IMAGE CREDIT
Image scanned by Sweet Jane from the International Times, March 8th 1968.
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Blow Yourself Up 1968
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Crazy About Stockings! 1967
IMAGE CREDIT
Image scanned by Sweet Jane from INTRO magazine, September 1967.
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Eurofashion 1968
OUR TEN FOR EUROFASHION
On November 8 (1967), a panel of judges from THE SUNDAY TIMES MAGAZINEchose the ten finalists (their work is shown below) who will compete in the British heats of THE SUNDAY TIMES MAGAZINE Eurofashion Competition. The response to this contest (the first in which entries from 12 other European countries will compete in the international finals) was even greater than for the one we ran last year when over 3000 people entered. And this year the judges felt the standard of work received was even higher than for the last. Each of the finalists will now make up the three designs shown on their card and these will be judged by a panel of young fashion designers - including John Bates, Gerald McCann and Roger Nelson - who will make the first three awards. The first prize-winner of this heat not only gets THE SUNDAY TIMES MAGAZINE cheque for £100, but will go forward as our representative to the Eurofashions finals on March 21 which will be televised by the BBC from the Deating Hall of the Oxford Union.
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Although the Eurofashion International final was televised by the BBC, I couldn't find any trace of film footage, however, while I was researching the event I came across a photograph of the winning entry from the Irish participant Glynis Miller (a graduate of The Grafton Academy of Fashion Design in Dublin) published by the RTÉ Guide in February of 1968, and also a photograph of model Paulene Stone wearing the black dress with midriff detail by Anne Bonnar as illustrated in the THE SUNDAY TIMES MAGAZINE article.
Oxford England: Twenty - one- year - old Anne Bonnar, a student at the Newcastle College of Art, makes a final adjustment to the dress she has designed for model Paulene Stone - and Britain - in the international Final of the Eurofashion ' 68 contest, which took place at the Oxford Union Debating Hall here tonight. The final of the contest - Open to young men and women under 23 who do not make their living by designing or sewing is the culmination of national contests held simultaneously in 12 participating countries during the past six months. 21 March 1968.
IMAGE CREDITS
All images & orignal text scanned by Sweet Jane from The Sunday Times Magazine, January, 1968.
*except for the illustrations by Gynis Miller courtesy of the RTÉ Archive& the final photograph of Anne Bonnar with Paulene Stone courtesy of TopFoto Archive.
*except for the illustrations by Gynis Miller courtesy of the RTÉ Archive& the final photograph of Anne Bonnar with Paulene Stone courtesy of TopFoto Archive.
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Crazy About Stockings! 1967 (Pt 2)
Shoes: Charles Jourdan, Classic sweater and skirt: Wolsey Kimberley 126/. the set. Stockings: Wolsey Kimberley, 10/6.
IMAGE CREDIT
Image scanned by Sweet Jane from RAVE magazine november 1967
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The Carrot On Wheels & The David Bailey Connection, 1965.
The Carrot On Wheels
I've been curious to know more about The Carrot On Wheels ever since it first came to my attention a few years ago via 'Get Dressed' Millicent Bultitude's guide to London's Boutique's published in 1966, which does indeed give the reader a very concise description of the shop (as you can see in the first scan below). However, although I've searched every so often, nothing else of note has ever really shown up, apart from a few images of clothing items or the occasional reference to the actual name itself (usually to be found listed alongside various other unusual/quirky boutique names of the era)...nothing until now that is! I just happened to glance through my copy of Felicity Green's Sex, Sense And Nonsense again yesterday and noticed a snippet of information at the end of an interview with David Bailey that I had somehow previously overlooked. As it turns out.. he was the original owner! He opened the shop in partnership with model Pat Knight in 1965 (precisely one week after the Daily Mirror article went to print) and also had plans to open an Antique shop the following spring, I have no idea how long the partnership prevailed as the piece in Get Dressed refers to a Gitta Brewer as the owner a year later so perhaps his involvement was short lived, either way it makes perfect sense that he would have a clothes shop at some point, it would seem that it was the thing to do back then afterall, to quote the well known journalist Clement Freud speaking in 1967 'One feels almost a fool if one doesn't own a boutique'. It's not a lot of new information but it's a good start in the right direction! So for now I'm just going to post what I have and hopefully add to it at a later stage as more comes to light, I'd love to eventually see a photograph of the facade & interior... I find it hard to believe that Bailey opened a boutique without there being some kind of press/publicity coverage, it's got to be out there somewhere!
