‘Capability’ Brown, the Quiet Revolutionary of Eighteenth Century English Landscape Gardening

Biographical, Built Environment, Heritage & Conservation, Leisure activities, Natural Environment, Regional History


I first happened upon the name of ‘Capability’ Brown several years ago when I was researching the Kirkbride buildings complex in Sydney. I guess it was the jokey sounding name that first got my interest. I found his name historically associated with the popularising of Ha-Ha Walls (another hard-to-take-serious concept when you first encounter it without context) which is an architectural feature of Kirkbride. Brown acquired his nickname from his habit of telling clients that their land had capability for improvement [‘Highclere Castle: The real-life Downton Abbey’, (Steve McKenna), SMH, 17-Apr-2016, www.traveller.com.au].

Highclere


Capability (Christian name
Lancelot) Brown’s career as a landscape gardener and designer in the 18th century was a wildly successful one. Lofty accolades cast in his direction describe him as “England’s greatest gardener” and “the Shakespeare of Gardening”. He rose from humble origins to become master gardener to George III at Hampton Court Palace, receiving over 250 commissions in his lifetime and designing in excess of 170 parks (the majority of which survive) [‘Capability Brown’, Wikipedia, http:/:en.m.wikipedia.org]. His vast oeuvre stretches over 30 counties in England and Wales, greater London and even one garden project in Germany. As artistic creators of grand physical structures go, the fecund Brown was the landscaping and gardening equivalent of Frank Lloyd Wright of his day – minus the ego!

LCB

And like that prolific and seminal 20th century American architect he was very well remunerated for his efforts. From the 1760s Brown was earning £6,000 per annum (equivalent to £806,000 in 2018 money!) and £500 for a single commission [ibid.].

Classical v Romantic

As Brown was starting to learn the trade in the late 1730s, there was a fundamental change going on with landscape gardens England. The formally patterned garden with its strict geometrical order and adherence to the classical style (the embodiment of the Palladian ideal) was giving way to a new, more informal type of garden landscape…romantic, irregular, not conforming to order, the appearance of a natural landform [Bassin, Joan. “The English Landscape Garden in the Eighteenth Century: The Cultural Importance of an English Institution.” Albion: A Quarterly Journal Concerned with British Studies, vol. 11, no. 1, 1979, pp. 15–32. JSTOR, www.jstor.org/stable/4048315].

William Kent

The new style

In the forefront of this movement towards the natural and informal was William Kent (Brown’s mentor), Charles Bridgeman and others, as well as prominent literary figures of the day like Alexander Pope. What Kent et al started, Capability Brown would go on to elevate to a higher plane.

Typical features of the Brown garden

(see also “Ha-Ha Wall” in end-note) Brown honed his landscaping style while working under Kent at Stowe (Bucks). Trademark features: smooth, undulating grass running straight to the house; the grand sweeping drive (eg, Ashridge Estate, Berrington Hall, Wimpole Estate); the woodland belt (eg, Basildon Park, Dinefwr, Ickworth); clumps and scatterings of trees (eg, Petworth Park, Stowe, Croome); the picturesque stone bridge (eg, Prior Park, Wallington, Stowe): and serpentine lakes formed by invisibly damming small rivers (eg, Hatfield Forest, Stowe, Wimpole Estate); decorative garden buildings (monuments, temples, rotundas and follies) (eg, Clandon Park, Petworth Park, Stowe, Wallington); cedars of Lebanon🌲 (eg, Croome, Charlecote Park) [National Trust (#1) , www.nationaltrust.org.uk; ‘Brown’, Wiki, op.cit.]

Era of the picturesque

The picturesque was a 18th century movement in art and architecture which was a reaction to Neoclassicism with its fixation on order, proportion and exactitude. In Georgian England the picturesque influenced landscape designers like Brown (and his successor Humphry Repton) who sought to replicate the romanticised country scenes of Italian paintings in their garden projects. The features in Brown’s ‘natural’ garden landscapes – long vistas to lakes, bridges, lawns, ruins, groves of trees and Ha-Ha walls – were a case of real life imitating (sublime) art [‘Lancelot “Capability” Brown and Humphrey Repton and the Picturesque’, (Janice Mills Fine Artist), (Jan-Dec 2016), http://janicemillsfineartist.wordpress.com].

Social purpose

The new informal gardens in 18th century England, as typified in Brown’s landscapes, were created to underscore the growing affluence of the landowning classshowing England through their properties as they wished it to be seen, “a wealthy, educated and fertile centre of the Industrial Revolution and Enlightenment”. Thus Brown’s beautiful, idyllic estate gardens were intended to resemble a romantic painted scene through the “use of local natural elements and English architecture” [ibid.].

Dinefwr Castle (Carmarthenshire) – in this Welsh estate LCB was engaged as a visiting consultant, making recommendations to the landowners

(Photo: National Trust)

Multitasker extraordinaire

Capability Brown was able to complete a vast sum of landscape projects in this career. On average, at any one time he had six projects going simultaneously, this testifies to Brown being able to work fast…an accomplished horseback rider, he could ride from site to site, survey it and knock up a rough design, all within a couple of hours. Of course even with his exceptional capacity he could only spread himself so far, when he couldn’t personally oversee projects, he would delegate to his hand-picked team of foremen, assistant surveyors and landscapers to be “hands-on” on-site and ensure that his designs were implemented properly [‘Our great ‘Capability’ Brown landscapes’, National Trust, (#2), www.nationaltrust.org.uk; ‘Brown’, Wiki, op.cit.].

