Bohemian style

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The Bohemian style, often termed 'Boho chic', is a fashion and lifestyle choice characterized by its unconventional and free-spirited essence. While its precise origins are debated, Bohemian style is believed to have been influenced by the nomadic lifestyle of the Romani people during the late 19th century to the early 20th century. The term 'Bohemian' itself derives from the French 'Bohémien,' originally associated with the Roma community due to a historical misconception that they originated from Bohemia, a region in the Czech Republic.^[1]

Throughout history, Bohemian fashion has undergone significant transformations, reflecting the cultural shifts and influences of each era. Today, contemporary Bohemian fashion embraces flowing fabrics, vibrant colors, and natural, woven materials instead of knits. This style draws inspiration from various sources, including the counterculture movements of the 1960s and 1970s, reminiscent of the attire worn by attendees of the inaugural Woodstock music festival.^[1]

The Bohemian style has achieved global popularity, appealing to individuals seeking a unique and individualistic approach to fashion and lifestyle. It encourages a sense of freedom and self-expression, often attracting those who prefer to live unconventionally, sometimes in a nomadic manner, and who may reside in colonies or communes, fostering a strong sense of community.

Early 19th century and the role of women

The Bohemian subculture has been closely affiliated with predominantly male artists and intellectuals. The female counterparts have been closely connected with the

Due to the role and influence they had on 19th century French art, the grisette became a frequent character in French fiction. However, the grisettes have been mentioned as early as in 1730 by

As the 1860s progressed, Rossetti would become the grand prince of Bohemianism as his deviations from normal standards became more audacious. He then became this epitome of the unconventional, his egocentric demands necessarily required his close friends to remodel their own lives around him. His Bohemianism was like a web in which others became trapped – none more so than William and Jane Morris.^[3]

Jane Morris, Edward Burne-Jones, and Pre-Raphaelite traits

Jane Morris, who was to become Rossetti's muse, epitomized, probably more than any of the women associated with the pre-Raphaelites, an unrestricted, flowing style of dress that, while unconventional at the time, would be highly influential at certain periods during the 20th century.^[4] She and others, including the much less outlandish

It's hard to say whether she's a grand synthesis of all the pre-Raphaelite pictures ever made … whether she's an original or a copy. In either case, she's a wonder. Imagine a tall, lean woman in a long dress of some dead purple stuff, guiltless of

hoops (or of anything else I should say) with a mass of crisp black hair heaped into great wavy projections on each of her temples … a long neck, without any collar, and in lieu thereof some dozen strings of outlandish beads.^[7]

In his play Pygmalion (1912) Bernard Shaw unmistakably based the part of Mrs. Higgins on the then elderly Jane Morris. He described Mrs. Higgins' drawing room, he referred to a portrait of her "when she defied the fashion of her youth in one of the beautiful Rossettian costumes which, when caricatured by people who did not understand, led to the absurdities of popular estheticism [sic] in the eighteen-seventies".^[8]

A biographer of

Early flower power: Effie Millais

In 1853 Millais painted Effie with Foxgloves in her Hair which depicts her wearing the flowers while doing needlework. Other paintings of the mid-to-late 19th century, such as Frederick Sandys' Love's Shadow (1867) of a girl with a rose in her hair, sucking a sprig of blossom, which was described in 1970 as "a first rate PR job for the Flower People",^[16] and Burne-Jones' The Heart of the Rose (1889),^[17] have been cited as foreshadowing the "flower power" of the mid-to-late 1960s.

Early 20th century and inter-war years

Rational dress and the women's movement

By the turn of the 20th century, an increasing number of professional women, notably in the United States, were attempting to live outside the traditional parameters of society. Between 1870 and 1910, the marriage rate among educated women in the United States fell to 60% (30% lower than the national average). By 1893, in the state of Massachusetts alone, some 300,000 women were earning their own living in nearly 300 occupations. The invention of the typewriter in 1867 was a particular spur. For example, by the turn of the 20th century, 80% of

By this time, such movements as the Rational Dress Society (1881), with which the Morrises and Georgiana Burne-Jones were involved, were beginning to exercise some influence on women's dress, although the pre-Raphaelite look was still considered "advanced" in the late years of the 19th century.^[19] Queen Victoria's precocious daughter Princess Louise, an accomplished painter and artist who mixed in bohemian circles, was sympathetic to rational dress and to the developing women's movement generally (although her rumoured pregnancy at the age of 18 was said to have been disguised by tight corsetry).^[20]

