Boutique – A 60’s cultural phenomenon

Boutique – a 60’s cultural phenomenon – Marnie Fogg

2003 – Mitchell Beazley London.

Due to the fact that the focus of His ’n’ Hers Bazaar is mainly 1960’s clothing, I thought that it would be apt to look at shops from the 1960’s, and take inspiration from their decor and window displays. I found this book online and was drawn to it due to the fact that it focuses on the high end boutiques around Carnaby Street and Chelsea in the 60’s. Whilst reading this book I found myself really interested in the 1960’s Boutique Granny Takes A Trip

Granny Takes A Trip

Dark Inside: According to (WHOEVER INSERT NAME) opened in 1967, Granny Takes  A Trip was a shop that ‘changed everything’.

On the front cover is an iconic shop front, ‘Granny Takes A Trip’ which was a shop on the Kings Road. According to Nigel Waymouth who designed this particular shop front (via his Instagram INSERT LINK), customers could look into the shop through Jean Harlowe’s mouth. I think that this is an amazing idea as the shop is extremely mysterious because all of the windows have been painted over. Only being able to look through the mouth of the painted face is such a wild idea as it means that only one person at a time gets to look at what is inside. You would not know what type of shop it is from the outside, this would make me want to go inside just to find out. 

Look At Life featuring  Granny Takes A Trip



Pencil Study of Granny Takes A Trip

Mood Board

11th March 2020

Creating a Mood Board

Here is the mood board I created for my presentation at For People. During Chloe’s visualisation presentation she expressed that mood boards should be

  • broad
  • move offline
  • vary in colour, content, scale etc
  • disrupt the grid – moving out of a grid  to evoke energy

Baring this in mind I decided to try and sum up my project in one image, and the mood of the shop window that I want to evoke. I decided to use vibrant colours, images that I found of Carnaby street due to their patterns and vibrancy, and images that I had collages from my 1960’s magazines. I decided to include the flower and digital image that I had drawn, as I think that they are key parts of my development and understanding of the project. Furthermore, I added the gold colour in order to portray His & Hers Bazaar’s colour that they picked out as part of their brand. I wanted to highlight its importance. I think that this mood board works well as it is quite energetic due to the vibrant images juxtaposing with the negative space on the page.


Experimenting with figures

10th March 2020

Whilst looking for inspirational images to collage using vintage magazines, I found that there was a large limitation when it came to finding images of people. The people that I did find where mainly white women, and I found this limiting. After thinking a way around this, could I draw the entire figure? Could I draw the figure and photoshop on clothes? I decided to experiment with using real life people with hand drawn clothes on top. I decided to do this as I thought that the mixed media approach I was already working in was working well.

Here are the figures I worked with:

I chose this model as I thought her poses were free and 1960’s-esque. I did not want rigid models stood in the window with their hands down by their sides. This made me think about Mary Portas’ point about how a photographer would capture a model walking in a dress to portray the movement. (Windows: The Art of Retail Display) I feel like this 100% applies to mannequins as if they are rigid they will not be interesting. 



Here is the outfit I created for the model. This was inspired by a 1960’s vintage dress I have at home, along with the outfits that feature in my copies of Elle (particularly the Yves Saint Laurent edition). I wanted to create movement with the piece create a sense of vibrancy. I think the colours work well together. I feel that I should experiment with colour and pattern however in order to create a strong palette throughout the shop.



Interviewing His & Hers Bazaar

5th March 2019

Screenshot 2020-03-05 at 12.57.32





I interviewed His & Hers Bazaar to get an idea of their brand and their identity.


When were you established?

July 2019

What is your target audience/ideal customer?

Our audience is whoever likes and RESPECTS Vintage.  

Being able to wear and collect clothes from such a special era as the 60s were (50s and 70s as well) is something to feel lucky about. We’re not only dressing the way we like, but we’re preserving history somehow. 

This way, our ideal customers are mainly people like us. Who want to be the more unique and smarter dressers among their friends, and to enjoy and give further life to Vintage clothing.

No matter their age, gender, nationality, musical tastes, etc. 

What is your story – what inspired you to start up a shop?

We’ve started buying vintage in the 90s-early 2000’s when our interests in mod and skinhead cultures began. After all these years we’ve been developing some knowledge about vintage, mainly 60s, but not only. We collect pieces for our personal looks, day and night wear, buying from internet (eBay, Etsy, etc). But we also treasure hunt in Flea markets, Vintage Markets, Vintage stores, thrift stores, etc. where we’re living, but we also look for Vintage wherever we go on holidays, France, Italy, Belgium, Germany, UK, USA, etc. 

We had a certain amount of pieces that do not fit us anymore that we could sell. But we can also find a lot of Vintage clothes as digging (both virtual and in the real world) has become a hobby. Our aim is  to give visibility to all those amazing Vintage clothes, and find people who will love them forever, or at least, till their interest in vintage is still alive! 


What are five words to describe you? 