Brown’s success as a landscape architect owed a lot to different factors…one of his virtues was his ability to choose assistants for his projects – he had a knack of picking the right people to work with, such as William Donn, John Hobcroft and Nathaniel Richmond. Brown also kept himself informed of the latest technologies. His awareness of hydraulic devices led him to utilise steam pumps employed in mining for the water features of his landscapes [Shields, Steffie. “’Mr Brown Engineer’: Lancelot Brown’s Early Work at Grimsthorpe Castle and Stowe.” Garden History, vol. 34, no. 2, 2006, pp. 174–191. JSTOR, www.jstor.org/stable/25472339].

Dissenting voices – ‘Culpability’ Brown

Despite the popularity Brown attracted for his landscape work, the Northumberland garden designer had his detractors… both from contemporaries and from critics after his time. Typical among these was Uvedale Price who criticised Brown for sweeping away all of the older trees and formal garden features in wholesale fashion (destroying the aesthetic of the classical of earlier landscapes). Similarly, architect William Chambers thought the “new manner of gardens” (code for Brown’s work) as little improvement on “common fields and vulgar nature” [‘Brown’, Wiki, op.cit.]. Certainly for these critics, the subject of their censure may have better been labelled ‘Culpability’ Brown!

Some of the invective aimed on Brown’s direction however would have derived from a more base source. Class snobbery would have been a motive for some given Brown’s modest origins – the language often used was a giveaway, detractors like architect Reginald Blomfield disparaged him as “a peasant slave from the melon ground” and having once been (allegedly) a “kitchen gardener” [Shields, loc.cit.]. Some of the opprobrium also was no doubt born out of sheer jealousy at Brown’s immense fame and financial success.

In 2016 a collection of Royal Mail stamps were issued to mark the tercentenary of LCB’s birth

A “single shaping hand”

For the many true believers though, no praise for the man known as ‘Capability’ seems high enough…one observer noted of his Highclere Castle (Hants) gardens: the location has been a designed landscape for over 1,200 years, yet Brown’s stamp is so much on the place. The remarkable result of one person imposing “his vision with sufficient force for it to have endured indefinitely” [Phipp, loc.cit.].

So successful was Capability Brown in popularising the informal garden, and so imitated was he, that he played a revolutionary role in changing the face and character of English gardens forever. In creating naturalistic landscapes he ‘copied’ nature so skilfully that “his work is often mistaken for natural landscapes” [‘How to spot a Capability Brown landscape’, [National Trust, (#1), loc.cit.].

The English Ha-Ha

End-note: The Ha-Ha: “Invisible boundaries”

The Ha-Ha Wall (AKA the sunken wall) was a defining features of a typical Capability Brown landscape garden. The Ha-Ha (French in origin) was devised to keep grazing animals out of the more formal areas of a garden, doing away with the need for a fence while creating the illusion of openness. Brown et al used it to provide unbroken vista views – from the house and garden to the parkland or countryside beyond (eg, Petworth Park, Charlecote Park, Stowe) [‘Garden Features: What are Ha-Has?’, The English Garden, 29-Oct-2014, www.theenglishgarden.co.uk].

PostScript: The test of time Remarkable also are the number of country gardens sculpted by Brown that have remained intact (or at least partly so). Around 150 survive – including Alnwick Castle (Northumberland), Blenheim Palace (Oxfds), Basildon Park (Berks), Croome Park (Worcs), Stowe House and Stoke Park (Bucks), Berrington Hall (Hertfds), Milton Abbey and Abbas (Dorset), Clandon Park (Surrey), Charlecote Park (Warws), Chatsworth House (Derbys), Petworth Park (Sussex), Warwick Castle (Warws), Wimpole Estate (Cambs), Wallington (East Yorks), Hatfield Forrest (Essex), Harewood House (West Yorks), Ashridge Estate (Hertfds), Appuldurcombe House (Isle of Wight), Ickworth (Suffolk), Belvoir Castle (Leics), Dinefwr Castle (Wales), Kew Gardens (Lond) and of course Highclere, these days more famous for the location of the TV series “Downton Abbey”. Brown’s penchant for lakes & bridges (Photo: National Trust)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

‘Callan Park: The Kirkbride Experiment, a Microcosm of “Good Intentions” ‘, December 2015 blog

this trend had a paradoxical component to it…as the born-to-rule gentry were opting for country homes which were smaller, the gardens were becoming larger [Bassin, loc.cit.] – which of course suited landscape gardeners like Brown given to broad canvasses

follies are decorative, usually non-functional, buildings that enhance the planned landscape, Brown used mock Roman villas, Medieval ruins, etc

🌲 evergreen conifers

Brown’s gardens were of course not natural in any organically occurring sense, but carefully and meticulously contrived to both look natural and to convey “a sense of informality” [‘Capability Brown’, Britain Express, www.britainexpress.com

Brown’s vistas contained no clear delineation between house, parkland and natural environment giving the landscapes a seamless appearance [Mills, op.cit.]

Bungan’s ‘Baronial’ Castle: 100 Years on the Headland

Built Environment, Geography, Memorabilia, Racial politics, Regional History, Social History, Visual Arts

The northern coastline of suburban Sydney, with its abundance of picturesque beaches, is a magnet in summer for many visitors from far and near. One of the less frequented of the Northern Beaches, owing to its relative inaccessibility and lack of a rock pool, is Bungan Beach.

E44AD00D-D062-4E62-B81E-89476E557AE5What drew me to Bungan this summer was not however the pristine waters of its uncrowded beach, but one particular unusual building standing out high up on Bungan Head…Bungan Castle, which this year celebrates 100 years since it was constructed.