The Carrot On Wheels in 'Get Dressed' by Millicent Bultitude, 1966.
Accompanying illustration to The Carrot On Wheels in Get Dressed - A Useful Guide To London's Boutique's.
IMAGE CREDITS
All images scanned by Sweet Jane from the following publications: Get dressed A Useful Guide To London's Boutique's by Millicent Bultitude, RAVE Magazine July 1966, RAVE Magazine November 1966, Sex, Sense And Nonsense, Felicity Green On The Fashion Scene.
LINKS
The original location of The Carrot On Wheels 84 Fulham Road S.W.3, as it is today here.
My previous post about Sex,Sense And Nonsense, Felicity Green On The Fashion Scene here.
A QUEEN fashion editorial featuring some more items from The Carrot On Wheels on the excellent Get Some Vintage-a-Peel blog here, further information about 'The Bend' dance craze can be found over at The Holy Church of Iggy the Inuit here and finally all things Bailey can be found here.
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The Sant' Angelo Woman 1968
Beginning with his name Giorgio Imperratrice di Sant'Angelo di Lombardia e Ratti di Desio lives in a patchwork world. He has taken the amorphous world of accessories and filled it with loops of pink Dynel hair, lucite jewels, chains, ankle length coin necklaces. Ribbons snake up silken leggings. There are tiny silk wisps of bras, big bejeweled bibs, tassels and fringe in random profusion. Opulence overlaps opulence. Pattern poses on pattern, and all the festooned incongruities work. The Sant' Angelo decorated woman emerges in her chaps and gauntlets, trimmed with wooden bobbles and encrusted with embroidery. Giorgio's make-up (shown on these pages) colors girls bronze with white racoon-like masks of palis skin over the eyes and sometimes framing the lips. Together with the Amazonian Veruschka, Giorgio will soon debut his own make-up line. He always designs with the much crawled-over "Blow-Up" model in mind. What might seem clownish on others becomes perfectly plausible when stretched over the long expanse of Veruschka on the thick glossy pages of Vogue. Born in Florence the region where the medieval court pages wore tights with bi-coloured legs, Giorgio was enticed into fashion by the manicured hand of editor Diana Vreeland, who seized on his clear plastic jewelry for Vogue.
The clothes illustrated here by Giorgio himself are the ones presented at the Coty Awards show and will soon be available in Bonwit Teller's. They include suspenders and elongated necklaces perched above evening skirts, vests and tunics worn over radiant tights. Giorgio is award-prone. One award brought him to study ceramics with Picasso. Another brought him to working on animated cartons with Walt Disney. He came to accessories an "ex" of many worlds, including architecture, industrial design and marriage. Sant'Angelo may not go to any of the parties his competitors attend, but his jewelry is omnipresent. Last year it was large painted styrofoam shapes; pearls and stones caught and magnified in solid plastic gold plated cork. This year will be chains entwined into silk ropes, bunches of tassels on golden bracelets and medieval-ish belts. "I don't believe in chic women. I love imagination at work. People in the street are getting to do it quite well. My things have to be expensive at first. But I will find ways to get them mass produced and customers everywhere will be able to intermatch," Giorgio says. He will soon act and design for a movie with Veruschka which Franco Rubartelli, her photographer-boyfriend will film in India, Pakistan, Persia and Red China (if Mao gives him OK). The film will have no name, no ending. Giorgio himself has already avoided that particular fate.
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Left to right: Multicolor, multisnapped bolero with knit jeans, Superlong navel knotted wool scarf over tiny silk jersey bra. Low slung black knit pants with colored pockets. Mini knit bra with stitching atop wisp of skirt in multiknit.
