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London: Fireside. The Stones. Bomb Culture. There were in reality two Chelsea sets. There was Mary and some of the slightly older, wealthier women who came in to Bazaar to buy the clothes - people like Sonia Melchett, wife of Lord Melchett, or her sister Bunty Kinsman.

If they gave parties, we'd dress up and be flattered to be invited, but really they were grander than us. You didn't take a bottle, although I do remember that on one occasion Sonia and the publisher George Weidenfeld had a party where we were all told to bring either champagne or brandy.

We were younger and although a few people did have titles we were a much more ramshackle bunch of free spirits. Some didn't have to work.

They had private incomes. There was a lot of hanging about and going to parties, looking for someone to pick up if you hadn't gone there with someone.

We may have seemed terribly promiscuous to the papers, but our liberation paled into insignificance in comparison to what came along in the s.

And anyway I believe that it was the wartime generation who had changed the old moral standards. I don't think our behaviour was terribly rebellious.

For most of us it was just great to break out of our backgrounds and have a good time. I used to spend whatever I had earned modelling on food for Michael and his friends.

These were the days before women's lib. We lived in a flat in Harrington Gardens. He was a writer - the nephew of Earl Alexander of Tunis is how the papers described him, though in truth he was only a distant relative.

He was very glamorous. He'd been in Colditz and was I was just 19 and potty about him. I'd already been married at 16, had a child and divorced by Michael was at the heart of the Chelsea Set in more than one way.

He had a secret deal with Charles Wintour, editor of the Evening Standard. It was disgraceful now when I think about it. The same old names would appear in all those reports and they always had a way of describing people.

There was undoubtedly an element of snobbery about it all. Titles and aristocratic families seemed to matter more back then. I do remember everyone getting very excited one night because there was a rumour that the Duke of Kent was coming to the party we were at.

I don't remember it being extraordinary or scandalous, though. The one big scandal was the suicide of Tony Beauchamp who'd been married to Churchill's daughter, Sarah.

He was a photographer and his death and his part in the Chelsea Set was very well covered in the press. It was Mary who was extraordinary and what she started at Bazaar.

That went on and grew in the s but my memory is that all the rest changed in The Chelsea Set had a brief heyday with the opening of Bazaar but within three or four years, it was over.

I went to Afghanistan for four months with Michael in and when I came back it had all gone. There were no more parties, no one in pub you knew.

I think it probably came back alive again with the swinging Sixties, but by that time I was married to George and living in Golders Green.

Today when I go down the King's Road, it doesn't seem very bohemian to me any more. Just rich. Bazaar became a chemist's shop.

The whole place is so changed that it doesn't feel like anything to do with me. There's just Waitrose and expensive chain shops where we used to play.

She was talking to Peter Stanford. I lived in Chelsea in the s and shared a basement flat at the wrong end of Cheyne Walk. It was the sort of area where MPs used to keep their mistresses.

My flatmate was Andy Garnett who was one of the heads of the Chelsea Set. He had a Bubble Car and used to like to drive posh totty - as we'd call them - to low clubs in the East End.

He saw endless glamorous debutantes, all part of the Chelsea Set. There was always a terrible racket going on in our flat with all my jazz set staying.

Andy was wonderfully relaxed. Once he came in and there were mattresses everywhere. He pulled back the sheets and looked at the naked bodies.

He turned to me and shouted, "What do these animals eat in the morning, George? It was a bit like the s, when after the First World War people reacted with short skirts and the Charleston.

This was only 10 years after the Second World War. But if you think of the artists who used to live there, such as Augustus John, Whistler, Rossetti, Holman Hunt, then you realise that bohemianism wasn't new to Chelsea.

I remember Mary Quant well. She looked very sexy. Not that she particularly was, I suppose, in real life, but her skirts were shorter than anyone else's and she had this wonderful helmet-like haircut.

She was good at overturning all the conventions. The opening of Mary Quant's Bazaar marked the moment when the King's Road first began to establish itself as crucial for the young, aspirational and fashion-conscious.

But it would continue to draw increasing numbers of would-be avant-gardistes from the hinterlands of London and beyond for at least the next 25 years.

In the s it was one of the key places where rock stars and toffs socialised together. It was full of Chelsea girls with their aristocrat and pop-star boyfriends in velvet suits.

It was just around the corner from me, in my second-ever bedsit, in the crotch of the King's Road, just before World's End. But while the King's Road was still rather glamorous and exciting at the time, changes were already well under way.

You would see flagships of multiple shops with branches in Oxford Street opening and it was also in all the standard tourist guides. That was the killer.

A lot of very mainstream shoppers began hanging around there. Most people began to think of the King's Road as a glorified shopping centre.

The original Chelsea crew were forced to retire to the back streets. It was no longer their own place of parade. And now I think Chelsea is due for some fashionable revival.

The last time we attended, a man on crutches dressed as a rasher of bacon performed a dance that involved spanking himself with a spatula and spinning his man-sausage in a helicopter dick finale.

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I think it probably came back alive again with the swinging Sixties, but by that time I was married to George and living in Golders Green. Today when I go down the King's Road, it doesn't seem very bohemian to me any more.