Situated as one later observer noted “on a bold headland of the coast, about eighteen miles from Sydney” [1] (Newport, NSW), Bungan’s castle was built at the very pinnacle of a cliff-top by Gustav Adolph Wilhelm Albers, a German-born Australian artists’ agent. Today it is hemmed in and surrounded by a raft of modern, multi-million dollar mansions which share its unparalleled breathtaking views. But when Albers built “Bungan Castle” on what is now Bungan Head Road, the imposing high dwelling was surrounded only by bush and cleared scrub and completely neighbourless!

6C5B62A4-DD45-4EA9-9D07-C9536B4DE418 [photo (ca.1928): National Library of Australia]

Albers in 1919 was considered something of a doyen of the Australian art community, he represented local artists like Sidney Long and JJ Hilder, and the castle (his abode at weekends and holidays) acted as a kind of 1920s arts  hub, an unofficial Sydney artists’ colony. The leather-bound visitors’ book (still surviving) records the names of numerous artistic personalities of the early 20th century including the formidable and influential Norman Lindsay.

2B697DC8-1B4F-40BE-A765-E7742D8A6C5C [photo: NSW Archives & Records]

Aside from creating a skyline haven for practitioners of the art community, the eccentricity of Albers’ personal taste in decor is worthy of elaboration: he furnished Bungan Castle with an idiosyncratic and vast array of collectibles, a number of which the art connoisseur acquired on his regular jaunts overseas. The castle interior was inundated with a phenomenal “hotch-potch” of antiquated weaponry – including Medieval armour, Saracen helmets, Viking shields, sword and daggers including a Malay kris, battle-axes, muskets, flint-lock guns, Zulu rifles; convicts’ leg-irons and Aboriginal breast-plates.

647EE043-FEF2-48AB-848B-5854D9EF30DC

[photo: Fairfax Archives]

In addition to the assortment of objects of a martial nature, there were numerous other oddities and curios, such as a big bell previously located at Wisemans Ferry and used to signal the carrying out of convict executions in colonial times; a human skull mounted above the hall door (washed up on Bungan Beach below the castle); a sea chest;  a variety of ships’ lanterns; “tom-toms” (drums) and various items of taxidermy [2].

BEE5D80B-7C91-4CE7-B2DE-2B9D1A769051

This home is a castle – a “Half-Monty” of a castle 

From the road below, staring up at the tree-lined Bungan Castle, it does bear the countenance of something from a pre-modern time and not out of place in a rural British landscape. Constructed of rough-hewn stone (quarried from local (Pittwater) sandstone), it contains many of the castellated features associated with such a historic piece of architecture – towers and turrets, a donjon (keep), battlements, vaults, a great hall, a coat-of-arms, etc.

This said, Bungan Castle lacks other standard features – a drawbridge with a portcullis and a barbican ; visible gargoyles; and a moat (although Edinburgh Castle also lacks a moat, being built up high on bedrock it doesn’t require one for defensive purposes); and it is also bereft of a dungeon! And of course, most telling, parts of the southern and eastern facades are clearly more ‘home’ than castle! One could easily dismiss any claim to it being thought of as an authentic facsimile of the “real thing” (some early observers described it, erroneously, as a ‘Norman’ castle), but with a bit of licence we can reasonably ascribe the descriptor (small) ‘castle’ to Bungan, much as New Zealand tourism promotes the lauded Lanarch ‘Castle’ on the Otago Peninsula (also without many of those classic features).

A family concern

GAW Albers’ prominence in the Northern Beaches area and the talking point uniqueness of Bungan Castle led many locals to dub the Sydney art dealer “the Baron of Bungan Castle”. Albers died in 1959 but the ‘baronial’ castle has remained firmly in family hands. The current owners are Albers’ nephew John Webeck and his wife Pauline. John maintains the family’s artistic bent as well, having like Uncle William had a career as an art dealer.

D486C569-5F33-4535-BE90-7665EBE8F0A3Artists’ Mecca? museum? both?

Webeck has signalled that he would like to reprise the castle’s former mantle as an artists’ Mecca, but I can’t help feeling that with such a wealth of out-of-the-ordinary artifacts within its walls, that its future might be most apt as an historical museum. Such suggestions have been made in the past – the Avalon Beach Historical Society referred to Bungan Castle having been an “unofficial repository for many articles, (sufficient to deem it) Pittwater’s first museum”[3].

—-

the close proximity of larger beaches with on-site car parks (absent from Bungan) – Newport, The Basin and Mona Vale – make them a more popular choice for beach-goers

at the time there was only three other homes on the entire headland

 Albers’ principal family home was in Gordon, not far way on the North Shore of Sydney

although the bulk of the castle’s collection were donated to Albers by others who thought it an appropriate home 

[1] WEM Abbott, ‘Castle on a Cliff Edge’, The Scone Advocate, 25-Mar-1949, http://nla.gov.au.news-article162719685

[2] ‘Castle Turrets on Sydney’s Skyline’ (Nobody Wants them…Our Baronial Halls), The Sun (Sydney), 08-May-1927, http://nla.gov.au.news-article223623550. The author of this article goes on to lament the fact that Sydney’s castle homes had fallen out of fashion for the well-heeled “princes of commerce” in search of a suitable ancestoral mansion…in 1927 their preference was apparently for modern Californian villas with all the latest conveniences.