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Rose suede bib with colored leather swirls, encrusted with with stones. Slink of skirt in black velvet with side slit...Extended necklace of chain mail sprouting rhinestones and metal shapes. Chain mail stomacher belts layers of shaded gray organza.
Inspired by the Sicilian shepherds who wrap cloth around their legs before they take to the mountains, Giorgio draped these ribbon wrapped silk jersey pants on Verushka,who is not a Sicilian shepherd. Beige suede tunic top is embroidered with wooden beads and right zipped.
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IMAGE CREDITS
All images & original text scanned by Sweet Jane from New York magazine, 30 September 1968. All illustrations by Giorgio di Sant'Angelo.
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Loon Boots, Brothel Creepers, Bombers, Spacers & Slags 1974
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IMAGE CREDITS
All images scanned by Sweet Jane from the New Musical Express, April 9th 1974.
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Apply Yourself 1970
Applique, Paris stuck it, sewed it and poppered it all over everything in the spring collections. Feraud used Aztec beads in patches, Courreges stuck vinyl patches everywhere. Course, Britain's been applying herself for ages but in somewhat madder manner. We're wowing it and zapping it in a riot of colour. It's the ice-cream cone, the teddy bear and any other fun thing flung onto the funkiest of T-shirts! It's the last word snaked onto angora (pops off at the cleaners), even the beautiful embroidery all over cotton kaftans - so get stuck on - with applique!
Cover photo by Peter Mullet, navy long-sleeved vest £4.4s., red and green Mickey Mouse jacket £8. 8s. both from Mr Freedom, S.W.3.
Shirt with sunrise applique £6. 6s., from Mr Freedom. belt, £3. 3s., Kleptomania.
Dress with applique hearts, by Louis Caring, £7.7s., from Miss Selfridge.
Beigey suede shoulder bag with coloured applique decoration £5.19s.6d. from The Westerner, S.W.3.
IMAGE CREDITS
All images & original text scanned by Sweet Jane from Petticoat magazine 4th April 1970. Original article by Sue Hone, photographs by Peter Mullet.
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The New Boutique Bandits 1970
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IMAGE CREDITS
Images scanned by Sweet Jane from an original article by Priscilla Tucker for New York magazine May 4th 1970, illustrations by Barry Zaid.Further information about the artist can be found on the Barry Zaid Website here.
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Join The Tea Set 1966
Following the Be-British campaigns here's the latest - 'Join the Tea Set' helped along by those ads from Paul Jones, Manfred Mann, the Ivy League and Unit 4 Plus 2. Join them in your own 'Join the Tea Set' Tea shirt (see our sketch) which is offered for 5s post free. The offer opens on may 1st 1966 and closes at the end of september and for 5s including postage and packing you will receive your Tea-shirt plus two transfers with the same motif as the shirts to use on hats, other sweaters etc. The address to send to is: Habenware Ltd. Hanover Mills, Guide Bridge, Ashton-under-Lyne, Lancashire.
IMAGE CREDIT
Image scanned by Sweet Jane from 'Today's Raves'RAVE Magazine May 1966. Artist uncredited.
Image scanned by Sweet Jane from 'Today's Raves'RAVE Magazine May 1966. Artist uncredited.
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Flare Up 1966
IMAGE CREDIT
Image scanned by Sweet Jane from the New Musical Express issue No.1002, March 25 1966.
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Pop Fashion 1971
Apart from its inclusion in this original article from 1971, the Orphan Annie fashion label is completely unknown to me and there doesn't seem to be any other relevant information out there at the moment, none that I could find at any rate (so far), apart from a couple of vintage items that have turned up for sale on Ebay and Etsy over the past number of years, two of which were illustrated in this editorial. Ritva on the other hand has been reasonably well documented online, therefore i've included some links to further reading about the label at the end of this post.
Lucky Strike and Ritz crackers sweaters are by Orphan Annie and sell for $15 at B.Altman "Eat at Joe's" was designed by Ritva of London and is sold here for $40 at Bloomingdale's.
