big part of the male models life―men's fashion shows and features in magazines provide some work, but the biggest employers of male models are the mail order firms with their 2,000-page catalogues. No English Boy models for them. ''Catalogue work calls for a very conventional masculine appearance,'' said Olympic Enterprises, who have 100 models on their books. But longer hair is creeping in (note: longer, not long). Blaney model agency found: ''Last year they wouldn't touch anyone with long hair, but this year they are featuring more and more sections for the 'modern young man,' and they use boys with longer hair―but not extreme. The great bulk of work is for men who look fairly standard.''





GAINING RESPECT
One thing everyone agrees on―the main trend is for more natural, individual looking models, men who can move about and act, instead of standing like shop dummies with a plastic grin. And as their job becomes more skilled and more important on the advertising and fashion scene, they become more respected. There's less room for the amateur, though there are still a great many male models who use modelling as a stop-gap between jobs or a quick way to earn a few pounds. They make the photographer's job harder, and we'll leave the last word to Mike Berkovsky: ''I don't like working with male models at all, although I have to a fair amount. Most of them treat the whole business as a real drag―they are slow, unhelpful and bored. They want the money, but they don't want to do anything for it. The professional boys from the biggest agencies are generally hard workers, but most models are young guys who just won't put themselves out.''

Last minute checks before a photo session: from left, Jess Down, David Platt, and James Feducia (1967). 




THE MALE MODELS THEMSELVES
What's it like being a male model? Well, it can be very profitable. Top men earn up to £10,000 a year. But if your brother or boyfriend jumps at this, and runs for the phone to ring the nearest agency―tell him to read on first, because it's an expensive business to get into. Look at this list of clothes, which shows the minimum wardrobe a successful model needs. A car is very handy too. A model is rather tied down without one, now that so much work is for advertising films, which may be made on location anywhere from Stonehenge to Tahiti. And it's hard work―a lot of boys who jump at modelling because it's ''money for old rope'' get a rude shock. Standing in an icy stream for six hours, dressed in swimming trunks, in mid-January can change their minds, or even spending a sweltering day under studio lights in a fur-lined overcoat.


A list of clothes, which shows the minimum wardrobe a successful model needs (1967). 






WHAT OUR COVER BOYS SAY!
Five of the most ''wanted'' male models. Top: Nicholas Head. From left to right: Jess Down, Peter Gregory, James Feducia and David Platt.







PETER GREGORY, twenty-nine, has been modelling four years. ''I like the life. There's definitely not so much stigma attached to being a male model now, although I still don't tell people what I do for a living unless I know them very well. I generally prefer doing photographic work to anything else.''  NICHOLAS HEAD is twenty-eight, and has also been modelling for four years. He's married to young designer, Sue Locke, who runs a boutique in Chelsea. ''I got into modelling by accident really. I used to act, and I compose music. I like advertising work, I've just finished the big milk advertising campaigns.''  JESS DOWN, is twenty-one, and has been working five months with English Boy. I had some friends there who said they might be able to get me some work, which was fine by me. The English Boy crowd are very much a family. Modelling subsidizes my painting―I average about £25 a week.'' JAMES FEDUCIA, twenty-two, has modelled eight months. ''I dig it, I think it's fine. The main thing I like about it now is that you can come over as a person, and not just a body. This whole idea of male models just being a body, standing there, is beginning to break down.''





WHAT OTHER MODELS SAY


BILL CHENAIL, is twenty-one. ''I'm doing a lot of work; in all kinds of fields, particularly films, and not just commercial films. I love the work and like the girl models―especially if you find one you can get on with, though often the amateurs are very nervous. ''Everyone will start using models looking like me soon. We're the new look. Looks are changing a lot. ''Why shouldn't men project love and beauty as well as women?'' 




