FASHION IN
THE SIXTIES
FOLLOWING THE TRENDS
Music & TV stars Inspirational designers & artists
CULTS
All about the mods & hippies
CURRENT AFFAIRS Psychadelia, the space race and new materials
INTRODUCTION
Youth culture was the most important element that shaped fashion in the 1960s. In Britain in the years just after the war, a small baby boom had occurred with fertility rates increasing by 46% between 1938 and 1945 (Office for National Statistics, 2010). This meant that there was a high proportion of youths in the 1960s, leading to a growth in the youth market. London was the city to set the pace for this newly established market (VAM, 2016). According to Posner (2015:113) the baby boomers “challenged traditions and adopted styles of dress guaranteed to upset the establishment - long hair for men the shortest of miniskirts for women”. This attitude was key to making the sixties such an iconic decade for fashion and generally young people had more time to take interest in music, culture, celebrities and current affairs. Therefore, Britain’s youthful population led to the rise in interest for new fashion, especially due to the younger generation’s inclination
to follow musicians, TV stars and culture movements which all had huge influences on fashion at the time. Within youth society in the sixties, the growth of cults such as hippies, mods and dolly birds; the rise in the use recreational drugs such as LSD; and the space race all inspired new fashion trends. Aquillina Ross (2010:15) says “youth was the key and young people with ideas and ambition were forging ahead, appearing to challenge all that had gone before”. The young people with ideas are those who created these trends. They included Mary Quant, Barbara Hulanicki and John Stephen; whilst individuals who endorsed these designers and encouraged the popularity of the trends include Twiggy, the Beatles, the Rolling Stones and TV presenter Cathy McGowan.
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Figure 1
SOCIETY AND WORLD EVENTS
The Vietnam war is often linked with the birth of the hippie cults (Issit, 2009:47). Although politics and hippie culture were not directly involved with one another (Issitt, 2009:47) their way of dressing evoked symbols of peace and love, in contrast to the world affairs at the time. According to Yvonne Connikie (1991:23), hippies had an “anything goes attitude� towards their lifestyle including their fashion choices which were often inspired by the things going on around them. Whilst the women wore floor length skirts with love beads, kaftans and sandals, men had more feminine appearances than had been seen before with robes and longer hair (Connikie, 1991:57). The blur of gender norms within dress could represent the freedom that evolved in the sixties which had never been seen before. Men could have more choice regarding the masculinity of their clothing which
in the past was unseen, such as the bright colours and patterns that were previously restricted to women. Hippie men were expressing their support for equality by adopting a look that was less masculine than ever.
Figure 4
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SOCIETY AND WORLD EVENTS
Figure 6
Hippies were also said to take influences from ethnic cultures (Connikie, 1991:23) and had ‘exuberantly exotic concepts of clothing’ (Von Meier, 1967:86) echoing styles from African American communities shown in figure 6. This could have symbolised their desire for a world where everyone was equal, which was in the forefront of the news at the time with black civil rights movements in America. By wearing ethnic inspired clothing, it showed their support and acceptance of other cultures in Western society. Hippies, along with many others also wore psychedelic prints, representing their experimental attitude towards recreational drugs (Lobenthal, 2010:578). The use of these artificial stimulants, particularly hallucinogenic drugs were a new phenomenon which influenced design in the later part of the decade (Jackson, 1998:55). Psychedelic patterns and bright colours became a large part of the Swinging Sixties image, shown with advertisements and shop fronts such as that of Granny Takes a Trip, shown in figure 11. Lobenthal (2010:578) maintains that those who took chemical stimulants like LSD, such as those in the hippie cults, would wear psychedelic clothing to enhance their experience of the drug with the kaleidoscopic bright prints. An example
of psychedelic prints in fashion is the ties by Emilio Pucci shown in Figure 7. Psychedelic clothing was a way for people to show that they were open to experiments and it was also a way of immersing themselves in the new drug culture by wearing prints that would further enhance their hallucinations, which were the initial inspiration for the prints. By 1967, the hippie look - from boho skirts to psychedelic prints - had become popular in mainstream culture in America and Europe (Connikie, 1991:57) and continued to inspire designers in the early seventies (figure 8). It’s apparent from their unique and standout fashions that hippies wanted equality and freedom in all aspects of society and their way of displaying these attitudes and desires was through their appearance and style.