However, it was not really until the

By the early 1920s, what had been a wartime expedient, the need to economise on material, had become a statement of freedom by young women. This was manifested by shorter hemlines (just above the knee by 1925–1926)[21] and boyish hairstyles, accompanied by what Robert Graves and Alan Hodge described as "the new fantastic development of Jazz music".^[26] At the

The Penguin Social History of Britain noted that "by the 1920s newspapers were filled with advertisements for 'lingerie' and 'undies' which would have been classed as indecent a generation earlier".[29] Thus, in Ben Travers' comic novel Rookery Nook (1923), a young woman evicted from home in her nightwear and requiring day clothes remarked, "Combies. That's all right. But in the summer you know, we don't",^[30] while in Agatha Christie's thriller, The Seven Dials Mystery (1929), the aristocratic heroine, Lady "Bundle" Brent, wore only "a negligible trifle" under her dress; like much real life "it girls" of her class, she had been freed from the "genteel expectations" of earlier generations.^[31]

In Hollywood the actress Carole Lombard, who, in the 1930s, combined feistiness with sexual allure, never wore a brassière and "avoided panties".^[32] However, she famously declared that though "I live by a man's code designed to fit a man's world, at the same time I never forget that a woman's first job is to choose the right shade of lipstick"^[33] Coincidentally, sales of men's

Looking back at this period, Graves and Hodge noted the protracted course that "daring female fashions had always taken from brothel to stage, then on to Bohemia, to Society, to Society's maids, to the mill-girl and lastly to the suburban woman".[36]

The "Dorelia" look

Among female Bohemians in the early 20th century, the "gypsy look" was a recurring theme, popularized by, among others,

By contrast, short bobbed hair was often a Bohemian trait,^[29] having originated in Paris c.1909 and been adopted by students at the Slade^[41] several years before American film actresses such as Colleen Moore and Louise Brooks ("the girl in the black helmet") became associated with it in the mid-1920s. This style was plainly discernible on a woodblock self-portrait of 1916 by Dora Carrington, who had entered the Slade in 1910,^[42] and, indeed, the journalist and historian Sir Max Hastings has referred to "poling punts occupied by reclining girls with bobbed hair" as an enduring, if misleading, the popular image of the "idyll before the storm" of the First World War.^[43]

In

Bobbed hair was associated also with many popular singers and actresses in the 1960s and has frequently been evoked by writers and directors, as well as fashion designers, seeking to recapture the hedonistic or free spirit of the 1920s. For example, Kerry Greenwood's Cocaine Blues (1989) and succeeding novels about Phryne Fisher, a glamorous, but unconventional aristocratic investigator in late twenties Melbourne, Australia, conveyed an image – "five feet two [157.5 centimeters] with eyes of green and black hair cut into a cap"^[46] – that was later cultivated stylishly on television by Essie Davis in ABC's Miss Fisher's Murder Mysteries (2012).^[47]

Around 1926 an even shorter style, known as the '

One social historian has observed that "the innocuous woolen jersey, now known [in Britain] as the

The 'New Look'

After the

Juliette Gréco

At the liberation of Paris in 1944, the American journalist Ernie Pyle observed that the women were all "brightly dressed in white or red blouses and colorful peasant skirts, with flowers in their hair and big flashy earrings."^[59] while Lady Diana Cooper, whose husband, Duff Cooper, became British Ambassador to Paris that year, wrote that, during the occupation, Parisienne women had worn "grotesquely large hats hung with flowers and fruits and feathers and ribbons" as well as high carved wooden shoes.^[60] However, in contrast to such striking bohemian adornments and subsequently the "New Look" (which itself scandalised some Parisennes), the clothes of the post-war bohemians were predominantly black: when Gréco first performed outside Saint-Germain she affronted some of her audience by wearing "black trousers, her bare feet slipped into golden sandals".^[61] In old age she claimed that this style of dress arose from poverty:

When I was a teenager in Paris, I only had one dress and one pair of shoes, so the boys in the house started dressing me in their old black coats and trousers. A fashion was shaped out of misery. When people copied me, I found it a little ridiculous, but I didn't mind. It made me smile.^[62]

Performing in London over fifty years later, Gréco was described as "still oozing bohemian style".^[63]