[3] ‘A Visit To Bungan Castle By ABHS’, Pittwater Online News, 14-20 Oct 2018, Issue 379, www.pittwatetonlinenew.com

The Selfridges Story: The Making and Unmaking of Harry (or Several Lessons in Cultivating Customer Satisfaction)

Biographical, Built Environment, Commerce & Business, Local history, Retailing history, Travel

“People will sit up and take notice of you if you will sit up and take notice of what makes them sit up and take notice.”
~ HG Selfridge

⊹⊹⊹ ⊹⊹⊹ ⊹⊹⊹

Before I ever visited the UK I wasn’t at all familiar with Selfridges. I knew about Knightsbridge and Harrods and its preciously preserved pedigree all right…we’ve done that! My first time in London I was on a bus travelling (make that crawling) down Oxford Street heading towards the West End when I was enlightened as to the existence of the second-best known upmarket London department store. As the bus idled stationary I spotted a sign in front of a building that said ‘Selfridges’, my first thought, I remember, was “strange name!”…but when I think about it now I vaguely recall that I had previously heard the name Selfridges, but without inquiring further at the time I sort of formed the literal impression that it was a store as the name sounded that “sold fridges”, ie, a purveyor of domestic white goods! So when I did eventually get my beak inside the store’s doors at 400 Oxford Street I was surprised to see lines and lines of (pricey) fashion wear, shoes, accessories, skin care products, bags and more – but not one refrigerator in sight! (in its time it has apparently sold most everything!)

Even without visiting Selfridges’ flagship Oxford Street store, you may well be aware of it or of its US-born founder Harry Gordon Selfridge thanks to the recent ITV television series Mr Selfridge (first aired in 2013). The series was a period drama about the flamboyant, visionary retailer and the interactions that take place around him in his eponymous London department store.

A Marshall Field blueprint for London
Wisconsin-born Harry Gordon Selfridge initially earned his business ‘spurs’ working for Chicago department store Marshall Field & Company (right), this segued into him purchasing his own department store in Chicago. In hardly any time at all the mercurial Selfridge abruptly re-sold the business, making a quick profit and retired to play golf. In 1906 while holidaying in London, Selfridge sensed a new retail opening for his entrepreneurial talents in the British capital. For £400,000 he purchased land and surrounds for a novel custom-built, mega-department store in the then unfashionable, western end of Oxford Street [‘Harry Gordon Selfridge’, Wikipedia, http://en.m.wikipedia.org].

“The American Invasion of London”
The London press was not initially warm to the notion of the American’s incursion into the world of London commerce. The City’s daily and drapery trade press described it as an “American Invasion of London” [Lawrence]. Selfridge’s loud in tone and bombastic approach to selling the project didn’t help in endearing him to the newspapers (described in some publications as being “aggressively big in scale”). Selfridge’s efforts to make the store a reality were driven by an unwavering vision: creating a “monumental retail emporium” was in his eyes the key to elevating “the business of a merchant to the Dignity of Science” (as he grandiosely put it). Selfridge believed to achieve that, he had to construct a gigantic “technologically advanced department store”, hence the massive amount of money, time and effort he put into the project [LAWRENCE, J. (1990). ‘Steel Frame Architecture versus the London Building Regulations: Selfridges, the Ritz, and American Technology’. Construction History, 6, 23-46. Retrieved from http://www.jstor.org/stable/41613676].

A ground-breaking, landmark modern steel-framed building
Construction of the Selfridge store was something of an architectural coup in itself. It won praise in its day from British building journals for its innovative construction methods…built with steel frames and reinforced concrete allowing for much narrower than usual walls, the frames permitted a far greater window area, so very large plate-glass windows could be installed (12 of which were the largest sheets of plate-glass then in the world!) – making for much more interior natural light and brightness (designed by famed US architect Daniel Burnham and associates). Originally comprising a 250′ x 175′ site, Selfridge’s had nine Otis passenger and two service lifts and six staircases. 100 separate departments were spread out over eight floors. While the physical construction of the Oxford Street store took only 12 months, Selfridge had first to overcome London City Council’s raft of objections (unprecedented size of the commercial structure, fire danger, etc). Selfridge and his engineers’ lobbying of the LCC Committee eventually resulted in the passing of two local building acts – LCC (General Powers) Acts of 1908 and 1909 – necessary for the Oxford Street project to be completed [Lawrence, ibid.].

Rigid building regulations weren’t Selfridge’s only impediment to making his dream store a reality. Half-way through the project funding became a pressing issue when his partner and main backer Sam Waring, frustrated by Harry’s “grandiose and reckless approach” to the venture (Selfridge had grievously underestimated the complications of the project), withdrew his financial backing. The economic downturn in London (and in the US) at the time made alternative sources of funding a very grim prospect, and disaster was only narrowly avoided when a new backer, millionaire tea tycoon John Musker stepped in to rescue Selfridge [Gayle Soucek, Mr Selfridge in Chicago: Marshall Field’s, the Windy City and the Making of a Merchant Prince, (2015)]. After the big opening Selfridge remembered to make sure the store’s product lines included everything to do with tea-making (teapots, cups and saucers, sugar bowls, etc) [‘Selfridges: 7 things you (probably) didn’t know about the department store’, (History Extra), www.historyextra.com].

Selfridge, customer-centred strategies ahead of the curve
Harry’s approach to retailing was characteristically innovative on many fronts. Selfridge placed tremendous faith in advertising, the 1909 campaign leading up to the store’s opening cost a reported $500,000 in 1909 money [‘Selfridge Dies: Ripon Lad Who Jolted Empire’, The Milwaukee Sentinel, 9-May-1947 (online fiche)] (Britain’s biggest ever ad bill to that point) and he used it imaginatively together with ingenious publicity campaigns. Selfridge was the first retailer to make popular the idea of “shopping for pleasure”, rather than it being solely a functional task undertaken for necessity (as people conceived of it prior to Harry’s advent). In-store activities and arrangements often were original and novel (eg, displaying the monoplane used by aviator Louis Blériot in the first cross-English Channel flight at Selfridge’s (1909)). Another interest-generating feature in the store was Logie Baird’s television prototype shown on display in 1925.