Figure 7
Figure 8
INFLUENTIAL FIGURES: DESIGN, MUSIC AND TELEVISION
Granny Takes a Trip, mentioned previously, was a boutique on King’s Road in London. According to Aquillina Ross (2011:85), the shop was "as hippie as it was Mod, as dandy as it was Peacock" meaning it attracted not just one culture of shoppers, including the Beatles’ George Harrison, shown in figure 10. By having the endorsement of famous figures, shops increasingly gained success. Since television was becoming more mainstream, increasing numbers of people were seeing famous faces on TV, including music stars and presenters, which seemed to mark the birth of the celebrity style culture. Therefore, when famous young stars appeared on TV in certain styles or garments, they would become popular
with the youths who followed them, thus allowing the smaller boutiques such as Granny Takes a Trip to attract these audiences then begin to influence their style throughout the decade.
Figure 11
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Figure 10
INFLUENTIAL FIGURES: DESIGN, MUSIC AND TELEVISION
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Figure 12
Many London boutiques grew in popularity through the tactic of dressing prominent figures. One TV show Ready Steady Go!, proved to be a source of inspiration for many viewers and the show was one of the drivers responsible for showing the rest of the country London’s newest fashion ideas (Aquillina Ross, 2011:87). The show’s presenter, Cathy McGowan was looked up to by many stylish teenagers for her exciting outfit choices- particularly by the mods - as she became regarded as a “mod queen”
(Pretty Green, 2015). According to Simon de Burton (2015), many of the clothes she wore, namely those from Barbara Hulanicki’s Biba brand, would be bought by fans through mail order the day after the show. In an article she wrote for Rave and Hit Parade Magazine (1964), McGowan speaks of the start of her relationship with Barbara Hulanicki. When they first met, Hulanicki had made a dress for McGowan with “a design and cut of sheer brilliance” (McGowan, 1964) which she wore on Ready Steady Go!.
So it’s possible to infer that McGowan aided the success of Biba which by 1968, just 4 years after its first shop opened, was regarded by Vanity Fair as ‘the most exotic shop in London’ and as a ‘must scene for switched on dollybirds at least twice a week’ by Time magazine (Turner, 2004:12-22).
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Figure 15
INFLUENTIAL FIGURES: DESIGN, MUSIC AND TELEVISION
Once a store had gained a following, it seems it was their designers who then influenced the new fashion trends for their shoppers as they had gained loyalty. Biba designer Barbara Hulanicki became an influential person within the fashion industry and in 1964, she was named as ‘one of the people that make London swing’ by journalist John Crosby (Lindberg, 2005:123). Unlike Mary Quant, whose designs were often priced high, Hulanicki was offering affordable sophistication for the masses and explained that the Biba principle was “high turnover at a low price” (Turner, 2004). Biba designs were recognised by their trademark auntie colours
(Turner, 2004) which she made popular with the youth market despite the colours having connotations with the older woman. This shows a designers influence over colour trends in the sixties, along with garment trends such as the use of different fabrics and patterns, including Hulanicki’s which were “reminiscent of furnishing fabrics” (Lister, 2006:31) due to their floral patterns and dark colours shown in figures 12 and 14. Another store which received attention via the show was ‘I Was Lord Kitchener’s Valet’ on Portobello Road. The owner Robert Orbach (2006) recalled that Mick Jagger bought a red
tunic from the store then wore it on Ready Steady Go!. The day after, there was a queue of 100 people outside and by lunchtime, they had sold all their stock (VAM, 2006). These cases show that famous figures were very impressionable on the youth market so they were key to influencing which fashions took off and which didn’t.
Figure 16
SOCIETY
Amy De la Haye (2010:568) describes mods as a “subcultural youth group characterised by their immaculate dress” and Jonathon Faiers (2010:211) states that their inspirations ranged from the American modern jazz movement to Italian fashion and sportswear. Mods, along with hippies as mentioned before, challenged gender stereotypes. According to Ashmore (2006:65), John Stephen promoted
Figure 17
the more modern way of dressing for men, which was “unbounded by sexual orientation”. The fact these trends took off and the mod style became synonymous with the sixties shows the willingness of the sixties male consumers to push boundaries and wear the unexpected, which is why the fashions of this decade are so unique and memorable.
