At the very least, subsequent use of the Union Jack in the Gear boutique sunglasses of 1965 and John Entwistle’s jacket on the cover of The Who’s My Generation in 1966 can be directly traced to Geoff Reeve’s similar experiments with sunglasses and silk screened fabrics in the early 60s. The art-clothing connection of the early sixties can also be similarly seen in someone like Michael Davies, who graduated in graphic design from in 1958 and was the decorator for one of the first Carnaby Street mod boutiques, Domino Male.
Turning commodities into art is but one of the linking concepts between the pop-art movement of the early 60s and modernism. On the U.S. side of the Atlantic, Roy Lichtenstein’s Ben-Day paintings, largely based on pop-culture and comic book themes (and thus frequently also following an action-based paradigm), have arguably become the most famous remnants of the pop-art. His work (and/or derivatives based on his style and themes) have been used quite frequently in the context of mod projects. The explosive rise of comic book output during the so-called Silver Age of the early 60s further accentuates the time-branding effect of his material.