Juxtapoz Art and Culture-Spring_2019

38 SPRING 2019

FASHION

today. She specifically commissioned dynamic

mannequins from Rootstein in the gawky poses

of the day and went as far as modeling them on

Jean Shrimpton’s “long, lean legs.” These were far

removed from the conventional shop window

mannequins of the 1950s and ’60s, and she would

artfully arrange them in the window, walking

lobsters on leads or suspended from the ceiling.

Equally, Quant’s fashion shows were a far cry from

the established salon-style presentations as followed

by the leading designers of the time. She preferred to

use photographic rather than salon models because

they swung rather than paraded down the catwalk,

adopting dramatic poses en route. These shows

were characterized by fun, energy, high-speed and

movement, with models dancing wildly to the “hot

jazz” that Quant loved so much.

In that vein, how are the designs displayed and

arranged in this show?

The design concept for the show is themed

around the boutiques and the street, and we have

several cases in the exhibition that have been

arranged to look like the Bazaar shop windows

complete with specifically commissioned

dynamic, mannequins similar to the ones Quant

used, in addition to props and a mannequin

walking a lobster on a lead!

Let’s talk about the clothes more specifically.

Is it true that travel by scooter played a part in

her designs?

Freedom of movement certainly played a big part

in Mary Quant’s designs. She wanted to create

garments that could be worn by real women as a tool

to complete life, so they could run for a bus, dance,

and retain their precious freedom. Her designs were

far removed from the often restrictive, corseted

garments and narrow, hobbled skirts of the 1950s.

Her choice of materials was really innovative and

she was the first to incorporate PVC in clothing.

What were some favorite fabrics and design

elements she used that emblemized freedom and

independence? How did she view color?

From the beginning of Quant’s career, she

experimented with new and unconventional

materials. Her earliest designs used men’s suiting

fabric for womenswear to playfully change

traditional gender norms in fashion. In 1963, she

launched her “Wet Collection,” experimenting

with a new material, polyvinyl chloride (PVC)

which captured the ’60s fascination with

technology and the space age. Quant declared

that she was “bewitched with this super-shiny,

man-made stuff and its shrieking colors... its

glimmering liquorice black, white and ginger.”

As the 1960s progressed, she explored new fabrics

which were available, such as nylon and jersey.

Quant’s discovery of a new type of heat-bonded

wool jersey was a revelation for her. It had been

previously used in underwear and for rugby

and football, and its smooth, fluid qualities were

perfect for Quant’s signature sporty mini-dresses,

which she produced prolifically in a rainbow

of the brightest, deepest colors. She was always

striving to find innovative new materials that

could revolutionize the way she designed and

provide increased comfort and ease for women.

I’d like to hear more about the V&A’s call out

for clothes. How big was this effort? It sounds

like that was a lot of fun, and there must have

been stories with each piece.

Back in June, 2018, we launched the

#WeWantQuant campaign, a public call-out

to locate rare and missing garments by Quant,

and collect personal stories and memories from

real people who wore her clothes; and with

over 800 replies, to date, the response has been

overwhelming. These garments and the life stories

of the women who wore them show how modern

Quant’s designs were. So many people have

treasured their Mary Quant dresses because they

represented freedom and a special time in their

lives. It’s a testament to how much Quant meant to

women that they kept them for so many years.

Many came forward with Quant clothing made for

special occasions. We uncovered, for example, a

very early, boldly printed top bought by a research

scientist to meet her geologist fiancé returning

from a trip to Antarctica, a PVC raincoat worn and

lovingly kept by two generations of women in the

same family, underscoring the longevity of Mary’s

designs. We’re also featuring a dress homemade

from one of her dressmaking patterns for the

wearer’s 21st birthday.

Mary Quant’s work is on view at London’s Victoria

and Albert Museum April 6, 2019 through

February 16, 2020.

Above: Satin mini-dress and shorts by Mary Quant, photograph by Duffy, 1966 © Duffy Archive