John Stephen actually became known as the ‘£1m Mod’ thanks to his various stores around London, such as His Clothes, which attracted mod shoppers due to its affordability for young male fashion followers on an average wage and fast turnover (Faiers, 2010:211). The lower prices and constant refresh of stock, with Stephen’s boutiques along with Barbara Hulanicki’s Biba, shows that fast fashion was evolving
where consumers, particularly the youth market were developing the presence of consumerism in the UK, where new clothes were bought every week as a hobby rather than a necessity. Thus, fashion changed often and the large variety of styles, colours and patterns throughout the sixties can represent this increased consumerism.
ART AND CULTURE
Op art was also a big art movement during the sixties. These designs such as those by Bridget Riley (Figure 21 and 22) and Victor Vasarley (figure 23) led to the patterns appearing on dresses such as dresses by Biba (figure 24). The presence of art movements within dress shows the merging of culture and fashion in the sixties leading to new patterns that had never been considered for use on garments.
Figure 20
Figure 19
Still renowned today for his pop art work, Andy Warhol became a very prominent artist in the sixties. Warhol’s famous Campbell’s soup cans work became so famous that they were printed onto dresses. According to Sara McCorquodale (2015), by the end of 1962, the same year they were first exhibited, Warhol’s artwork was printed on the dresses of Manhattan socialites. His images also inspired young freelance traders whose patterns were bought by Heal’s, Hull Traders and Conran Fabrics (Victoria and Albert Museum, 2016), allowing the pop art style to move into fashion fabrics and homewares. Features of pop art such as bold black lines, contrasting colours and geometric shapes showed its influence on fashion, like the tie by Mr Fish shown in figure 20.
Figure 23
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Figure 24 Figure 18
INFLUENTIAL PEOPLE
“The social and demographic changes created a need for new designs and new models” Gibson (2010:696). These changes introduced a whole host of new faces, including prominent style icons. A person perceived to be a style icon is very easily recognised according to Dallabona (2016) or someone who has done something memorable that makes them iconic. Whilst there were so many models, actresses, designers and singers whose styles were admired in the sixties, only few made memorable imprints on the fashion industry… Thanks to her contributions to fashion - namely the promotion of the mini skirt - Mary Quant became a very famous fashion designer during the 1960s, winning the Sunday Times International Fashion Award in 1963 (de la Haye, 2010:568) for “jolting
England out of its conventional attitude to clothes” (British Pathé, 1963). According to de la Haye (2010:568), Quant was also one of the first designers to take inspiration from the youth subcultures, especially the Mods. Mod girls were inspired by the clothes in Mary Quant, yet due to their low wages, were more likely to shop in Biba or Bus Stop (Turner, 2004). This shows Quant was a style icon at the time, not only for the invention of the mini skirt which became synonymous with sixties style (shown in figure 26), but because she had a huge revolutionary impact on British fashion, in some ways making bigger changes in fashion than had been seen in any decades before. The same too could be said for Barbara Hulanicki, mentioned before, due to her influence on the value fashion
market- she helped to make it possible for the working class to purchase on trend designs for a fraction of the price they would have paid before, thus earning her fashion icon status.
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Figure 27
Figure 26
INFLUENTIAL PEOPLE
A style icon who didn’t succumb to the ‘Swinging London’ look is Audrey Hepburn, shown in figures 29 and 30 with her signature timeless style. According to Keogh (2008:134), “Audrey knew what was going on in fashion but she didn’t follow the trends”. The only time she adopted the sixties fashion look was for her 1967 film Two for the Road in which she dressed like a dolly bird (Gibson, 2006:89) shown in figure 28. However, the film had poor reception which suggests that Audrey’s fans considered her classic look as a part of her characters, showing that although swinging sixties fashion was the most prominent way of dressing, some still favoured a timeless simple look in a decade of loud, often inventive clothing.
Figure 30 Figure 28
Figure 29
INFLUENTIAL PEOPLE
In the modelling world of the sixties, the two most well-known names are Twiggy and Jean Shrimpton who are regarded as two of the first ever supermodels.
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Figure 31
Twiggy was dubbed “the face of 1966” (Milligan, 2009) thanks to her unique appearance: short androgynous hair, childlike frame and long thick eyelashes. This made her stand out among the rest of the models at the time and helped her gain national fame thus becoming one of the most prominent models and style icons of the sixties.