Just rich. Bazaar became a chemist's shop. The whole place is so changed that it doesn't feel like anything to do with me.

There's just Waitrose and expensive chain shops where we used to play. She was talking to Peter Stanford. I lived in Chelsea in the s and shared a basement flat at the wrong end of Cheyne Walk.

It was the sort of area where MPs used to keep their mistresses. My flatmate was Andy Garnett who was one of the heads of the Chelsea Set.

He had a Bubble Car and used to like to drive posh totty - as we'd call them - to low clubs in the East End. He saw endless glamorous debutantes, all part of the Chelsea Set.

There was always a terrible racket going on in our flat with all my jazz set staying. Andy was wonderfully relaxed. Once he came in and there were mattresses everywhere.

He pulled back the sheets and looked at the naked bodies. He turned to me and shouted, "What do these animals eat in the morning, George?

It was a bit like the s, when after the First World War people reacted with short skirts and the Charleston. This was only 10 years after the Second World War.

But if you think of the artists who used to live there, such as Augustus John, Whistler, Rossetti, Holman Hunt, then you realise that bohemianism wasn't new to Chelsea.

I remember Mary Quant well. She looked very sexy. Not that she particularly was, I suppose, in real life, but her skirts were shorter than anyone else's and she had this wonderful helmet-like haircut.

She was good at overturning all the conventions. The opening of Mary Quant's Bazaar marked the moment when the King's Road first began to establish itself as crucial for the young, aspirational and fashion-conscious.

But it would continue to draw increasing numbers of would-be avant-gardistes from the hinterlands of London and beyond for at least the next 25 years.

In the s it was one of the key places where rock stars and toffs socialised together. It was full of Chelsea girls with their aristocrat and pop-star boyfriends in velvet suits.

It was just around the corner from me, in my second-ever bedsit, in the crotch of the King's Road, just before World's End.

But while the King's Road was still rather glamorous and exciting at the time, changes were already well under way.

You would see flagships of multiple shops with branches in Oxford Street opening and it was also in all the standard tourist guides. That was the killer.

A lot of very mainstream shoppers began hanging around there. Most people began to think of the King's Road as a glorified shopping centre.

The original Chelsea crew were forced to retire to the back streets. It was no longer their own place of parade. And now I think Chelsea is due for some fashionable revival.

There's just that feeling in the air. You can find our Community Guidelines in full here. Want to discuss real-world problems, be involved in the most engaging discussions and hear from the journalists?

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I would like to receive morning headlines Monday - Friday plus breaking news alerts by email. Update newsletter preferences. When you think of the sharp fashion of the swinging '60s the first things that come to mind are mini skirts, go-go boots , thick eyeliner, and razor-thin suits in all manner of colors.

If you lived in London you had to look good, and that meant wearing your best duds no matter where you were.

At the same time, London was going gaga for the rail thin year-old model Twiggy. Carnaby Street was the center of the fashion world in the s.

It was the place to go whether you were looking for a skirt or to just gawk at all the swinging looks of the day. Rock stars like The Kinks and Jimi Hendrix were regularly seen in the area buying the latest threads, and it was one of the vibrant areas in a dour London cityscape.

In the early and mid-'60s, British youth culture included two feuding tribes with distinct styles: the Mods and the Rockers.

The Mods were moped-riding, fashion-forward extensions of the beatnik culture. Much of Mod culture, and certainly its fashion, was compatible with Swinging London and Carnaby Street -- the Mods representing an organic "street style" that followed and influenced Carnaby Street.

Their rivals, the Rockers, were a different story. Their music of choice was rock and rockabilly, they rode motorcycles, and they wore leather jackets.

They were like the Hells Angels if the Hells Angels had cockney accents. Nearly 1, young people descended on the outer towns of England to do battle, but there were only around a hundred arrests.

Newspaper accounts fanned hysteria over the Mod-Rocker feud, but public perception of Mods as thugs is a major reason why Swinging London and Mod culture weren't quite the same thing.

While "mod" was somewhat neutral when used as an adjective, identifying oneself as "a Mod" could carry a stigma. The Beatles are an interesting case -- circa , they sported a Rocker look in their black leather duds, and played rock music, including Chuck Berry covers and Lieber-Stoller compositions; by , when they "invaded" the U.

We're mockers. Right: Christine Keeler in a famous portrait by Lewis Morley. While American hippies were taking part in a free love experiment on the west coast, young, hip Londoners were having their own social and sexual revolution.

Young people began staying out all night, playing in bands, doing drugs, and having a lot of sex. Model and showgirl Christine Keeler became a notorious icon of the new, promiscuous youth culture when the details of her multiple affairs with political figures emerged in the "Profumo Affair.

In , both abortion and homosexuality were decriminalized. It would be a long time before more strides were made in these areas, but people were slowly realizing that it was okay to have a good time.

Ideal for city transportation and parking , Minis were a truly cool way to get around. Mary Quant named her miniskirt after them. These cars were a sensation thanks to their change in design.

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