carnaby street

Pussy Galore

1960s, british boutique movement, carnaby street, petticoat magazine, pussy galore, sixties, The art of labels

Well I never. All these years I’ve been moaning that I knew so very little about the Pussy Galore boutique, aside from the brief paragraph the V&A managed to unearth when they displayed my frock. Yet right under my nose, in a clearly somewhat under read copy of Petticoat magazine, was this little gem. Well, now I know why they didn’t last very long. I’m not sure I’d want to buy frocks from a girl in her underwear. I don’t care what they may say about rocketing lingerie sales, pah!

Pussy Galore was opened by Carnaby Street entrepreneur Henry Moss in 1969, when this clipping dates from.

I realise this may not be terribly exciting for anyone else, but at least if I blog about it I’m unlikely to forget I have it. Which is something I often manage to do.

My solitary[ish] Pussy Galore piece is the tablecloth mini, but I also have a pair of purple suede hotpants (Made, apparently, for someone with a child-size bottom. Size 38 my….errr….arse!) which had this hang tag on them. I’m sure they must be Pussy Galore, but there isn’t a fabulous huge satin label inside. Just the hang tag. Dyed by the purple suede over the years. Isn’t it groovy?

Took my own sweet time I know….

1960s, 1970s, aristos, carnaby street, janice wainwright, jeff banks, miss mouse

…but here are some new website listings!! I know you’ll all be so excited you can barely keep upright, right? Probably a bit late for Christmas, but as we all know….Vintage is for life, not just for Christmas Parties.

Jeff Banks blouse – for the inner Carmen Miranda

Miss Mouse suit – who says you can’t snuggle in style?
With a heavy dollop of groupie girl attitude, a rare Carnaby Street original by Aristos

and lastly, some shimmering, sparkly Janice Wainwright magic

V&A’s Swinging Sixties Exhibition

1960s, annacat, british boutique movement, carnaby street, cathy mcgowan, gerald mccann, jean varon, john bates, john stephen, personal collection, pussy galore, victoria and albert museum

Since I’m distinctly unimpressed with the myspace blog facility, I thought I’d repost my images from the V&A Swinging Sixties Exhibition over here. The John Bates exhibition opens on the 13th July so I shall attempt to get photos of that too.

Pussy Galore of Carnaby Street

Gerald McCann mini dress with peter pan collar

John Bates for Jean Varon White PVC mini dress

Annacat Pink Velvet Mini dress

John Stephen of Carnaby Street Psychedelic Mob Cap

Cathy McGowan’s Boutique Pink and Purple Suede shoes

Foale and Tuffin

1960s, barbara hulanicki, british boutique movement, carnaby street, Foale and Tuffin, gerald mccann, john bates, mary quant, personal collection, yves saint laurent

What baffles me is the inverse ratio between the rarity of Foale and Tuffin, and the prices they command. I think Marion Foale and Sally Tuffin were arguably a greater talent than Mary Quant. And they certainly knew when to call it quits and draw back gracefully from the fashion world (they both ‘retired’ in 1973 to spend more time with their families). Licensing? They wouldn’t have dreamed of it. Yes, MQ, I’m looking at you in your waterproof poncho – don’t think I can’t see you! 😉

Their early work was vibrant, youthful, fun and always exquisitely tailored. They originated trouser suits for women (yet another creative theft by Yves Saint Laurent ensured they rarely get credited for this – more rantings on him some other time…), used the ‘op art’ trend in a quirky way (rather like my other passion, John Bates) and helped build the Carnaby Street image – the driving force behind the emergence of Britain as a world leader in fashion.

They moved easily into the softer look of the late 60s and early 70s, continuing to favour Liberty prints and did all sorts of lovely frilled and flared things. In retrospect, their decision to quit in 1973 seems really rather intelligent. The mid-late 70s saw the crash and burn phenomenon of so many designers, Ossie Clark and Barbara Hulanicki at Biba being the most notable casualties. So they got out at the right time.

Their work is fairly rare. Goodness only knows why, you can hardly miss the label! They were a popular fixture in Vogue and a big part of the Youthquake British Invasion of the USA in 1965.

Two Foales from my private collection. 1963 and 1965 respectively.

However, in recent months (after loudly bemoaning the non-existence of ANY F&T pieces in my personal collection) I seem to have accumulated a nice little collection of their work. I still sit here, look at the frocks and think; “How the HECK did I manage that?”. I have my limits as to how much I will pay for pieces for my collection, it’s just that the prices have been shockingly low for what they are. Even the recent Kerry Taylor auctions sale for Sothebys sold two Foale and Tuffin frocks (early 70s) for the opening bid of £100. I recall one of the major US auction houses sold two Foales not that long ago for a similar price.

So, while I can’t complain on a personal level that the prices aren’t really reflecting the rarity and beauty of their work – it does seem utterly wrong. Mary Quant’s work is fairly cheap these days – especially considering her cultural importance. But F&T didn’t license their names to death. So in reality, they should be making a whole lot more.

Just a little rant. I feel much the same way about Gerald McCann. I guess I’ll just have to keep collecting these labels rather than selling them! *sigh*