Saint-Germain in retrospect

Capturing the spirit of the time, David Profumo has written of how his mother, the actress Valerie Hobson, was entranced by Roger Vadim's flatmate, the director Marc Allégret, while she was filming Blanche Fury in 1947:

Allégret's apparently bohemian lifestyle appealed sharply to her romantic side and she revelled in the Left Bank milieu to which he introduced her during script discussions in Paris. There were meals with André Gide, Jean Cocteau and the long-legged Zizi Jeanmaire. For an attractive British woman who felt deprived of attention ... this was an ideal situation for some sort of reawakening.^[64]

The previous year a perfume created for Hobson had been marketed as "Great Expectations" to coincide with her role as

Beatles' use of "yeah, yeah" in some their early songs^[73]) and the rise of such singers as Johnny Hallyday and Françoise Hardy

.

The French also adopted a number of British singers (

events of 1968 represented a further significant landmark in post-war France,^[74] although their longer term impact was probably more on cultural, social and academic life than on the political system, which, through the constitution of the Fifth Republic (1958), has remained broadly intact.^[75]

Indeed, one paradox of 1968 was that the first student demonstrations broke out at

Latin Quarter

, being described at the time in terms that typify more generally the styles and attitudes of young people in the late 1960s:

It is the girls that give the show away –

mini-skirts, boots – driving up in Mini-Coopers ... Rebellious sentiment is more obvious among the boys: long hair, square spectacles, Che Guevara [Cuban revolutionary, died 1967] beards. The picture in Nanterre in May was lots and lots of painted dollies cohabiting with unkempt revolutionaries.^[76]

America: the beat generation and flower power

In the United States adherents of the "

Sonny and Cher, Blondie came to international prominence only after a tour of Britain in 1978.)^[77]

Greenwich Village and West Coast

New York's

Monterey Pop Festival was a major landmark of that year, which was associated with "flowerpower", psychedelia, opposition to the Vietnam War and the inventive music and flowing, colorful fashions of, among others, Jimi Hendrix, the Mamas & the Papas, Jefferson Airplane and the British group, The Beatles, whose album, Sgt. Pepper's Lonely Hearts Club Band, is said to have caused the guru of psychedelia, Timothy Leary, to remark that "my work is finished".^[81]

Hippiedom and the Pre-Raphaelites

The documentary film,

Chicago 7 trial (late 1969), hair over the collars had become so commonplace that it was beginning to transcend Bohemian style, taking on mass popularity in the 1970s. The London art dealer Jeremy Maas

reflected in the mid-1980s that:

there [was] no question that the Hippy [sic] movement and its repercussive influence in England owed much of its imagery, its manner, dress and personal appearance to the Pre-Raphaelite ideal ... It was observed by all of us who were involved with these exhibitions [of pre-Raphaelite paintings] that visitors included increasing numbers of the younger generation, who had begun to resemble the figures in the pictures they had come to see.[83]

Jimmy Page of the British band Led Zeppelin, who collected Pre-Raphaelite paintings, observed of Edward Burne-Jones that "the romance of the Arthurian legends [captured in his paintings] and the bohemian life of the artists who were reworking these stories seemed very attuned to our time",^[84] while the author David Waller noted in 2011 that Burne-Jones' subjects "have much in common with the sixties rock chicks and their pop-star paladins".^[85]

London in the 1950s

Although the annual

duffel-coat-clad students were hunched in coffee bars over their copies of Jean-Paul Sartre and Jack Kerouac".^[88]

Various

Kingston-upon-Thames, Surrey, captured this look after spotting two acquaintances in a record shop "in turquoise duffle coats, extremely tight jeans and cha-cha shoes being cuddled by a group of horrible spotty teddy boys".^[91]

Continental influences

In

Bonjour Tristesse, 1958 and A bout de souffle, 1960), as well as the French novelist Françoise Sagan, who, as one critic put it, "was celebrated for the variety of her partners and for driving fast sports cars in bare feet as an example of the free life".^[93]

In 1961 Fenella Fielding played "a mascara-clad Gréco-alike" in The Rebel with comedian Tony Hancock,^[92] while, more recently, Talulah Riley replicated the look for scenes in ITV's 2006 adaptation of Agatha Christie's The Moving Finger,^[94] set in 1951.

Others favored the lower-cut, tighter styles of continental stars such as Bardot or

teenage

associations.