Figure 32 Figure 34
Jean ‘The Shrimp’ Shrimpton is said to have “projected an image of youth” (Radner, 2000:136) which was the new ideal for models in the ‘youthquake’ of the sixties. She shot to fame thanks to photographer and love interest David Bailey who photographed her for British Vogue in 1965. However, her most defining fashion moment however was at the 1965 Melbourne Cup when she broke the dress code wearing a mini skirt 10 cm above her knee, designed by Mary Quant, shown in figure 33, which Peers (2010:143) states not only challenged the formality of race wear fashion but she also spread mod style outside of Britain, promoting her to style icon status.
INFLUENTIAL PEOPLE
Figure 35
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TECHNOLOGICAL DEVELOPMENTS Figure 40
The space race between the USA and the USSR began in 1957 when the Soviets successfully launched Sputnik I, the world’s first artificial satellite (NASA, 2016). It didn’t take long to influence fashion designers, who began to create futuristic space inspired garments. In 1964, Pierre Cardin created his Space Age collection, he was said to be ‘fascinated by vinyl, silver fabrics and large zips’ and created ‘moulded plastic visors to helmet-like hats to resemble astronauts’ headgear’ (VAM, 2016). Another designer who created space inspired collections was Paco Rabanne. Key elements were metallic and dayglo colours and he made garments using discs cut from metal or plastic, linked together by wire (Connikie, 1991:46), such as the dress worn by Audrey Hepburn in Two for the Road shown in Figure 37.
Figure 37
Figure 38
Figure 39
TECHNOLOGICAL DEVELOPMENTS
Two new materials became popular in the sixties: Lycra and PVC. Lycra, the brand of elastane, was invented in 1958 and allowed the invention of tights. According to Yaeger (2005:512) this invention allowed “hemlines to reach stratospheric heights�. Thus, it can be inferred that the invention of Lycra was a driving force behind the mini skirt and its popularity due to the ability for wearers to fully cover up their legs, as the amount of bare leg shown with the new high hemlines could have been considered inappropriate or too promiscuous at the time. To support her new mini skirt designs and
bright knitwear, Quant began selling tights in rainbow colours (de la Haye, 2010:587). An example of a Mary Quant short rain coat worn with tights is shown in figure 41. PVC was another new material for the fashion industry. Along with tights, according to de la Haye (2010:586) Quant was one of the first to design garments in PVC, such as the Christopher Robin coat in figure 43.
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Figure 41
Figure 43
CONCLUSION
For fashion followers, the sixties was a decade of change, innovation, and a willingness to be daring and have fun with their style. Garments were influenced by all aspects of life, contrasting ideas and cultures but this is what makes sixties fashion so interesting and extraordinary. The wide range of styles that were introduced in the decade led to many adaptable pieces which will forever considered stylish, such as the miniskirt, so fashion nowadays still owes its thanks to the creative advances made in the sixties. Yet some styles were truly fit for that decade, such as psychedelic prints, and may never be reincarnated, leaving them to be memorable fashions of the past. (2952 words)
Figure 44
Image References
Front Cover: Mary Quant. 1965. [Online]. [Accessed 20/11/16]. Available from: https://0www.wgsn.com.wam.leeds.ac.uk/search/maryquant
bloomsburyfashioncentral.com/products/bergfashion-library/museum/victoria-albert-museum/ tie-50517
1. The Beatles: McCullin, D. 1968. During the White Album. [Online]. [Accessed 26/11/16]. Available from: http://www.thebeatles.com/photoalbum/mad-day-out-photo-session
8. Psychedelic print suit by Emilio Pucci. 1972. [Online]. [Accessed 29/11/16]. Available from: https://www.bloomsburyfashioncentral. com/products/berg-fashion-library/museum/ stiftung-haus-der-geschichte-der-bundesrepublikdeutschland/suit-jacket-and-trousers
2. 1967. A group of fashionable youngsters on Carnaby Street. [Online]. [Accessed 28/11/16]. Available from: http://www.standard.co.uk/lifestyle/ london-life/26-amazing-photos-of-carnaby-streetin-the-swinging-sixties-and-seventies-a3263291. html#gallery 3. Indian and Turkish inspired dress by John Patrick. 1968. [Online]. [Accessed 24/11/16]. Available from: https://www. bloomsburyfashioncentral.com/products/bergfashion-library/museum/bath-fashion-museum/ photograph-dress-58796 4. Michael Ochs Archive. 1967. Hippies in LA including male hippie with long hair. [Online]. [Accessed 25/11/16]. Available from: https://www. bloomsburyfashioncentral.com/products/bergfashion-library/encyclopedia/berg-encyclopediaof-world-dress-and-fashion-the-united-states-andcanada/antifashion/images/image-97403 5. Cushman, C. 1967. Making daisy chains in Golden Gate Park. [Online]. [Accessed 28/11/16]. Available from: https://www.flickr.com/ photos/hollywoodplace/5497269392 ‌ 6. Ethnic inspired kaftan by Thea Porter. c1968. [Online]. [Accessed 29/11/16]. Available from: http://collections.vam.ac.uk/item/O84321/ kaftan-porter-thea/
7. Psychedelic and ethnic print ties by Emilio Pucci. c1960s. [Online]. [Accessed 28/11/16]. Available from: https://www.