Those specially designed wide windows were put to optimal use, Selfridge was the first to utilise window dressing where he could show off the latest fashions and utensils in open display [‘Selfridges 7 things’, loc.cit.]. The staff at Selfridge’s Oxford Street store (initially comprising 1,400 employees) were instructed to assist customers in their purchases, not to pester or use any “hard-sell” tactics on them. Harry’s philosophy was “first get them in, then to keep them there. Thereafter they would buy” (Woodhead). One of Selfridge’s more forward-thinking moves was to locate the goods where they were visible and accessible to customers all around the store’s interior (a practice he devised while at Marshall Field’s in Chicago), rather than hiding them away from sight under counters (as had been the practice in most retail stores hitherto). He also introduced the concept of the “bargain basement” to retailing, a section where shoppers could find regularly discounted commodities [‘Innovation Lessons From The World’s First Customer Experience Pioneer — Infograph’, (Blake Morgan), Forbes Magazine, 26-Jun-2017, www.forbes.com ; Lindy Woodhead, Shopping, Seduction & Mr Selfridge, (2012)].

A visceral, holistic experience
Selfridge’s vision was to make the department store more than just a shop where you went to buy goods, he continued to introduce new features to Selfridges…elegant (moderately priced) restaurants, a library, reading and writing rooms and special reception rooms for French, American and ‘Colonial’ clientele. There were cookery demonstrations in the kitchenware section. All this marked a radical departure from the practices of other department stores which employed floorwalkers to ‘shoo’ people out of the store who were just hanging around and not actively engaged in buying an item! Even the store’s roof was put to productive if curious usage (a shooting range for an all-girl gun club as well as an ice rink) [Lawrence, loc.cit.].

The female shopper as an identified demographic
Selfridge saw the role of the department store in macrocosmic terms – “the store should be a social centre, not merely a place for shopping”. Unlike the conservative establishment of the day and much of the mainstream, Selfridge endorsed the Suffragette Movement…the new store was (in part) “dedicated to woman’s service”. In a 1913 advertisement Selfridge described the store thus: Selfridge and Co: The Modern Woman’s Club-Store” [‘Suffrage Stories/Campaigning for the Vote: Selfridge’s and Suffragettes’, Woman and her Sphere, (Elizabeth Crawford), 16-May-2013, www.womanandhersphere.com; ‘Selfridge Lovers: The Secret behind our house’, www.selfridge.com]. Astute businessman that he was, Harry popularised shopping as a leisure activity specifically for women…to make it a more welcoming and conducive place for them to spend time (and money!), he displayed freshly scented floral arrangements and had open vistas in the store, he employed musicians to perform and added beauty and hair salons (Paris-inspired) and art galleries. And he introduced public restrooms for women to the store (the first time ever done!)
[Forbes, loc.cit.].

The H.G.S. leadership style
As retail magnate go, Selfridge went against the grain for his day by not being an authoritarian business leader. He was temperamentally inclined towards fairness with regard to remuneration, increasing the wages of his staff, elevating them above “wage slavery”, treating them as employees as opposed to ‘servants’ (cf. Harrods) [ibid.]…not to overstate it, Selfridges shop floor staff were still exposed to long, long hours of drudgery but they were paid a livable wage for their arduous labours. A sample of the quotes attributed to Selfridge reflect his anti-dictatorship approach to business and interpersonal relations: “The boss drives his men, the leader coaches them” ; “The boss depends on authority, the leader on good will” ; “The boss says ‘I’, the leader says ‘We'” ; “The boss inspires fear, the leader inspires enthusiasm” ; “The boss fixes the blame for the breakdown, the leader fixes the breakdown” ; etc. [‘Harry Gordon Selfridge’, Wikipedia, op.cit.]

Tower folly
Selfridge’s thrived, prospered and grew after the Great War (the store size doubled). Things didn’t always go the Wisconsin-born retail magnate’s way however…a couple of commercial reversals suffered by Harry during the decade concerned his plans for erecting a massive tower from the building which was rejected by the LCC Committee because of excessive height, and possibly also because it would have vied with the iconic St Paul’s Cathedral for attention (a fortunate outcome perhaps as the model drawings for the tower suggest the result would have been an incongruous coupling of architectural forms and a hideous eyesore!) [Lawrence, op.cit.]. The other setback was Selfridge’s proposal for a tunnel between the store and the nearest tube station, Bond Street, the plan ultimately got kiboshed!

Harry on the downslide
By the late Twenties Selfridge & Co was at the top of its game, the name was synonym with quality merchandise and Selfridge took its place as a stellar institution on the London commercial scene. Some time after the onset of the Great Depression things started to turn badly pear-shaped for Selfridge, as for businessmen as a whole. Harry Selfridge contributed to his own decline however by persisting in his flamboyantly extravagant spending. He squandered money on his womanising ways for which he earned a certain notoriety, for instance, $4M was wasted on his dalliances and affairs such as with the Dolly Sisters (Hungarian jazz dancers) – a part of his story that the TV series was quick to focus on) [Forbes, loc.cit.. By 1940 the company owed £250,000 in taxes and Selfridge was deep in debt to the bank, forcing him to sell out and retire from the business (retaining a modest annual consultancy stipend) [‘Harry Gordon Selfridge’, Wikipedia, op.cit.; Milwaukee Sentinel, op.cit]

Selfridges’ Birmingham Bullring store ▼Selfridges post H.G.S.
Selfridge & Co’s reversal of fortunes signalled a move from its circling competitors…rival department chain John Lewis & Partners acquired some of Selfridges’ provincial stores in the Forties, which was a preliminary move to John Lewis’ eventual takeover of the flagship Oxford Street store (1951). In turn John Lewis was itself acquired by the Sears Group in 1965. Its current owners, the Anglo-Canadian Galen Weston company bought Selfridges in 2003 for a reported £598M. Today the store name ‘Selfridges’ survives on the Oxford Street building, and in the three other regional branches in the counties (Trafford Centre and Exchange Square, both in Manchester, and the Bullring in Birmingham).