Hamburg and Beatlemania

In 1960, when the Beatles (then an obscure

Liverpudlian combo with five members, as opposed to their eventual "fab" four) were working in Hamburg, West Germany, they were influenced by a Bohemian "art school" set known as Exis (for "existentialists"). The Exis were roughly equivalent to what in France became known as les beats and included photographer Astrid Kirchherr (for whom the "fifth Beatle" Stuart Sutcliffe left the group) and artist and musician Klaus Voormann (who designed the cover for the Beatles' album Revolver

in 1966).

mop-top" cuts associated with "Beatlemania" in 1963–1964.^[98]

The latter coincided with the revival of the bobbed style for women, promoted in London by hairdresser

E-type Jaguar^[102]) came to typify the "sixties" look, advertisers turned to the Bohemian world for inspiration: through its use of herbs, Sunsilk shampoo was said to have "stolen something from the gypsies".^[103]

Swinging London

Beatlemania did not of itself create the apparent

swinging London".^[104]

Associated initially with such "

King's Road, Chelsea in January 1966,^[105] and, by 1967, the hippie look largely imported from America (although, as noted, London stores such as Biba had, for some time, displayed dresses that drew on Pre-Raphaelite imagery).^[106]

The

Rolling Stones' Keith Richards, whose early girlfriend, Linda Keith, had, in her late teens, been a bohemian force in West Hampstead, noted on the Stones' return from an American tour in 1967 how quickly hippiedom had transformed the London scene.^[107]

Victorian imagery

Alice (John Tenniel

)

This fusion of influences was discernible in two black-and-white productions for BBC television in 1966: the series Adam Adamant Lives!, starring Gerald Harper as an Edwardian adventurer who had been cryopreserved in time and Juliet Harmer as Georgina Jones, a stylish "mod" who befriended him, and Jonathan Miller's dreamy, rather Gothic production of Lewis Carroll's mid-Victorian children's fantasy Alice in Wonderland (1865).^[108] (Confirming the aspiration, Sydney Newman, the BBC's Head of Television Drama in the 1960s, reflected of Adam Adamant that "[they] could never quite get [the] Victorian mentality to contrast with the '60s".)^[109]

On the face of it, Carroll (a pseudonym for Charles Lutwidge Dodgson) had been a rather conventional and repressed

polka dots^[114] and the lyrics to Grace Slick's song "White Rabbit" (1966) – "One pill makes you larger/And one pill makes you small" – that she performed with both the Great Society

and Jefferson Airplane, including with the latter at Woodstock in 1969.

Women in the late 1960s and early 1970s

By the late 1960s shops such as Laura Ashley (whose first London outlet opened in 1968)^[115] were routinely promoting the "peasant look" and selling a range of "uniquely eccentric clothes ... The magic was being able to step into a 'Laura Ashley' dress and imagine you had found something out of a dressing-up box".^[116] At around the same time too, and into the 1970s, the brassière (or bra), which, as noted, had been seen as a liberating innovation in the early part of the century, came to be regarded by some women, such as the Australian academic

Smirnoff vodka: "I never thought of burning my bra until I discovered Smirnoff". It was also seen by many, including Greer herself, as a distraction from the cause of women's "liberation".^[118]

A

new-romantic haircut", but that her feminism had, in her view, matured.^[120]

"Girl power"

By the mid-1980s, the American singer

Buffy the Vampire Slayer, Caroline in the City, Sex and the City

).

Since the 1960s: hippie/boho-chic

Main article: Boho-chic

Journalist Bob Stanley remarked that "the late 1960s are never entirely out of fashion, they just need a fresh angle to make them de jour".^[122] Thus, the features of hippie fashion re-emerged at various stages during the ensuing forty years.

In the mid-to-late 1980s, variants of the short and fundamentally un-Bohemian

cowboy boots were so delighted by the bright satin '50s underwear favored by the matrons of Marrakesh that they wore them outside their denims à la Madonna [the singer] twenty-five years later".^[125]

In the early 21st century, "boho-chic" was associated initially with supermodel

noughties strong pre-Raphaelite traits were notable in, among others, singer Florence Welch, model Karen Elson and designer Anna Sui.^[126]

In Germany, terms like Bionade-Bourgeoisie,

distinction^{[129][130][131]} and separation.^[130] Among others, the lemonade trademark Bionade

has been connected with the phenomenon.