DEREK NESBITT, is twenty-six. ''My brother began modelling before I did, and it was through him that I started. Before that I was a manager in a commercial firm in Belfast. I came over to the great metropolis, and never regretted it! It's my sole profession now, and I make about £3000 to £5000 a year, though it's difficult to average out. I do a complete cross-section of work from television commercials and magazines to catalogue work and fashion shows. If anything I prefer television because it's more of a challenge. ''Photographers tend to get to know a few models well, and obviously they prefer to use someone they know they can work well with; it saves time, which in this business is very expensive.''




 JON RENN, twenty-six, is an American. ''I've been in England a year and a half. I am primarily a writer, also do film directing and acting, this ties in very well with modelling, as it helps to be able to act. This job is ideal because I only need to work two or three days a week to earn enough to keep me while I get established in other fields. The main thing I have against modelling is the irregular payment; you can do a job and not get paid for six months. ''I mainly do advertisements and TV commercials as I am usually too tall (six foot four inches) for fashion or catalogue work. But my height can help, I can make outrageous clothes look elegant.'






EDDIE SOMMER, twenty-three, has been modelling for fifteen months. ''It's a very insecure life, but the insecurity keeps you on your toes. One sometimes works every day for three weeks, then not at all for a fortnight.  You have to wait ages for the money; but on the Continent they pay you at the end of the day's work.  ''I started out thinking modelling was money for old rope, and in a way it is, but it's tiring. I'd like to do something else, but there's no job with such freedom and good pay. I earn an average over the year of about £40 a week.''





NIGEL WOOD, twenty-three, ''I started modelling almost by accident while studying engineering at university. I'm not really worried about wasting my brain-power, brains are just not particularly valuable in this country. There are more engineering graduates than god jobs. I'm now earning about £3, 500 a year modelling, and I'm in it for the money. ''I don't like telling people I'm a model. They regard you as something apart, and assume you are very conceited, but this is inevitable in a profession where you are selling your looks.''




Several perfect examples of the trend for the new look, longer-haired male models described in the magazine feature above can be found in this kaleidoscopic coffee commercial, made just a year after 'The Pretty Boys' article was publishedin my opinion, it seems to embody everything that Mark Palmer, Kelvin Webb and Trisha Locke of the English Boy Agency were striving towards. Very little is known about the film, which is available as part of the BFI's Other Grooves Collection, except that it was produced by the advertising agency Batten, Barton, Durstine & Osborn in 1968. Intriguingly, someone has suggested via a comment on the BFI's Youtube channel that the male lead model is Bruce Robinson, I'd like to add my two-cents worth to that nugget of new information about the film, by suggesting that the voice-over sounds remarkably like the work of the late, great Ken Nordine


IMAGE CREDITS & LINKS

All images scanned by Sweet Jane from Intro Magazine, November 11th, 1967. Original feature by Anne Campbell Dixon. Unfortunately, the photographer was uncredited, but it's quite possible that it may have been the aforementioned Mike Berkovsky who contributed to the interviews, I also think it's possible that there was a slight error made in the spelling of the surname and that the photographer referred to is actually Mike Berkofsky. View some other examples of male models from this period in my previous posts ➽ Jess Down: English Boy Ltd Model & Artist (Jackie Magazine, 1969). Dentelle Galler and the King's Road Hippies (Jours De France, 1969). Models sporting the latest military look from I Was Lord Kitchener's Valet in What's Phisticated Then? (The Daily Telegraph Magazine, 1967). Screenshots from the commercial film Good Strong Coffee (1968) by Batten, Barton, Durstine & Osborn, courtesy of the BFI's Other Grooves.  Operation Venus  (Queen Magazine, 1968). Les Assassins du Bodygraph (Plexus, 1967). Actor Peter McEneryMan on Safari (A Dandy in Vogue, 1967). The Immanence of the PastCavalli Shoes (Queen Magazine, 1969). Michael Fish of Mr Fish Clifford Street modelling his own designs (Queen Magazine, 1968). You'll find some highly recommended reading about the modelling industry from this period and beyond, over on The Model Archives of Marlowe Press, founded by Peter Marlowe in London in 1965, and also Ellis Taylor's A model’s life in London: Glamour, drama…and a demon lurking. And finally, an ode to long-hair ➽ I wish you'd listen when I tell you now, Baby Let Your Hair Grow Long, courtesy of Brian Wilson

