There a few periods in fashion history as iconic as the Swinging Sixties. Although characterised by The Beatles, inky-lashed “youthquakers” such as Twiggy and Jean Shrimpton and the streamlined “mod” fashions as spotted around Carnaby Street in London’s West End, nothing quite epitomises the moment as much as Mary Quant’s mini skirt. Even if nowadays the invention of the revolutionary garment is more widely attributed to French couturier André Courrèges, nonetheless Quant is widely regarded as the mastermind behind its unprecedented popularity. Worn with brightly coloured tights, Quant’s minis embodied a new era of women’s liberation.
But beyond her contribution to shortening hemlines and its significance at a time when women were gaining more and more freedoms, Quant lent her design expertise to an array of other projects and offshoots of her brand. A new exhibition, titled simply as Mary Quant, opening tomorrow at the V&A charts the influence of the Welsh designer from 1955 to 1975, highlighting her far-reaching impact on British style that spans far more than just the mini. Following on from the success of Christian Dior: Designer of Dreams, Mary Quant brings together 120 garments as well as accessories, cosmetics and photographs to offer a comprehensive insight into her innovations across fashion, branding, visual merchandising, cosmetics, home interiors and lifestyle. There’s a lot more to Quant than the mini, so here’s what you need to know.
Hot pants
Although Quant is most famously associated with the mini skirt, she is also credited with popularising hot pants in the late ‘60s. According to Quant, her provocative hot pants “sold faster than (they) could make them.” But not only was Quant encouraging women to get their legs out, but in the early ‘60s she designed trousers that borrowed from classic men’s tailoring including knickerbocker suits and Victorian tweeds. The insinuation was to promote female independence through radically new and easy-to-wear clothes.
‘Paint box’ make-up kit
It might be common knowledge that Quant revolutionised women’s fashion with her easy-to-wear garments, but her contributions to cosmetics were also highly significant. In October 1966, driven by a desire to streamline women’s cosmetics, she introduced her first ‘paint box’ — a white plastic container with a mirror on the inside of the lid, with three eye shadows, an eye liner, mascara and two lipsticks. Stamping the box with her trademark daisy motif, the paint box was designed to make the whole process of applying make-up efficient and fuss free. Even the fact that the paint box was made out of plastic is noteworthy — up to this point cosmetics came sealed in gilded boxes. Quant’s cosmetics were not only renowned for their slick, new packaging but also for their quirky names — shadows came in luminous shades of ‘Cherry pop’ and ‘Banana Shine’. Quant made make-up fun.
Daisy Doll
If there’s one thing to prove that you’ve made it, it’s getting a doll made in your honour. In ‘72, Quant launched her Daisy Doll with the tagline, “Mary Quant makes Daisy the best dressed doll in the world.” Launched a decade or so after Barbie and Sindy, Daisy was a slightly smaller figurine, attired in the latest Mary Quant fashions: mini skirts and hot pants, platform boots and neat plastic raincoats. The fashionable outfits were miniatures of Quant’s designs, made by the same team who created the full-size versions. Along with Daisy sticker books and paper doll albums, Quant launched Daisy’s tomboy younger sister, Havoc, in 1974, whose rebellious style more closely resembled Quant’s own.
Glazed mugs, wallpaper and homeware
In the early 1970s, Quant turned her attention to household interiors. Unlike her cutting-edge fashion designs, her foray into household products was a lot tamer — she designed a range of glazed mugs for Staffordshire Pottery and an entire household line including bedding, fabric curtains, roller blinds and wallpaper to create a “total Quant” look for the home. Quant’s distinctive fashion designs ensured that her name was shorthand for modern and youthful good taste and this carried over into home decor. Quant said that the “home is an extension of the self” and as with her garments, her homeware displayed her signature appreciation of bright colours against neutral tones.
Interior of the Mini car
In 1988, Quant cast her unique eye to her most famous design’s namesake — the Mini car. For a special edition of the iconic vehicle, Quant designed the interiors, decking out the car in black and white striped fabric with “Mary Quant” embossed on the seats. Frequently referred to as the “Quant,” the car even came complete with her signature daisy motifs festooning the steering wheel.
Mary Quant opens 6 April at the V&A through to 16 February 2020.