See also

• Bohemia in London

Notes

1. ^ ^{a b} Howarth, Alice (26 July 2022). "The history of Boho chic and why it's back for 2022". harpersbazaar.com. Harper's Bazaar. Retrieved 23 August 2023.
2. ^ The original Pre-Raphaelite Brotherhood had been formed in 1848 by William Holman Hunt, Rossetti and John Everett Millais, who aspired to a style of painting that they felt had been lost since the time of Raphael (1483–1520).
3. ^ Franny Moyle (2009) Desperate Romantics
4. ^ See, for example, Virginia Nicholson (2002) Among The Bohemians
5. ^ Though more conventional in many ways than Jane Morris, Georgie Burne-Jones was becoming "a bit of a bohemian" even in the early days of her marriage; for example, she would ask her maid to model for sketches in mid-morning, whereas a typical bourgeois wife would have given priority to the housework: Fiona MacCarthy (2011) The Last Pre-Raphaelite.
6. ^ Judith Flanders (2001) A Circle of Sisters
7. ^ Henry James, letter to Alice James, 10 March 1869
8. ^ Pygmalion, introduction to Act III
9. ^ Fiona MacCarthy (2011) The Last Pre-Raphaelite
10. ^ ^{a b c} Anne Sebba (1990) Laura Ashley: a Life By Design
11. ^ MacCarthy, op. cit.
12. Trent incident that, in the early stages of the American Civil War
    almost brought Britain and the Union to war: see Amanda Foreman (2010) A World on Fire.)
13. ^ David Cannadine (1998) History in Our Time
14. ^ Diary of Pauline, Lady Trevelyan, 24 June 1853, quoted in Robert Brownwell (2013) Marriage of Inconvenience
15. ^ ^{a b} Brownwell, op.cit.
16. ^ Robert Melville in New Statesman, 20 November 1970
17. ^ See MacCarthy, op.cit.;
18. ^ Eleanor Mills in Sunday Times Culture, 19 July 2015 (reviewing Kate Bolick, Spinster)
19. ^ Virginia Nicholson (2002) Among The Bohemians
20. ^ John Sutherland in The Times, 21 December 2013, reviewing Lucinda Hawksley, Princess Louise: Queen Victoria's Rebellious Daughter
21. ^
    Martin Pugh
    (2008) We Danced All Night
22. ^ The Times Luxx, 26 November 2011
23. ^ Andrew Marr (2009) The Making of Modern Britain.
24. ^ Henrietta Heald, 'For England's Sake', History Today, October 2014, p. 33
25. ^ Kate Adie (2013) Fighting on the Home Front: The Legacy of Women in World War One. Tilley was actively involved in recruitment for war service and was happily married to her songwriter, Walter de Frece, who was later knighted and became a Member of Parliament.
26. ^ Robert Graves & Alan Hodge (1940) The Long Weekend: A Social History of Great Britain 1918–1939
27. ^ Edward Fawcett in Royal Academy of Arts Magazine, June 2012
28. ^ Times obituary of Gussie Moran, 19 January 2013
29. ^ ^{a b} John Stevenson (1984) British Society 1914–45
30. cami-knickers and a Princess petticoat
    ". As early as 1920, in Travers' début novel The Dippers, Pauline Dipper's "black silk petticoat [did not] extend unduly, and it was possible to esteem the shapely outline of calf and instep, compressed in stockings of the same material" (chapter III). Also in The Dippers, a young woman tried to start a conversation about "hygienic underclothing for ladies" with a man she mistakenly believed to have written articles on the subject: "I wanted to speak to you about something delicate ... this is not a subject one can discuss in public. People have such conventional ideas" (Helen Monk to Henry Talboyes, chapter VIII).
31. ^ Glamour's Golden Age, BBC4, 26 October 2009
32. ^ Jane Ellen Wayne (1993) Clark Gable: Portrait of a Misfit
33. ^ Quoted in Halliwell's Filmgoer's Companion (10th ed. 1993) edited by John Walker. Almost 70 years after Lombard's death, the Sunday Times described red lipstick as the "ne plus ultra [not further beyond] of make up ... We respect red lipstick as a badge of loveliness and youth (Georgia May), bold style (Florence Welch), sexual confidence (Scarlett Johansson) and old-school glamour (Rosie Huntington-Whiteley) – and, above all, we appreciate that it doesn't work for everyone": Shane Watson in Style, 4 December 2011.