PASSION: we’re extremely excited to be running the shop, because we’re working in something we love. Even if sometimes combining our professional and personal life with this new activity is so exhausting! But we care about the details and we put a lot of enthusiasm on it. 

EXCLUSIVE: not all our stock is exclusive, but we always try to find the best of Vintage brands, deadstock pieces, and in general those clothes we would like to buy for ourselves in the best condition possible. 

QUALITY: same as above, we try to find very good condition clothes, made of fine materials, or in the best shape possible. We also try to ship all items the cleaner we can, we take most of our sold items to the dry cleaners before they meet their new owners. 

COSTUMER SERVICE: we try our best to offer the best buying experience. We try to be accurate as possible taking pictures of all the details, describing all pieces as real as possible, being fast to reply to our online requests. We usually ship all orders the very day after the purchase is released, etc.

 VARIETY: We try to offer a lot of different items, not only dresses, and not only women clothes, which may seem the easiest thing to sell (and it is). We try to offer things that wouldn’t be easy to find, from leather goods, knits, space age clothes, etc. As well as different price ranges from designer clothes to more affordable ones.

What brands/ new or old inspire you?

In my case (Laura), I’m absolutely taken by 1960s Space Age designers.

I love Courrèges, Louis Feraud, Pierre Cardin, Paco Rabanne, etc. As well as Emilio Pucci and the Christian Dior shoe designer Roger Vivier.

Of course, I’ve loved mod culture for ages now, so I can’t help loving Mary Quant and the early Biba designs (although the late ones are amazing as well, but I wouldn’t wear them). Marion Foale and Sally Tuffin’s, Caroline Charles, the American Bonnie Cashin, Lilli Ann, etc.

I love Miu Miu and Marc Jacobs contemporary designs as well.

Dani is totally into the late 60s / early 70s skinhead to suedehead brands: Ben Sherman, Jaytex, Jon Wood, Arnold Palmer, Levi’s, Frank Wright, Dr. Martens, Penn & Simmons, etc. 

 Do you have any fonts/colours you identify with?

It’s so hard to choose..

Our items belong to a lot of different styles. So, it’s difficult to choose a single atmosphere. 

About the color, we’re not a women only store, and although we sell late 60s clothes we cannot define ourselves into purple or pink, although I love them.

I see ourselves more like BLACK, WHITE and GOLD.

We’re used to see everything we love in black and white pictures, even if our clothes are full of color. I think it’s a nice contrast.

One font can be a Futura, or a Circus style font, also an Amati. But we’re open to any advice. 


Diorama cross section. With plastic in front. Acetate with images on. With painted lines.

Shop – two/three screens with two figures. Clothes change and light up. Think about shapes, shadows and weight. To make your piece feel like it is actually situated in the position. Positioning – making sure it sits with the right angle. Model at night, think about lighting etc. Really makes a difference to the place. About the people who wear the vintage just as much as the clothes. Clothes can look limp on a rail. As soon as you add the clothes it comes to life. ADD SCALE – a person. Space that was unloved to add colour.

Portobello Road

2nd March 2020

Portobello Road:

After much consideration I decided to not work with Blackout 2. This was due to the fact that they were not wanting me to ask them questions in regards to their shop, the window in their display was small. Furthermore, I felt that it was not a company I wanted to work with. Working with His ‘n’ Hers Bazaar will allow me more creative freedom, as I am able to find my own popup venue. In addition, I feel that working with an online shop there is a lot of freedom as their brand is less established.

I looked on to find a suitable pop up site. I thought about areas such as Shoreditch and Portobello Road. I thought these would  be suitable areas as they are tourist hotspots and areas well known for their vintage markets and shops. Shoreditch has a high thrift presence, with stores such as Rokit and Atika selling 80’s, 90’s clothes for reasonable prices to young people. I found that Portobello Road was more suited to my shop for several reasons. 

The vintage market sells more classic vintage – more the range that His ‘n’ Hers sells. Furthermore there are different sections to the road. Towards where the market is and Ladbroke Grove station there is a section that is the ‘vintage’ part of the road. If you go further down the road there is the antiques end. In the ‘vintage’ end of the road there are shops that sell vintage clothing and vintage charity shops.

Portobello Road is a colourful, noisy area that attracts many people. I felt that if people were going to the vintage market they would also be able to visit the shop as it would be only a few minutes walk away.

Portobello Road Pop Up:

According to, this pop up shop is set in ‘the heart of Notting Hill’s busy Portobello Market’. The shop’s interior is a ‘chic, long space with white walls and ceilings and brown floors’. The shop has a ‘large ceiling-to-floor window’.  I feel that the window is perfect for a display as it is large and has one panel. The space looks large and fitting for a pop up.

