Mary Quant: ‘Get the London look’

Article by Lili Jones

Quant’s three rules of fashion: firstly, to make sure that you’re noticed, secondly that you look sexy and finally that you feel good.  

The V&A’s Mary Quant exhibition showcased some of the designer's most seminal pieces and was largely sourced through the public. After a nationwide callout for any pieces of Quant’s clothing, the V&A was inundated with responses and, since the items had been in private homes, most had never been displayed to the public before. Mary Quant dreamed to dress the girls of today, the young fashionistas that she saw on the street, and so it seems only fitting that the pieces showcased in the exhibition were not those that had been housed in galleries but, clothes that had been lived in, worn and loved. 

The main word that springs to mind when I think of Quant is authenticity. Her artistic vision seemed rooted in urging her consumer to have confidence, to be unconventional and daring: to embrace one’s truly authentic self. In keeping with this was her idea that when it came to how one should dress, age is irrelevant. The clothes of today are not reserved for today’s youth but all those who share in that moment or attitude: you dress for how you feel, not the number of candles on your cake. 

Adding to this was Quant’s understanding that women are not 2D sketches but exist in the round; clothes need to work in a 3D environment. Style should enhance the notion of fluidity and elongation rather than constitute lots of stiches and side seams. This encouraged Quant to make round clothing and shoes: one's that minimised unnecessary fuss.   

Another facet of the ‘Quant’ look was the gawkish poses coupled with the tomboy and androgynous nature of her models. In removing the stereotypical masculine and feminine archetypes Quant embraced a more fluid approach to style and gender. Waistcoats and ties were styled to be worn with skirts and dresses: again, showing that the individual defined themselves- it was no longer for society to categorise and dictate how one ‘should’ dress. 

The shortened hemlines of Quant’s skirts and dresses also reflected societies relaxing attitude towards sexuality as well as the increased opportunities for women in the workplace coupled with the growing sense of female empowerment that captivated the 60s. As such, the very clothing of the 60s embodied this attitude as the shorter dresses encouraged the youth to ‘step out’ of past decades’ confinement and forge their own path. In doing so, the 60s lacked a formulaic uniform that you had to wear to be deemed ‘proper’ and as such, granted people permission to come as themselves. 

The changing of times meant it was now the fashionistas on the street who were setting the trends of tomorrow and so no longer was this right reserved for the courtiers of Paris. Quant, herself, redefined London as the epicenter of a new movement and Chelsea as its guiding light. It was the cool and quirky individualism and beguiling ‘Chelsea look’ that meant “Chelsea ceased to be a small part of London; it became international; its name interpreted a way of living and a way of dressing.” 

Quant not only reinvented clothing but also makeup as now that the clothes were different, the fussy, high maintenance approach no longer suited. Instead Quant wanted a more natural look, as if “we were all just born better looking than we are.” The stand-out creation from this was her ‘paintbox’ - a compact box of makeup including: blush, eyeshadows, lipsticks etc that you mixed (like grown up finger-painting) to create tones that flattered your own style. Again, it was the focus on enhancing the individual and standing out as yourself that keeps the makeup in line with Quant’s ethos of style.  

Before, visiting the V&A’s Mary Quant exhibition I didn’t really know much about her. I knew she was a designer and had invented the mini skirt, but that was all. I had no idea how iconic she truly was in capturing the spirit of an entire generation. When I looked at the items on display, I could see a style and manner of dressing that I recognised in my Granny: the sweater vest, tailoring in bright colours, bold accessories and big coats. It became apparent to me that Mary Quant, and the very decade of her youth, continues to influence her style even to this day. Walking away from the exhibition I noticed several parallels in what people were wearing to what I had just seen on display. That’s when it hit me: not only did Quant hugely influence her own generation, she also influences mine. Mary Quant’s fashion centered around the idea that fashion is a vehicle through which you can celebrate yourself as you are: a style ethos as fitting today as it was back then.