Saturday, 23 March 2019

Once Upon a Time in the West: The Girls' Round-Up (1966)



THE GIRLS' ROUND-UP

WESTERN WEAR

 (1966)


Women have been borrowing from the Wild West since the talkies: but cowboy clothes are suddenly being taken seriously. We dressed Samantha Jones in some of the brilliantly coloured Western boots, shorter-than-ever skirts in rough suede, ruffled cottons, silver buckles and stetsons of the new Western Look and Willy Rizzo photographed them in La Vallée des Peaux Rouge and at the River Ranch. Fashion chosen by Cherry Twiss.





Wild Bill Hickock suede suit, fringes, culotte skirt by John Homac, 39gns. at Lady Jane, 29 Carnaby Street, W1.  Shirt by Donald Davies.  Sheriff's Star by James Wedge, 10s 6d at Harrod's. Boots, Anello & Davide. Gloves by Kir, 2gns. Black stetson: inquiries to Herbert Johnson, New Bond Street, W1.




Duds to wear to a shotgun wedding, Matador jacket is of silk and gold hand-woven for the Dalai Lama 121 gns, Savita, Cadogan Place, SW1. Cotton shirt, 10gns. at Mexicana, Lower Sloane Street, SW1. Sombrero, 4gns. at Cordoba, New Bond Street, W1. Corduroy trousers from a selection at Neatawear.






Wild Bill Hickock suede suit, fringes, culotte skirt by John Homac, 39gns. at Lady Jane, 29 Carnaby Street, W1., Shirt by Donald Davies, Sheriff's Star by James Wedge, 10s 6d at Harrod's. Boots, Anello & Davide. Gloves by Kir, 2gns. Black stetson: inquiries to Herbert Johnson, New Bond Street, W1.











Tough suit for Dodge City in split calf, zip jacket and pockets, hip-slung skirt, by Elma Sportswear £46 14s 6d at Suedecraft, Beauchamp Place, London SW3. Plaid wool shirt by Donald Davies, 6gns at Mary Davies, Queen Street, W1. Spotted kerchief, £1 2s 6d at Woollands, Knightsbridge, SW1. Silver-buckled suede belt £3 13s 6d at John Michael 106 Kings Road, SW3 and branches. Orange calf boots 12gns. to order from Anello and Davide 96 Charring Cross Road, WC2. and branches. Leather gloves with cut-out backs by Kir, 2gns at Dickins and Jones, Regent Street, W1.





A rig for High Noon. Waistcoat by John Homac, £9 19s. 6d. at Lady Jane. Madras cotton shirt at Wallis Shops. Stretch riding trousers, £7 15s at Harry Hall, Regent Street, W1.. Straw stetson, by Panda, £3 6s at Fenwick, New Bond Street, W1. Suede boots, 8gns at Gamba, Beauchamp Place, SW3. Hogskin gloves, £3 19s 11d at Woollands.



IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from the Weekend Telegraph Magazine, June 3rd, 1966. Original fashion editorial by Cherry Twiss. All photographs by Willy Rizzo. Model Samantha Jones. Discover more about The Vallée des Peaux-Rouges, the location used as the backdrop in the fashion editorial abovea Western style theme park created by Robert Mottura and Philippe Cart-Tanneur in 1966. Read about the History of Anello & Davide makers of beautiful handmade shoes for men and women, but probably most widely known for The Beatle Boot. View some of my previous posts featuring Western Wear from this period ➽ Pinch the shirt off his back!―Wildly Western in a beige John Wayne shirt from The Westerner (1968); Get Out Of Town - Fast! (1966); Designer Oleg Cassini wears his informal ''International Cowboy Look.'' (1968); A Whole Fashion Scene Going!The Western Scene, The London Look, and much more! (1966), plus Paris, Spring 1970, to the uninitiated might look more like the Wild West than Right Bank. Read about the late great Billy Murphy ''Founder of The Emperor of Wyoming, a Chelsea emporium which sparked a vogue for vintage Americana.'' And Finally, I'll leave you with the duel from 'Once upon a time in the West' Dir. by Sergio Leone (1968) - soundtrack by Ennio Morricone.

