Originally a high-fashion brand creating bespoke (made-to-measure) shoes, it was regularly featured in catwalk shows and the fashion press throughout the 1970s, when it also had a retail presence in New York City.
King-Deacon's comments were within an article bemoaning the poor quality of mass shoe production and describing the re-emergence of small and bespoke designers.
[1] A year later, Prudence Glynn featured The Chelsea Cobbler, alongside Rayne, Moya Bowler, Ravel and Magli in an article about London's best specialist shoe shops.
Smith's shoes were worn with men's clothing created by hip womenswear designer Clive Evans at the launch event.
Its blue suede boots were worn in combination with a Bill Gibb plaid maxi skirt and a waistcoat by Kaffe Fassett.
[8] In 1971, the company was among the accessories designers featured in an exhibition showcasing British talent at The Louvre – at the invitation of the director of Musée des Arts Décoratifs – entitled L'Idee de la Forme.
Fashion designers in the mix included Christopher McDonnell, Barbara Hulanicki, Mary Quant, Jean Muir, Bill Gibb and Beatrice Bellini.
[9] That year, the company was also producing boots – wide-legged and in quilted suede with wooden heel and platform – for main branches of Russell & Bromley.
[15] In 1993, both The Chelsea Cobbler brand and Rayne were absorbed into Nine West, an American shoe company that would later buy Pied a Terre.