Screenshot 2020-03-24 at 11.19.19

Visiting the space:

I visited Portobello Road during the week. The area was extremely busy for a mid week visit. This is good as it means that the shop will get attention. The shop is currently being used for a vintage pop up shop, so the site is perfect for His ’n’ Hers. Consumers are used to seeing this pop up as a vintage shop. The actual building was plain and a blank canvas – perfect to work with. The window is a great size and there is space in front of the shop for browsers. 

Here are some photographs that I took:





2nd March 2020

ForPeople – OVAL.


Visualisation takes many forms.  Choosing the right format for your project can help translate your concept clearly. Communicate in a physical way, if it’s a 3D project makes sense. Traditional – 3D models, paper, card. Can be abstracted, does not have to be architectural. Photographed sculptures interestingly. If your concept comes to life at night play with lighting. Collage. Can get colour and perspective across. Illustration – painting, no less of a way to translate a concept. Expressive ideas help get across colour.

Mood boards – visualising a concept before forming an idea. Materials, collage and colours. 10 steps to making a good mood board:

  1. Start broad – collating imagery and ideas should be broad. Mix of interesting references.
  2. Move offline – work with magazines/make your own imagery. Exhibitions.
  3. Create original content. Mix the colour. Photographing references.
  4. Choose your platform – Indesign, kinetic mood-board? Clients use PDFS usually.
  5. Vary your content – elements, holistic. Colour, image, graphics, scale, tactility.
  6. Curate your content – less is more. Make sure it is clear. Tell a story. Does not have to be huge.
  7. Disrupt the grid – Moving out of a grid can be more engaging/energetic.
  8. Achieve balance – Accent colour
  9. Capture your thoughts – Key words, annotate your thoughts, say the image has natural lighting/interesting texture etc.
  10. Choose your moment – mood board comes into the middle of the presentation. How does it represent your initial thoughts.

Physical moodboards:

Graphics, materials, products. Shoot into the physical mood board not just a top photo. Zoom ins and zoom outs. Harsh flash can mean harsh outcomes.

Experience: Bring the mood board to the space. If its about sensory then bring sensory stuff. Bring books together.

Key Takeouts:

  1. Make it original.
  2. Tell your story.
  3. Present with impact.



1st March 2020

Experimenting with GIFs

Within my shop window I know that I want there to be movement, and therefore I will need to be able to animate my visualisation of my shop window. Using the typography I created from the survey and an image I lifted from Elle Magazine (1966), I decided to start experimenting with imagery, animation and  colour palettes. 

I felt that the lines drawn around the figures would create a sense of movement. I tied the colours in with the colours from the typography to create a sense of unity. I need to think about using a colour palette within this project perhaps, or several palettes that change when the shop display changes. To execute this I know that I will need to use digital screens in order for the graphics to change. I really like these GIFs as I think that they are fun, energetic and portray how vintage clothes can be fun and vibrant. I created a different version using flowers I had drawn inspired by floral patterns of the 1960’s. I like the layering of the imagery, I just need to work out how I would be able to layer the graphics and what would change in the display and how.

Things I need to think about from now on:

  • Colour palette
  • Layering graphics/background
  • Outside decoration of the shop
  • How will this display change ie, will it be interactive?


Windows: The Art of Retail Display

28th February 2020

Windows: The Art of Retail Display – Mary Portas.

I found this book in the UAL library and knew that it would be useful for my project. Mary Portas is a retail expert. She was a creative director at Harvey Nichols and her window displays put it on the map as a tourist hotspot.

The book is split into several sections, and I decided to highlight the key points/advice that I found helpful.

p10 ‘The opportunity to turn a pedestrian into a customer is there all day everyday and throughout the night’



p36 Portas describes the shop window as the ‘most economic form of advertising a retailer has, working on a round-the-clock shift even when you’re not there’.

p36 ‘Quality is the one thing money can buy…but if the concept isn’t there quality can’t help it”.

Space and Props:

p53. ‘Sometimes a chaotic window’ can be a ‘feast of layers’. Therefore ‘everytime you come back you see something new’. 


p78 ‘Colour elicits a physiological response, with the eye reacting most quickly to bold colours like orange and yellow’. 


p142 ‘Daylight is much stronger than artificial light’.

If the lights are ‘too bright when it’s dark outside they tend to bleach out the colours and fabrics in the space, so dimming them can redress the balance’ 

Styling: p160 – 161.

‘Another rule is that it’s vital to inject a sense of movement into clothes in a window’. 

‘In a fashion spread the photographer would have the model walking along a road to give the clothes some sway. The window stylist has to try and achieve the same effect by ‘blowing the shirt’. 

Mannequins: p114

Referring to Kate Moss and Twiggy; Portas says that ‘The two could never be mistaken for sisters, even when scrubbed of make up, wearing plain black dresses and with their hair in a ponytail – their body language defines the eras of their catwalk reigns quite distinctively’.

‘In the sixties everything was freer’, ‘the doe eyed dolly bird dressed in a mini and pumps alternately sat languid and long or jumped in the air’.

 The LIFE Magazine 1967 photo by Mark Kauffman