FN: Harry Selfridge from when he first arrived was perceived widely as a Trans-Atlantic “blow-in”, splashing his (and his wife’s) money around, vociferously determined to show the established home-grown retailers what a ‘superior’ type of modern department store looked like. Selfridge displayed a talent for polarising opinion…to his dazzled admirers he was “the Earl of Oxford Street”, the flashy Midwest American merchant was “as much a part of the sights as Big Ben” (as one columnist waxed lyrically), but to his detractors (including many of his competitors and much of the London press) he was merely a “vulgar American tradesman” or worse [Milwaukee Sentinel, loc.cit ; Woodhead, op.cit.].

PostScript: ‘Selfridges gets Sixties hip
In 1966, Selfridges, by now under Sears Holdings boss Charles Clore, recognised the youth market with a separate outlet for young women, Miss Selfridge (forming a link back to Harry Selfridge’s traditional focus on female customers). The new store in Duke Street signalled Selfridges’ wholesale embrace of the Sixties’ fashion revolution. Miss Selfridge used mannequins based on the straight line form of 1960s iconic model Twiggy and sold the latest in Mary Quant and Pierre Cardin fashions. In the early 2000s Miss Selfridge was acquired by the Arcadia Group [‘Selfridges 7 things’, op.cit.].

“The Queen of Time” AKA Ship of Commerce Statue ▼
⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎⁎

described as “Downton Abbey with tills” [” ‘Mr Selfridge’: It’s ‘Downton Abbey’ with tills…”, The Telegraph, (Daphne Lockyer), 15-Dec-2012, www.telegraph.co.uk]
the impressive Selfridge facade, personifying power and permanence, was later complimented by the addition of a decorative Art-Deco motif – the ‘Queen of Time riding her Ship of Commerce’ (clock-statue by Gilbert Bayes)
around 12,000 visited the store to view the displayed history making French monoplane…no doubt plenty of these visitors also made spontaneous purchases while they were in Selfridge’s premises [Forbes, op.cit.]
Selfridge possibly was quite consciously also trying to make his front-line staff as unlike Harrods’ staff – who had a reputation for ‘snootiness’ and stiff formality – as he could! [Milwaukee Sentinel, loc.cit]
recently the roof was again used in idiosyncratic fashion, by being turned into a “boat lake” and a “putt-putt” mini-golf course for customers
in return, when protesting suffragettes smashed shops windows in Oxford Street, Selfridge’s was one of the few left unscathed
other (very famous) attributed ‘Selfridgeisms’ are “the customer is always right” and “only xx shopping days till Christmas”

Harrods: Haunt of the Self-consciously Posh, the Shopaholic and the Curious in Search of a Luxury Fix

Built Environment, Commerce & Business, Heritage & Conservation, Local history, Retailing history

If you mention the name Harrods today to any self-respecting ‘shopaholic’, don’t be surprised to see them salivate at the prospect of exploring a shoppers’ paradise which boasts 330 different outlets – names such as Adidas by Stella McCartney, Armani, Christian Lacroix, Givency, Hugo Boss, Polo Ralph Lauren, R.M. Williams and Yves Saint Laurent all on the one site! It’s an appeal that has massive international traction too, visitors to London with just a minimal amount of shopping curiosity in their DNA will ink in a trip to the Knightsbridge SW3 store on their “must do” lists (even if only to pick out the least expensive souvenir gift they can find, or failing that the green and gold Harrods carrier bag!). But Harrods is more than a high street mega-store, it is an institution with staying power and expensive tastes – its intriguing backstory reaches nearly 170 years into the past to the early days of Victorian Britain.

Harrods was the brain-child of London draper Charles Henry Harrod…from the 1820s he had small drapery and grocery businesses in the East End but the salient year for the company’s future trajectory was 1849. In this year Harrod moved his business to Brompton Road (Knightsbridge), its present and ultimate location. Harrods’ mid-19th century relocation to Knightsbridge was strategic in its timing and advantageous to the company. Knightsbridge and Western London were areas just being opened up to development at the time. Most opportune, the Great Exhibition of 1851 was held in nearby Hyde Park and Henry Harrod was able to capitalise on its drawing power to increase the store’s trade.

After some formative years on Brompton Road, the Harrods business bounded ahead especially after the founder’s son Charles Digby Harrod succeeded him in the 1860s. Under the energy and drive of Digby’s leadership Harrod expanded in piecemeal manner, accumulating neighbouring properties and land through astute purchases. A fire in 1883 razed Harrods to the ground, a calamity which Digby turned into an opportunity to rebuild the department store on a larger scale. Architecturally, the new Harrods was palatial in style with a terracotta tile facade decorated with cherubs and swirling Art Nouveau windows and a Baroque-style dome [‘Harrods’, (Civitatis London), www.londonbreak.com].

Control of Harrods stayed in the Harrod family until 1894 when Richard Burbridge took over the running of the department store. Among Burbridge’s store innovations was the introduction of the first escalator in England in 1898. The escalator caused quite a stir among patrons, shock and horror even for some perhaps…so much so that precautionary measures were taken by staff, Harrods shopmen would perch themselves at the top of the escalator ready with brandy and smelling salts at hand for any customers who found the strange and novel experience of riding on the “moving staircase” (as it was oft called in the early days) too much! [‘Harrods’, Wikipedia, http://en.m.wikipedia.org].