9. Hippie style outfit by Granny Takes a Trip. [Online]. [Accessed 28/11/16]. Available from: http://www.vam.ac.uk/content/articles/f/1960sfashion-london/ 10. Hewitt, M. 2011 Photo: George Harrison wearing Granny Takes a Trip William Morris Floral Jacket. 1968 In: Fab Gear The Beatles and Fashion. New York: Prestel. 11. Graves, D. 1967. Photo of Granny Takes a Trip store front. In: Ross, G. 2011. The Day of the Peacock: Style For Men 1963-1973. London: V&A Publishing, p86. 12. The Beatles performing on Ready Steady Go! 1964. [Online]. [Accessed 28/11/16]. Available from: http://wogew.blogspot.co.uk/2015/04/thebeatles-on-ready-steady-go.html 13. Cathy McGowan with the Beatles on Ready Steady Go! 1964. [Online]. [Accessed 30/11/16]. Available from: https://uk.pinterest.com/ pin/477381629235074919/ 14. Cathy McGowan, Ready Steady Go! presenter promoting her new record player. 1966. [Online]. [Accessed 30/11/16]. Available from: https://uk.pinterest.com/pin/518476975829568372/ 15. Inside the Biba Kensington Shop. c1965. [Online]. [Accessed 28/11/16]. Available from: http://www.vam.ac.uk/content/articles/f/1960sfashion-london/
Image References
16. Mick Jagger wearing the red I Was Lord Kitcheners Valet tunic. [Online]. [Accessed 28/11/16]. Available from: http://www.vogue. it/en/people-are-talking-about/art-photodesign/2011/05/mick-jagger-npgallery
25. Mary Quant in one of her own mini dress designs. 1966. [Online]. [Accessed 28/11/16]. Available from: http://www.harpersbazaar.com/ fashion/trends/g2109/mini-skirt-fashion/?
31. Twiggy dressed in a mini dress arriving in London. 1967. [Online]. [Accessed 28/11/16]. Available from: http://www.harpersbazaar.com/ fashion/trends/g2109/mini-skirt-fashion/?
39. Cardin, P. 1968. Cardin’s space inspired Cosmos collection. [Online]. [Accessed 28/11/16]. Available from: http://pierrecardin.com/ Accessories-cl27-en
17. A group of mods dressed in sharp suits, narrow ties and parkas with their scooters in Brighton. c1960s. In: Connikie, Y. 2007. Fashions of a Decade: The 1960s. New York: Infobase, p12.
