Floral printed cotton dress, Dollyrockers by Sambo, c. 1967, England

sleeveless dress made from twill weave cotton or cotton mix with a small scale floral pattern in brown, blue, light purple, and dark purple. The dress has a round neckline, high yoke and a back-zip closure. No size is indicated in the garment.

Given by Beryl Davies

‘Dollyrockers by Sambo’ was a popular British ready-to-wear fashion brand devised to cater for teenagers and young women. Following the lead of new brands devoted to youthful, energetic fashion, such as Mary Quant, manufacturer Samuel Sherman (nicknamed ‘Sambo’) made Dollyrockers clothes from 1963 to the late-1970s.

Born around 1911, Sherman established his first brand ‘Sambo’ in the late 1940s as part of Samuel Sherman Ltd. The name ‘Sambo’ was also well known in the mid-20th century from the popular children’s picture book ‘Little Black Sambo’, written by Helen Bannerman in 1899. The book became controversial for promoting racial stereotypes. Samuel Sherman Ltd. incorporated other labels such as ‘Dollyknits’, ‘Super Dolls’, ‘Colin Glascoe’ and ‘Concept’. While ‘Super Dolls’ sold designs for larger women, the last two labels were dedicated to more high-end clothes. Although the group had its own manufacturing facilities in Peckham, south London, the major part of its total output was made by some thirty outside subcontract makers.

According to an article in ‘The Times’ from 11 July 1968, Dollyrockers was a very lucrative venture: from £2,300 in 1963, Samuel Sherman’s profits rose to £223,000 in 1967. A substantial distribution network as well as impactful advertising campaigns contributed to the success of the brand. By 1968, Dollyrockers designs could be purchased from D.H. Evans, Dickins and Jones, Robinson, and John Lewis in London; Griffin and Spaldings of Nottingham; Hammonds of Hull; Rackhams of Birmingham.

In 1964, Dollyrockers launched their most effective advertising campaign, which contributed to the fame of the brand. Created in collaboration with Dolcis shoes, it featured model Pattie Boyd (the girlfriend of George Harrison) in sleeveless Dollyrockers frocks, worn with coordinated Dolcis shoes.

Dollyrockers clothes were designed in-house by unknown designers who took full advantage of the vibrant textile designs fueling the youth fashions of ‘Swinging London’. Labels from other surviving garments show that the company collaborated with Liberty Prints, and independent designer Pat Albeck also designed textiles for the brand, as a design for a printed textile at the V&A confirms (E.638-1980).
Like many 1960s youth brands, Dollyrockers focused on designing and popularising garments like mini skirts and trouser suits which appropriated styles from menswear and childrenswear. Arguably, these styles reflected and promoted new freedoms and opportunities for young women in post-war Britain, and changing attitudes to social structures and sexuality. In 1969, Dollyrockers advertised pant-suits which came with a dress-length tunic top that could equally be worn on its own. Like the minidress and coat to be acquired, these two-piece ensembles allowed for playful mix and matching with other garments. A typical Dollyrockers dress cost 5 ½ guineas in 1968 (about £105 in today’s currency) which represents more than half a week’s wages for a shop assistant at the time. This acquisition was an important investment for Beryl Davies, the original owner.

This dress was worn with a matching coat, (T.251-2019). The length of this ensemble indicates that it was probably made in about 1967, when miniskirts were at their shortest. Surviving examples show that after this and in the 1970s, Dollyrockers ranges were dominated by ‘peasant-style’ maxi dresses reflecting the wider return in fashion to eclectic, hippy clothes.

In terms of design, the coat and dress set reflects the contemporary interest in historicism combined with a resolutely modern short hem. This is seen in the raised double-breasted yoke of the coat which recalls the empire line of the early nineteenth century, while the floral print of the dress and lining of the coat is probably influenced by the popularity of Victorian floral patterns and Liberty prints for children’s dresses, re-appropriated for women’s clothes, an idea introduced by Mary Quant. Equally, the dress with a coat with matching lining is a feature seen in 1920s fashion, which was also a reference point for designers in the 1960s. The strong visual branding of the Dollyrockers label is significant for the history of fashion marketing.

T.250-2019