34. ^ Wayne, op.cit.
35. ^ Tim Stanley, 'Speaking in Code', History Today, October 2014
36. ^ Graves & Hodge, op.cit.
37. ^ Virginia Nicholson (2002) Among the Bohemians
38. ^ Katherine Everett (1949) Bricks and Flowers. See also Juliet Nicholson (2006) The Perfect Summer
39. ^ Katherine Everett (1949) Bricks and Flowers
40. ^ See Diana Souhami (2004) Wild Girls
41. ^ Gilbert Cannan (1916) Mendel
42. ^ Gretchen Gerzine (1989) Carrington
43. ^ Max Hastings (2013) Catastrophe: Europe Goes to War 1914. Hastings himself rejected the notion that the years immediately before the war represented some sort of golden age.
44. ^ See Ellie Pithers in Telegraph Magazine, 26 January 2013. The term, "vamp" (after "vampire"), was associated in particular with the silent film actress Theda Bara (1885–1955).
45. ^ Valentina was originally a comic book creation by Italian artist Guido Crepax, inspired by Louise Brooks in Pandora's Box: see Roland Jaccard (ed. 1986) Louise Brooks: Portrait of an Anti-Star.
46. ^ Greenwood (2012) Unnatural Habits
47. St. Trinian's (2007) and Michelle Dockery as Lady Mary Crawley in the 5th series of ITV's Downton Abbey
    (2014), the latter set in 1924.
48. ^ Alwyn W. Turner (2010) Rejoice! Rejoice!: Britain in the 1980s
49. ^ Graham Stewart (2013) Bang! A History of Britain in the 1980s
50. ^ Tim Stanley, 'Speaking in Code' in History Today, October 2014 at page 21. Dietrich made clear her personal preference for such clothes: "I do not wear them to be sensational. I think I am much more alluring ..." (quoted, ibid.).
51. ^ "Achieving Laid-Back Minimalism With Shabby Chic Style". 4 April 2020.
52. ^ Clarissa Eden (2007) A Memoir: From Churchill to Eden
53. ^ Pearson Phillips in Age of Austerity 1945–1951 (ed. Michael Sissons & Philip French, 1963)
54. ^ Phillips, loc.cit.
55. ^ With reference to the colourless "utility" garments that became commonplace in Britain during the war, Phillips (loc.cit.) quotes an expert of the time at London's Victoria and Albert Museum as asserting that "men will feel oppressed and frightened by excessive femininity when they return from war".
56. ^ See Dan Halpern in The New Yorker, 25 December 2006
57. ^ Samedi-Soir, 3 May 1947
58. ^ Dan Halpern, The New Yorker, 25 December 2006
59. ^ Quoted in Nicholas Rankin (2011) Ian Fleming's Commandos: The Story of 30 Assault Unit in WWII
60. ^ Letter, 23 September 1944: Darling Monster: The Letters of Lady Diana Cooper to her Son John Julius Norwich 1939–1952 (ed. John Julius Norwich, 2013)
61. ^ Antony Beevor & Artemis Cooper (1994) Paris After the Liberation
62. ^ Interview with Will Hodgkinson, Times Saturday Review, 6 November 2010
63. ^ The Times, 27 June 2000
64. ^ David Profumo (2006) Bringing the House Down. In contrast to Vadim, who had not turned twenty, Allégret (1900–1973) was in middle age when he directed Hobson. He had been married to the daughter of the editor of French Vogue, who left him after the war for a theatrical agent, André Bernham, taking their daughter with her (ibid). Jeanmaire is probably best remembered through the second line – "And you dance like Zizi Jeanmaire" – of Peter Sarstedt's song "Where Do You Go To (My Lovely)?" (1969) which captured the spirit of Parisian high life in the late 1960s.
65. ^ Charles Moore (2013) Margaret Thatcher: The Authorized Biography – Volume One: Not for Turning
66. ^ Eve Champman and Hugo Williams quoted in David Kynaston (2009) Family Britain 1951–57
67. ^ Harold Macmillan, diary, 22 March 1963, quoted in Alistair Horne (1989) Harold Macmillan 1957–1986; Charles Williams (2009) Harold Macmillan
68. ^ "BBC NEWS – World – Europe – Bidding goodbye to the Gauloises". news.bbc.co.uk. February 2007.
