King's Road in the context of British Union of Fascists


King's Road in the context of British Union of Fascists

⭐ Core Definition: King's Road

King's Road or Kings Road (or sometimes the King's Road, especially when it was the king's private road until 1830, or as a colloquialism by middle/upper class London residents) is a major street stretching through Chelsea and Fulham, both in west London, England. It is associated with 1960s style and with fashion figures such as Mary Quant and Vivienne Westwood. Sir Oswald Mosley's Blackshirt movement had a barracks on the street in the 1930s.

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King's Road in the context of Chelsea College of Science and Technology

Chelsea College of Science and Technology was established as a College of Advanced Technology on a single site on the corner of Manresa Road and King's Road, Chelsea, London SW3, as part of the University of London in 1966. In 1969 it expanded into new premises on Hortensia Road Chelsea to house the Departments of Zoology and Botany and accommodate M.Sc courses in applied biology. It was granted its royal charter in 1971 at which time it was renamed Chelsea College. In 1985, it merged with King's College London.

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King's Road in the context of Vivienne Westwood

Dame Vivienne Isabel Westwood (née Swire; 8 April 1941 – 29 December 2022) was an English fashion designer and businesswoman, largely responsible for bringing modern punk and new wave fashions into the mainstream. In 2022, Sky Arts ranked her the 4th most influential artist in Britain of the past 50 years.

Westwood came to public notice when she made clothes for the boutique that she and Malcolm McLaren ran on King's Road, which became known as Sex. Their ability to synchronise clothing and music shaped the 1970s UK punk scene, which included McLaren's band, the Sex Pistols. She viewed punk as a way of "seeing if one could put a spoke in the system".

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King's Road in the context of Fulham Pottery

The Fulham Pottery was founded in Fulham, London, by John Dwight in 1672, at the junction of New King's Road and Burlington Road, Fulham, not far from Putney Bridge. Dwight is the earliest clearly documented maker of stoneware in England, although immigrant Dutch or German potters were probably active several decades before. By 1690 there was a rival stoneware operation in Fulham, run by the Dutch Elers brothers, who after a few years went off to become important early figures in transforming the Staffordshire pottery industry.

In its first years it was a pioneering force in English pottery in several respects, in particular salt-glazed wares and figures. After Dwight's death in 1703 the pottery made less ambitious stonewares until a revival in the later 19th century. It operated on the same site until 1956, and then until at least the 1980s as a base for studio pottery to be fired. Today, all that remains of the original pottery is one large bottle kiln, "probably 19th-century", which is now a Grade II listed building.

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King's Road in the context of Swinging London

The Swinging Sixties was a youth-driven cultural revolution that took place in the United Kingdom during the mid-to-late 1960s, emphasising modernity and fun-loving hedonism, with Swinging London denoted as its centre. It saw a flourishing in art, music and fashion, and was symbolised by the city's "pop and fashion exports", such as the Beatles, as the multimedia leaders of the British Invasion of musical acts; the mod and psychedelic subcultures; Mary Quant's miniskirt designs; popular fashion models such as Twiggy and Jean Shrimpton; the iconic status of popular shopping areas such as London's King's Road, Kensington and Carnaby Street; the political activism of the anti-nuclear movement; and the sexual liberation movement.

Music was an essential part of the revolution, with "the London sound" being regarded as including the Beatles, the Rolling Stones, the Who, the Kinks and the Small Faces, bands that were additionally the mainstay of pirate radio stations like Radio Caroline, Wonderful Radio London and Swinging Radio England. Swinging London also reached British cinema, which according to the British Film Institute "saw a surge in formal experimentation, freedom of expression, colour, and comedy", with films that explored countercultural and satirical themes. During this period, "creative types of all kinds gravitated to the capitol, from artists and writers to magazine publishers, photographers, advertisers, film-makers and product designers".

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