Unlike other shoe models, the Chelsea boot has a long history. Taking the name of the royal borough, the shoe was
popularized in the mid-19th century by Queen Victoria. A pair of leather elastic-sided boots, they were
made by J. Sparkes-Hall. The royal cordwainer had created what he called a ‘paddock boot’ with time-saving
elasticated sides utilising the vulcanised rubber patented by British inventor Thomas Hancock in the 1840s, which
Her Majesty took to wearing during her equestrian activities, and daily strolls.
A little more than 100 years later, Covent Garden-based shoemakers Anello & Davide made “the Beatle boot”. The
appellation is in tribute to the Liverpudlian band, but as Mick Fleetwood explains in his autobiography, Play
On, the Beatles were not the first artists to visit Anello & Davide, and commission the model. “As a band,
like a thousand others, we all went to a shoe shop called Anello & Davide and bought ourselves Beatle boots,
which were basically Spanish dancing boots. They were a cool thing before the Beatles, but afterwards they were
mandatory.”
Propelled by the singles "Please Please Me", "From Me to You" and "She Loves You", the actions of American teenage
schoolgirls Janice Hawkins and Martha Schendel are an example of just how potent the fanaticism was surrounding the
rock band. Only sixteen, the two runaways from Cleveland, Ohio bought expensive one-way tickets to London. They
rented a flat there, hanging around Soho, the epicentre of Swinging London, hoping to catch a glimpse of their
idols. They even hitchhiked up to Liverpool to see the fab four. An international manhunt was already underway, and
whilst back in London – a bobby spotted them and they were deported and charged with delinquency. That was
Beatlemania, and along with it, Cuban-heeled boots swept the mid-60s like wildfire. With reckless abandon, people
jumped on the band wagon – acting with a youth-driven spirit that hadn’t been seen before. And this duly exploded
officially when Time magazine anointed London as “The Swinging City” in April 1966. However, the person who
best-captured the Swinging Sixties, and defined the era says different. In David Bailey’s autobiography Look
Again he tells us that the Sixties were over by 1965. Perhaps he was modestly deflecting the attribution that
came his way in 1966. Michelangelo Antonioni’s mod thriller Blow-Up is generally regarded as being inspired
by Bailey. Here you had a young fashion photographer played by David Hemmings zapping from studio shoot to impromptu
debauch in a soft-top Rolls-Royce sporting black Cuban-heel Chelsea boots. The look and lifestyle portrayed in the
film was uncanny to real-life Bailey.
But as London starting to officially swing, the Chelsea boot became more inextricably linked to its namesake borough.
During the mid-60s there was a host of fashion boutiques popping up either on the King’s Road or in enclaves behind
it. They catered for and personified this new lust and taste for 'distressed bohemianism' and well-worn grandeur,
something that the Chelsea boot fitted right into. Called the “first psychedelic boutique in Groovy London” Granny
Takes a Trip opened by Nigel Waymouth, his girlfriend Sheila Cohen and Savile Row-trained tailor John Pearse is
widely distinguishable as the boutique where George Harrison was pictured sporting a tailored green jacket featuring
a classic William Morris Lily design. It was also a hangout spot where the social and rock aristocracy united.
Waymouth once said: Brian Jones and John Lennon used to come in after hours; we used to open the shop especially.
Over in Cale Street at Hung on You, opened by Australian tastemaker Michael Rainey who also featured in
Blow-Up, his kaleidoscopic designs that were the result of handiwork from tailors in London’s East End also
lured in a cachet of customer such as Mick Jagger. At the time Mr. Rainey was married to Jane Ormsby-Gore, an editor
at Vogue magazine and whose father Lord Harlech had been ambassador to the United States. Jane is cited as
the inspiration to the song “Lady Jane”, by the Rolling Stones, but today, she is an iconic influence to many
others. Not only is she a style leader in the realms of fashion and interiors (she still runs her own design
company), but is loved by the swathes of people who have been lucky enough to cross paths with her. Two of her
closest friends, Christopher Gibbs and Sir Mark Palmer were both stellar characters that helped shape Sixties
London. A man of rare taste, antique dealer Gibbs became not only a sartorial influence to the deep-pocketed
celebrities of the time, but he furnished with extraordinary treasures the great houses that belonged to John Paul
Getty Jr. and Lord Rothschild. In Sixties London, high-society hedonistic parties were usually not without Gibbs,
not least because many were held at his home at 100 Cheyne Walk, a hippie de lux den for the stylish elite. Here
everyone including: Mick and Bianca Jagger, Manolo Blahnik, the Harlech’s, Amanda Lear and Peter Hinwood mingled.
Some of them and other guests were pictured in the infamous Beatle boot
Paige of Honour to Queen Elizabeth II, Sir Mark Palmer, and his friend Alice Pollock founded the early male modelling
agency English Boy in Chelsea. Also, the leader of a wealthy band of New Age travellers who moved about in
horse-drawn carriages, it is unsurprising Sir Mark Palmer was a prominent
forbearer of the Beatle boot. Not so long ago, he swung by our local boozer. A humorous man to listen to, the Beatle
boot was entwined in the tales he told of Swinging London.
Despite Fidel Castro realizing a revolution and David Bailey fashioning a revolution in 1959 it was surreal that in
an interview with Another Man, David Bailey highlighted one subject that got away. “Tina Brown, former
editor of Tatler, Vanity Fair and The New Yorker and I worked on getting Fidel Castro for
about ten years, but never got around to it. It meant going out to Cuba and waiting six weeks in the hope of finally
meeting him, but we couldn’t be bothered with that. I think they sent Herb Ritts out in the end. He didn’t get the
shot either.”