69. existentialist
    companion of Sartre. See Bruno Waterfield in The Times Saturday Review, 25 July 2015, regarding the "sanitised" Europe of the early 21st century and its effect on French culture.
70. ^ Bruno Waterfield in The Times Saturday Review, 25 July 2015 (reviewing Jonathan Fenby (2015) The History of Modern France)
71. ^ Andrew Hussey, History Today, March 2015, p. 64 (reviewing Barnett Singer, The Americanization of France).
72. ^ Hussey, loc.cit.
73. ^ Notably She Loves You (John Lennon/Paul McCartney, 1963)
74. ^ Patrick Seale & Maureen McConville (1968) French Revolution 1968
75. ^ At the time, Seale & McConville (op. cit.) described de Gaulle's survival in 1968 as "an amazing demonstration of political virility in a man of 77". He resigned the following year and died in 1970. A later historian contrasted the stature of de Gaulle with "the soap opera lives" of Presidents Sarkozy (2007–2012) and Hollande (2012–): Jonathan Fenby (2015) The History of Modern France: From Revolution to Present Day
76. ^ Seale & McConville, op. cit.
77. Dorchester Hotel in London and "presented to the world" by Ahmet Ertegun
    : see Keith Richards (2010) Life.
78. ^ Eleanor Mills in Sunday Times Culture, 19 July 2015 (reviewing Kate Bolick (2015) Spinster)
79. ^ Suze Rotolo (2009) A Freewheelin' Time
80. ^ Suze Rotolo observed that "the Beats had already cracked the façade [of constricted and rigid morality] and we, the next generation, broke through it": A Freewheelin' Time, op. cit.
81. ^ See The New Yorker, 26 June 2006
82. ^ Jason Anderson, "This Land is Your Land" in Uncut, September 2015, p. 60
83. ISBN 978-0-500-30100-5
    . See also Fiona MacCarthy (2011), op. cit.
84. ^ Quoted in History Today, October 2011
85. ^ History Today, loc. cit.
86. ^ Saturday Book, vol. 16, 1956
87. ^ Pearson Phillips in Age of Austerity, op. cit.
88. ^ Dominic Sandbrook (2005) Never Had It So Good
89. ^ Sophie Parkin (2012) Colony Room Club 1948–2008: A History of Bohemian Soho
90. ^ Carol Dyhouse in History Today, November 2011
91. ^ Diary, 13 February 1960, quoted in David Kynaston (2014) Modernity Britain: A Shake of the Dice, 1959–62
92. ^ ^{a b} Times Saturday Review, 6 November 2010
93. ^ Peter Lewis (1978) The 50s
94. ^ Part of the Marple series, with Riley as Megan Symington.
95. ^ Richard Davenport-Hines (2013) An English Affair
96. ^ For example, A Book of Mediterranean Food (1950)
97. ^ Cynthia Lennon (2005) John
98. ^ See, for example, Sandbrook, op. cit.
99. ^ Bob Hope in Telegraph Magazine, loc. cit.
100. ^ And replicated by Sheridan Smith in the ITV biographical film, Cilla (2014)
101. ^ A similar style to McGowan's was adopted in the early 2010s by British Labour Party politician Rachel Reeves.
102. ^ Richard Wiseman (2006) Whatever Happened to Simon Dee?
103. ^ TV advertisement of 1966: Washes Whiter (BBC2, 1990)
104. ^ Time, 15 April 1966
105. ^ See Times Magazine, 24 June 2006; David Moss in Antiques Trade Gazette, 27 August 2011 (number 2004)
106. ^ Fiona MacCathy (2011) The Last Pre-Raphaelite
107. ^ Keith Richards (2010) Life
108. ^ Miller's production starred 13-year-old Anne-Marie Mallik in her only known acting role.
109. ^ Andrew Pixley (2006) DVD viewing notes for Adam Adamant Lives!
110. ^ Simon Winchester (2011) The Alice Behind Wonderland. Alice Liddell, the inspiration for Alice's Adventures in Wonderland, was the daughter of Henry Liddell, Dean of Christ Church, Oxford, where Dodgson was a Fellow.
111. ISBN 978-0-500-30075-6
     .
112. ^ Roger Lancelyn Green (1960) in Aspects of Alice (ed. Robert Phliips, 1971)
113. ^ Thomas Fensch (1968) "Alice – the First Acidhead" in Aspects of Alice, op. cit.
114. ^ Waldemar Januszczak in Sunday Times Culture, 27 November 2011
115. Bloomingdales and Macy's
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