Saturday, 23 February 2019

The New Denson Fashion Shoes for Men! Rave Magazine (1964)




Denson Shoes















DENSON SHOES

Some examples from the 1964 Denson Shoes range. The London-based company which is set to relaunch soon, was originally established in 1951 by D. Senker & Son Ltd at Kingsland Road E.2., later opening a second factory in Northamptonshire. Debuting with Brothel Creepers worn by Teddy Boys, the brand became much favoured by various other style subcultures over the next four decades, and was usually to be found advertised amongst the pages of popular teen magazines such as Rave, as well as the weekly music papers like the New Musical Express, and continued to be hugely popular until the 1980s, before eventually going out of business in 1987.




Denson Shoes




Denson Fine Poynts and Fine Chisels
 set the fashion shoe scene!

Here are the shoes with the top-fashion toe-shapes, in the latest lace-up and elastic-sided styles, as well as with concealed elastic sides. Some have Cuban heels, some have big, bold buckles, some combine the two. If you like zip-up sides, there's a Fine Poynt shoe that you're bound to go for. In Black leather or Brown shaded leather, and the latest shades in suede. 49/11 to 63/-. You can also choose from Fine Poynt, Fine Chisel or classic toe shapes in the Beat Boot range. From 69/11. See the latest styles on the Denson Style Selector at your nearest Denson Fashion Shoe Centre. 





Denson Shoes











Denson Classics and Easy Cleans
 set the fashion shoe scene!

For the man with an eye for style, the new Classics are setting a new look in fashion. With a rounded toe-shape, lace-up styling, or concealed elastic sides. In Black leather, Brown leather, and the latest shades in suedes. And for the man who wants a shoe that looks equally smart for business or leisure, the new Easy-Cleans in handsome brushed pigskin-suede. With lace-up or elastic-sided styling, in Brown, and Loden Green. New Classics cost from 49/11 to 63/-. Easy Cleans costs from 59/11 to 79/11. For the name of your stockist, write to: D. Senker & Son Ltd., Dept. R.1. Kingsland Road, London E.2. 



Denson Shoes
Detail from Denson Shoes advert, October 1964.



Denson ShoesDenson Shoes

A two-page advert for the new Denson Shoes range for men, October 1964. 


IMAGE CREDITS & LINKS

All images scanned by Sweet Jane from Rave Magazine, Issue No.9, October 1964. Discover more about the soon to be relaunched Denson Shoes Company originally Established in London in 1951―a pioneer in the 20th century's fashion revolution. Read These Denson Shoes were made to be stolen|Joe Jackson & Brian Griffen (1979) via the excellent The Historialist of Shoes and Shoemakers, and also The Story of the Chelsea Boot via The Look. Watch shoemaker and designer Stan Bartholomeu creating a pair of Winklepickers in 1960 based on a 15th Century design. View some of my previous posts about Men's shoes and style from this period in Whatever Happened to Stephen Topper and Topper Shoes Carnaby Street; Score with Coleshoes! (1967); Dandy Fashion: The Biba Men's Range 1969-1975; plus lots of  mid 1960s shoe styles and brands featured in Just Dennis a boy's angle on boys' fashion Rave Magazine (1966); and a reminiscence of spats gone very new in The Immanence of the Past Cavalli Shoes Queen Magazine (1969); Loon Boots, Brothel Creepers, Bombers, Spacers, and Slags! (1974). And finally, the inspiration behind The Low Spark of High-Heeled Boys

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