It was under Burbridge’s reign that Harrods’ profitability escalated and the business established its brand and retail style…high-end quality, expensive products but the best quality and value for money. And it was during this time that Harrods gained a reputation for the purveyance of goods and merchandise that was not easily obtainable elsewhere, hence the firm’s motto, Omnia Omnibus Ubique (Latin for “All things for all people, everywhere”). The other constant in the Harrods ethos and credo is service, the retailer has always prided itself on the advice and assistance given to customers, as the tag-line on Harrods’ home page seeks to stress: “Enjoy exemplary personal service and an experience that can only be found at Harrods.”

Pets are us!
That penchant for providing the unusual and unexpected led Harrods to diversify into the pet supply business in 1917, but not just offering the commonplace, suburban garden-variety “moggies and mutts”. Harrods’ Pet Kingdom went for the real exotica in animals. For those exclusive customers who could afford it, Harrods acquired tigers, panthers, camels and the like. Who wanted such an exotic pet? In the main customers tended to be politicians, actors and celebrities. Noël Coward was the recipient of just such a gift, a friend purchasing an alligator for the playwright/composer/director/ actor/singer. Ronald Reagan, when running for California governor in the 1960s, contacted the store seeking a baby elephant (elephants being the symbol and mascot of the US Republican Party). Harrods’ legend has it that the staff assistant who took the call from America, replied to the future US president’s enquiry with the words, “Would that be African or Indian, sir?” [‘Harrods’ pet department to shut after nearly 100 years’, (Pat Sawer), The Telegraph, 10-Jan-2014, www.telegraph.co.uk]

Pet shop boys
By far the most celebrated of Harrod pet stories is that of Christian the lion cub. Spotted by two young Australian backpackers in a cage in Harrods in 1969, the three-month-old lion ended up back in the boys’ trendy Chelsea flat. A year later through the agency of actors Virginia McKenna and Bill Travers, the rapidly growing lion was repatriated to Africa and set free by wildlife conservationist George Adamson in Kenya. Most people are aware of the story as a result of the video made documenting the two backpackers’ later reunion with Christian in Kenya (see also Footnote).

The extraordinary state of affairs that created Harrod’s zoo of wild animals could not last for ever. The passing of the Endangered Species Act in 1976 signified the end of this trade. After that, Harrods’ Pet Kingdom had to satisfy itself with selling more conventional household pets, cats, dogs, hamsters, guinea pigs and the like. In 2014 Harrods’ management pulled the plug altogether on the pet shop, the space was given over to an expansion of the store’s womenswear department [Sawer].

Harrods of Manchester and Buenos Aires
After WWI Harrods entered an expansion period, acquiring other smaller retail outlets, most notably Kendals in (Deansgate) Manchester. After the takeover the name was changed to Harrods Manchester, but this met with strong disapproval from Mancunians, both staff and customers, and the name reverted to Kendals Milne in the 1920s [‘Kendals name dropped forever’, (David Ottewell), Manchester Evening News, 28-Oct-2005,www.manchestereveningnews.co.uk. Harrods no longer own Kendals, in 1958 ownership passed to department chain House of Fraser, and as of 2018, is owned by Sports Direct. Before the venture in Manchester, Harrods opened its one and only overseas outlet in Buenos Aires (1914). The Downtown BA store stayed in Harrods’ hands only until 1922 when it was bought by Argentinian retailers. Harrods Buenos Aires continues to operate independently under that name but a legal injunction prevents it from using the name ‘Harrods’ outside of Argentina [‘Harrods Buenos Aires’, Wikipedia, http://en.m.wikipedia.org].

Ownership passes offshore
As the 20th century progressed, Harrods’ rising prestige and continued growth made it a desirable retail takeover target (despite a terrorist attack by the IRA outside the store in 1983 which killed six bystanders). In 1985 Egyptian shipping magnate Mohamed Al Fayed and his brothers gained control of the House of Fraser group which included Harrods (at a cost of £615M). Under Fayed Harrods’ growth proceeded and added his own personal touches to the store, nothing more personifies that than the (some would say) garishly lavish and cluttered Egyptian Hall. An even more personal touch is Fayed’s staircase memorial to his son Dodi and (Lady) Di (replete with a bronze statue of the couple with symbolic seagull). In 2010 Fayed sold Harrods to another foreign concern, Qatar Holdings (ie, the Qatari Royal family) for £1.5bn, citing as his reason ‘frustrations’ over government delays re a Harrods “pension scheme” [Mohamed Al Fayed reveals why he sold Harrods’, (Andy Bloxham), The Telegraph, 27-May-2010, www.telegraph.co.uk].

The Harrods dress code
In 1989 Harrods introduced a dress code to the store (in Harrodspeak its called “Visitors’ guidelines”). The code specifies that the following are not permitted within the store – beachwear, Bermuda shorts, ripped jeans, bare mid-rifts or revealing clothing, uniforms of any description, thongs or flip-flops, cycling gear. In addition no visible tattoos are allowed, nor are clothing which have lettering with “objectionable language or design” (not exactly a formula to maximise Harrod’s sales potential with Gen-X’ers and Gen-Y’ers!). Backpacks must be carried in front of visitors, not worn on the shoulders. Harrods a beacon of good deportment and presentation seeking to keep out the “riff-raff”? Wanting its patrons to all look like posh, debonair types? Snobbish elitism aside, management’s decision was arguably a rational response (albeit with a degree of overkill!) to the views expressed by Harrods’ core clientele (traditionally 60 per cent of Harrods customers live within three miles of the shop in the so-called Tiara Triangle of affluent Knightsbridge and Kensington). Harrods’ feedback from local clients, its rich ‘sophisticates’, was that they were increasingly unhappy shopping side-by-side with people who were dressed scruffily or in bad taste [‘Don’t come as you are: There is only Harrods dress code’, (Louise Levene), The Independent, 18-Jul-1994, www.independent.co.uk].