26. Mini dress by Mary Quant. 1966. [Online]. [Accessed 28/11/16]. Available from: http://collections.vam.ac.uk/item/O121967/minidress-mary-quant/
18. Andy Warhol’s Campbell’s Soup Can original design. [Online]. [Accessed 28/11/16]. Available from: https://www.moma.org/ slideshows/36?locale=en
27. Peccinotti, H. Photo of Barbara Hulanicki. 1965. [Online]. [Accessed 28/11/16]. Available from: http://www.npg.org.uk/collections/ search/portraitLarge/mw260403/Barbara-Hulanicki ?LinkID=mp124359&search=sas&sText=barbara+h ulanicki&role=sit&rNo=0
32. Newton, H. 19766. Twiggy modelling a shift style mini dress for the Sunday Times newspaper. [Online]. [Accessed 28/11/16]. Available from: https://www. bloomsburyfashioncentral.com/products/bergfashion-library/museum/bath-fashion-museum/ photograph-dress-25793
40. Cardin, P. 1968. Cardin’s hats loosely based on astronaut helmets. [Online]. [Accessed 28/11/16]. Available from: https://www. bloomsburyfashioncentral.com/products/bergfashion-library/museum/philadelphia-museum-ofart/womans-hat-39480
19. The ‘Souper’ Dress- a paper dress made by Campbell’s inspired by Andy Warhol’s work. 1966-67. [Online]. [Accessed 28/11/16]. Available from: http://www.metmuseum.org/art/collection/ search/79778 20. Tie by Mr Fish. 1967. [Online]. [Accessed 28/11/16]. Available from: http:// media.vam.ac.uk/media/thira/collection_ images/2006AT/2006AT9164_jpg_ds.jpg 21. Op art by Bridget Riley. 1964. [Online]. [Accessed 28/11/16]. Available from: http://www. tate.org.uk/art/artists/bridget-riley-1845 22. Op Art by Bridget Riley. 1965. [Online]. [Accessed 28/11/16]. Available from: http://www. tate.org.uk/art/artists/bridget-riley-1845 23. Varsarely, V. Bora III [Online]. [Accessed 28/11/16]. Available from: http://www.op-art.co.uk/ victor-vasarely/ 24. Biba geometric print dress in the brand’s signature ‘auntie colours’. 1967. [Online]. [Accessed 25/11/16]. Available from: http://collections.vam. ac.uk/item/O133328/mini-dress-biba/
28. Audrey Hepburn dressed in dolly bird style in Two for the Road. 1967. [Online]. [Accessed 28/11/16]. Available from: http://clothesonfilm. com/two-for-the-road-audrey-hepburn-outfitspart-two/2076/ 29. Audrey Hepburn at the airport dressed in her classic timeless style. 1968. [Online]. [Accessed 28/11/16]. Available from: http://www.vogue.co.uk/ gallery/audrey-hepburn-style-file 30. Audrey Hepburn dressed in her signature white shirt outfit at Warner Bros with her dog Famous. 1963. [Online]. [Accessed 28/11/16]. Available from: http://www.audrey1.org/ archives/69/gallery-image/88/
33. Jean Shrimpton at the Melbourne Races- her defining moment. 1965. [Online]. [Accessed 28/11/16]. Available from: http://www. harpersbazaar.com/fashion/trends/g2109/miniskirt-fashion/? 34. Bailey, D. 1962. Jean Shrimpton posing in a shoot in New York for Vogue. [Online]. [Accessed 28/11/16]. Available from: http://iconolo. gy/archive/jean-shrimpton-new-york-1962-davidbailey/109 35. Close up of Twiggy. c1960s. In: Connikie, Y. 2007. Fashions of a Decade: The 1960s. New York: Infobase, p13. 36. Close up of Jean Shrimpton. c1960s. In: Connikie, Y. 2007. Fashions of a Decade: The 1960s. New York: Infobase, p43. 37. Audrey Hepburn wearing a space inspired Paco Rabanne dress in film Two for the Road (still approx 1:41:00). 1967. [Online]. [Accessed 28/11/16]. Available from: https://vimeo. com/58958265 38. Rabanne, P. 1967. A space inspired ‘chain mail’ dress. [Online]. [Accessed 28/11/16]. Available from: http://collections.vam.ac.uk/item/ O121985/evening-mini-dress-paco-rabanne/
41. PVC Raincoats by Mary Quant, paired with colourful Lycra tights. c1960s. In: Connikie, Y. 2007. Fashions of a Decade: The 1960s. New York: Infobase, p14. 42. Quant, M. 1965. PVC raincoat part of Mary Quant’s Wet Collection. [Online]. [Accessed 30/11/16]. Available from: http://collections.vam. ac.uk/item/O1261542/raincoat-quant-mary/ 43. Model Jackie Bowyer in Mary Quant’s wet look raincoat. 1963. [Online]. [Accessed 30/11/16]. Available from: http://www. harpersbazaar.co.uk/fashion/style-files/news/ g25749/the-best-of-mary-quant/? 44. A group of fashionable youngsters on Carnaby Street in London. [Online]. [Accessed 28/11/16]. Available from: https://www.flickr.com/ photos/nationalarchives/3008584298/in/photolist5zRMi5
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