That’ll Be The Day: How Ringo ended up in a Teddy Girl’s drape jacket from Let It Rock

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//Starr on location in Let It Rock drape. Note bust darts.  From the front page of Disc & Music Echo, December 16, 1972. Photo: Uncredited//

In the autumn of 1972 the small King’s Road boutique Let It Rock, which had been open for less than a year, received a fillip when the owners Malcolm McLaren and Vivienne Westwood were asked to contribute costumes to the production of 50s Britrock movie That’ll Be The Day.

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Ben Kelly aka The Photo Kid outside Sex, 430 King’s Road, World’s End, 1975

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//Ben Kelly underneath the Sex sign, 1975. Photo courtesy Ben Kelly//

I’m featuring this image of designer Ben Kelly in his persona of The Photo Kid in my presentation about the design history of 430 at the symposium Dead Or Alive: Popular Culture & The Interior, which takes place today at London’s ICA.

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430 Kings Road: In the back of Mr Freedom, Paradise Garage + Let It Rock 1969 – 1972

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/Left: Andrew Greaves of Electric Colour Company in the back of Paradise Garage, May 1971. Right: Vivienne Westwood in the back of Let It Rock, January 1972. Photos: David Parkinson//

Preparation for my paper at Ben Kelly’s interior design symposium Dead Or Alive has coincided with the refurbishment of the Worlds End shop at 430 King’s Road in Chelsea.

The address is the subject of my talk; I’ll be detailing the history of 430 and how and why it was an important social and cultural locus over a number of decades.

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//Back wall of 430 King’s Road on the opening of Mr Freedom, September 1969. Interior: Electric Colour Company. Photo: David Parkinson//

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Started in 1986, recently completed portrait of Thea Porter celebrates show at London’s Fashion & Textile Museum

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//Thea Porter by Penny Slinger//

There’s a nice story behind this portrait of the late fashion designer Thea Porter, whose talents are celebrated at the just-opened exhibition at London’s Fashion & Textiles Museum.

During preparations for the exhibition and the accompanying book, the curator and fashion historian Laura McLaws Helms visited British artist Penny Slinger, who had made feathered masks and modeled in a catwalk show for Porter in the early 70s.
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Homage to Ben Kelly’s Seditionaries facade in Vuitton’s High Tech A/W 15 show

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//The simulation of the Seditionaries facade in industrial materials provided the entry and exit point for models on the runway today//
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//With rings representing the positions where designer Ben Kelly exposed air conditioning vents to view, Kim Jones replaced the diagonal bar which occupied the central square over the door with the trademark Vuitton ‘V’//
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//Ben Kelly’s portfolio shot of the facade he designed and installed at 430 King’s Road in December 1976//

Amid the references to the late Christopher Nemeth in today’s Paris show of the Louis Vuitton A/W 15 menswear collection (see my last post), artistic director Kim Jones used the staging to pay subtle homage to the two great maverick figures of London street culture – namely Malcolm McLaren and Vivienne Westwood and specifically their 70s punk store Seditionaries.

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Astounding Barney Bubbles rarity: An amazing Hawkwind drumhead

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//Drumhead painted by Barney Bubbles in 1972. Photo: (c)//
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//From left: Nik Turner, Stacia Blake, Simon King and Lemmy during Hawkwind’s set at the Windsor Free Festival on August 25, 1973. Note the drumhead on the left. Photographer: Unknown//

A rare design by the late graphics master Barney Bubbles has come to light after four decades; the psychedelic sci-fi drumhead was painted for Hawkwind when the space rocking Sonic Assassins undertook tours around the world following their success with the Silver Machine single in 1972.

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