The Chinese are coming
By 2017 the basis of Harrods’ profitability had shifted – internationally. The firm’s efforts in courting the growing Chinese Middle class over the previous decade had paid off (managing director Michael Ward has been making four trips a year to China over that period to develop the budding relationship). Chinese shoppers, with their focus firmly on high-end fashion and accessories, were now outspending British ones in this most English of department stores, Ward disclosed that the Chinese made more than £200M worth of purchases at Harrods in 2016 [‘Chinese customers heralded as Harrods’ biggest spenders’, (Bo Leung), China Daily, 28-Nov-2017, www.chinadaily.com.cn].

Safe in Harrods’ hands
A less well-known service that Harrods has provided for over 120 years is located at basement level in the store. Since 1897 the mega-rich of different nationalities (foreign royals, VIPs, movie stars, etc) have entrusted Harrods with their money and their assets – works of art, antiques, collectibles and other valuables. These are held in secure safe deposit boxes and strong rooms within the Harrods building [‘What You Don’t Know About Harrods (But the Rich and Famous Do)’, (Michael Levin), Huffington Post, 22-Feb-2017, www.huffingtonpost.com].

Harrods as you see it today in 2018 is five million square feet of department store, eight levels x 330 individual departments and 5,000 staff, with additional outlets in Greater London (airport stores at Heathrow and Gatwick). As well as the Egyptian Hall, there is a Crystal Room, a large and showy Food Hall (the Arts and Crafts tilework is a standout), a Wellness Clinic, 28 separate dining and drinking establishments, interior decorators, a travel shop, Waterstone’s book shop et al, Bespoke tailoring, a Floral Couturier, a Toy Concierge (who will help you source out the world’s most expensive toys – of course!) and much, much more.

Footnote: Harrod’s Pet Exotica was in synch with a prevailing vibe in European culture, especially in the interwar period. It was a vogue for the fashionable and chic of society (actors, artists, musical performers, etc) to have (and be seen in public having) exotic animals, singer Josephine Baker had her pet cheetah, artist Frida Kahlo had a granizo (a fawn), actress June Havoc a toucan, artist Salvador Dali an ocelot. Even later, after the war, the exotic pet was a fashion accessory de jour for the famous. Sometimes the pairings were undisguisedly and unashamedly publicity-driven, eg, Salvador Dali walking an anteater on a lease in a London subway. Harrods itself has been known to resort to blatant PR stunts involving animals to promote itself, eg, the pop group ‘The Small Faces’ were photographed in the 1960s walking baby crocodiles in Belgravia borrowed from nearby Harrods! Recently, Harrods promoted its reputation for extravagance by using a live cobra to ‘guard’ a display of ruby and diamond-encrusted sandals valued at £62,000 [‘Eleven secrets of Harrods’, (Laura Reynolds – The Londonist), 12-Apr-2016, www.londonist.com]Retailer with a shady past: CH Harrod
PostScript: A skeleton in the merchant’s cupboard
One aspect of the Harrods story that doesn’t get a mention whenever Harrods promotes its long tradition of luxury merchandising and commodity versatility, concerns a dark chapter in the founder’s early career. In 1836 (when the business was still at Cable Street, Whitechapel) Charles Henry Harrod was convicted of receiving stolen goods (and of trying to bribe a policeman) and sentenced to transportation to Van Dieman’s Land (Tasmania) for seven years. Fortunately for Harrod, the court defence presented by his lawyer and a raft of supporting character references got the grocer’s sentence commuted to one year in Millbank Prison. Had Harrod been transported to the Tasmanian penal colony, the illustrious retail history of Harrods would never have come to fruition [(Robin Harrod) ‘A brief history of Harrods’, BBC History Magazine, 23-Mar-2017, www.historyextra.com].
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although in 1889 Harrods became a public company, and remained so until Mohamed Al Fayed’s takeover in 1985 when it reverted to being a private company
from when Burbridge became managing director in 1894 to 1916, Harrods’ profits increased from £16,000 to in excess of £200,000 [‘Richard Burbridge’, Wikipedia, http://en.m.wikipedia.org]
this anecdote has a “urban myth” feel to it…and it verges on the realm of apocrypha when you take into account the similar sounding variations on it that were doing the rounds, eg, in the early days of Harrod’s Pet Kingdom it was said that a lady phoned the store asking for a camel, to which the assistant also in this case replied, “Would that be one hump or two, madam?” Slightly surprising not to hear Elton John’s name among the celebrity owners of Harrods’ exotic animals, it sounds like it would have been Reggie’s kind of thing to do in the Seventies
to get the full effect of the “full-on” Egyptian motifs you are supposed to ascend the Egyptian escalator and take in the view from there – which includes faux-hieroglyphics, a sphinx with the head of Mo Fayad(?!) and a zodiac-design ‘night’ ceiling. While you are in the vicinity you can hop off the escalator on the first floor to avail yourself of the ultra-swish “luxury washrooms”, in the presence of an attentive attendant ready to pass you an unused hand towel at the appropriate time
among the famous to be barred entry on dress grounds include singers Kylie Minogue and Jason Donovan. Others excluded include a young woman with a Mohican haircut and a soldier in uniform
Harrods are a bit funny also about where exactly you can and can’t take photographs within the store