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Granny Takes A Trip


Granny Takes a Trip was an iconic boutique opened in the 1960's in the Kings Road, London, by Nigel Waymouth and Sheila Cohen. The shop brought a radical, iconoclastic approach to the fashion and style of the time. With an ambience that was a mixture of New Orleans bordello and futuristic fantasy, one would experience a heady feeling of deja vu within its walls, an ambience at once retro and au courant. Marbled patterns papered the walls, providing an exotic backdrop to the rails, which always carried an assortment of brightly coloured clothes. Lace curtains draped the doorway of the only changing room, and a beaded glass curtain hung over the entrance at the top of steps, which led on into the shop. In the back room, an art deco Wurlitzer blasted out a selection of favoured music. The shop also became famous for its constantly changing facade. At one time the entire front was painted with a giant pop-art face of Jean Harlow. Overnight, that was replaced by an actual 1948 Dodge saloon car which appeared to crash out from the window and onto the forecourt. Over the next three years contrasting changes such as this took place at regular intervals. By the end of the decade, the partnership began to lose momentum. Nigel Waymouth was becoming increasingly more involved in his poster and album cover design work, and John Pearse left for Italy to work with his friends in The Living Theatre Group. Sheila Cohen continued to keep Granny operating but found it too demanding a task without her former partners. In late 1969, Cohen passed on the shop to two New Yorkers, Gene Krell and his partner, Marty. Granny Takes A Trip remained open for another four years, until it closed in 1973.










(images from Boutique: A Cultural Phenonmenon)

Celia Birtwell



Celia Birtwell, was muse to David Hockney and her partner Ossie Clark. Celia is one of the most influential textile designers of all time. She is described as the face that launched a thousand prints. Celia studied Textile Design in Manchester, where in 1959 she met the fashion designer Ossie Clark, whom she married in 1969.Theirs was an almost perfect marriage of style, and their work together defined the era. The collaboration began with a 1966 collection for the Quorum boutique in London, which they shared with the designer Alice Pollock. It was the Clarks who began the modern catwalk show: the previous procession of modelled clothes was put to music, the London glitterati was invited, and the shows became events. Birtwell worked at home designing textiles for Clark, who would use his skill in cutting and understanding of form, together with her knowledge of fabrics and textures to produce haute couture for the emerging 60’s culture. This included work for the Rolling Stones and Beatles, Jimi Hendrix and Pink Floyd, as well as Pattie Boyd, Marianne Faithfull, Bianca Jagger, Verushka, Paloma Picasso, Talitha Getty and numerous other international celebrities.














Penelope Tree


HER '60s LOOK: "The face of the decade" she was called by Women's Wear Daily. Photographers loved her, so she must've been doing something right. She had a face like a doll, at once young and innocent but with a scary force behind the eyes, amplified by her sometimes extreme makeup and her reluctance to ever smile in any photo we've ever seen of her. In the book The Sixties: A Decade in Vogue, she explained her exaggerated makeup: "I started it all at thirteen, I think to annoy my friends' parents." Starting with that kind of anti-establishment attitude, she was a perfect reflection of what was going on in the late '60s, and her unconventional looks symbolized and reflected the strangeness and nonconformity of the times. So different was her makeup, Jean Shrimpton said, "Her style is almost science." Weird science, that is: Penelope once shaved off her eyebrows because she wanted "to look more like a Martian than I already did." Tall and gangly, she was another of the bone-thin models who were all the rage in the swingin' '60s. David Bailey described her as being an "Egyptian Jiminy Cricket." Penelope stood 5' 10" and at that height was on par with Jean Shrimpton, plus she was some four inches taller than Twiggy. Penelope was often shown in bizarre settings, sometimes as a mythic figure or a wood nymph. In Radical Rags, Fashions of the Sixties, she explained her unique poses and why the public can't emulate her look: "You can't look like Vogue. It doesn't want you to. It just wants to show you what individuality is." Later Penelope admitted that she was anorexic throughout her modeling career in order to maintain that waif-like body.LIFESTYLE: In '67 Penelope met David Bailey in the Vogue offices and soon moved in with him. Bailey, of course, had already enjoyed a passionate early-'60s romance with Jean Shrimpton and was married at the time to Catherine Deneuve, whom he wouldn't divorce until '70. Supposedly Catherine could see what was coming: One story has it that when she saw a photo of Penelope, she told her husband Bailey that he was going to fall in love with her. He did, and he and Penelope got a house and painted one of the rooms black and another one purple. Supposedly Penelope installed a UFO detector, and the place was often filled with various hippies and radicals. She and Bailey broke up in '74, and she left for Australia. Penelope later married rock musician Ricky Fataar, who briefly joined the Beach Boys and contributed several songs to their Holland LP in '72.








I'm looking Through You


Retro Shades: Rounded, squared, heart shaped, or oversized sunglasses of every shape are always in style. Try some fun shapes like the heart shaped Lolita-esque frames, or some oversized round sunglasses that Jackie O made famous. Summer is coming soon so find your perfect shape...
Michelle Phillips

Jane Birkin
Grace Slick
Jane Fonda
Bob Dylan
Jim Morrison


Goldie Hawn

Jackie O
Marianne Faithfull
(getty images, jim morrison scrapbook, mini mad mod)