POP SWEATERS WITH A SENSE OF HUMOR
Just when it seems as though pop might be a dying art, up comes a crop of pop fashions, this time in sweater form. Some portray such things as a Ritz Cracker box. Or a Lucky Strike pack - before the green went to war. Others might best be described as kitsch flavored fashions. Betsey Johnson, a young woman who has never taken her fashions too seriously, has loaded her designs for Alley Cat with scenic vistas that might have been lifted from the "art" in a Times Square souvenir shop. There are sweaters with trees, mountains, rivers and the lot. These can be found over at Betsey, Bunki & Nini, 237 East 53rd Street. A blue sweater with all that scenery thrown in goes for instance, for $24.
A PERSONAL POP FASHION
For great times, Giorgio di Sant'Angelo has done his own very personal kind of pop fashion. This amounts to a Red Baron kind of airplane (bright red on black) flying across all kinds of knitted things. Such as a long skirt, a flying jacket, a sweater. Lord & Taylor has these in their sixth floor Young New Yorkers sportswear, and the price is $40 for the skirt. $32 for the jacket and $24 for a sweater. In Bloomingdales sweater department on the third floor, Ritva of London advertises "Eat At Joes." Right on the front of a long-sleeved black wool sweater. This is $40. And as for those cracker boxes et al, well, they're being snapped up by young men and women alike. Made by a concern called Orphan Annie, presumably with the blessings of the Ritz and Lucky Strike people, they're about as "realistic" a package as a sweater can get. B. Altman has them on their sixth floor in either sleeveless or long-sleeved versions. The sleeveless is $11, while the long-sleeved is $15.
A PERSONAL POP FASHION
For great times, Giorgio di Sant'Angelo has done his own very personal kind of pop fashion. This amounts to a Red Baron kind of airplane (bright red on black) flying across all kinds of knitted things. Such as a long skirt, a flying jacket, a sweater. Lord & Taylor has these in their sixth floor Young New Yorkers sportswear, and the price is $40 for the skirt. $32 for the jacket and $24 for a sweater. In Bloomingdales sweater department on the third floor, Ritva of London advertises "Eat At Joes." Right on the front of a long-sleeved black wool sweater. This is $40. And as for those cracker boxes et al, well, they're being snapped up by young men and women alike. Made by a concern called Orphan Annie, presumably with the blessings of the Ritz and Lucky Strike people, they're about as "realistic" a package as a sweater can get. B. Altman has them on their sixth floor in either sleeveless or long-sleeved versions. The sleeveless is $11, while the long-sleeved is $15.
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| ORPHAN ANNIE 'RITZ CRACKER' SWEATER DETAIL, 1971. |
SLEEVELESS VARIATION OF THE ORPHAN ANNIE 'LUCKY STRIKE' SWEATER FEATURED IN THE NY TIMES ARTICLE, 1971.
An original RITVA MAN 'FLASH FEARLESS' sweater designed by Mike Ross (1975) currently for sale here on Etsy.
IMAGE CREDITS
Pop sweater illustration by Anne-Marie Barden for an original article by Mary Anne Crenshaw scanned by Sweet Jane from The New York Times, November 18th, 1971. Photo (1)&(4) Orphan Annie Ritz/Lucky Strike sweaters courtesy of expired listings Ebay. Photo (2)&(3) Orphan Annie sweater detail and logo courtesy of brinkdwellers on Etsy. Ritva Man sweater image courtesy of elliemayhems Etsy.
View the V&A Mike Ross RITVA MAN collection here.
The RITVA Knitwear Collection 1966-1978 on Flickr here.
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When Jupiter aligns with Mars...1970
When Jupiter Aligns With Mars, Will You Be Dressed For It?
You will be if you're wearing something you've made out of Klopman's new Zodiac prints. Go into your favourite shop and see the print that matches your sign, or the sign of someone you dig. And while you're there, pick up your FREE Zodiac poster. Don't just look for fabric. Look for Klopman.
KLOPMAN MILLS, INC., 1345 AVE OF THE AMERICAS, NY, NY, 10019, A DIVISION OF BURLINGTON INDUSTRIES.
IMAGE CREDITS & LINKS
Image scanned by Sweet Jane from Vogue International Sewing, August/September 1970. Illustration by N.Green. View an example of the original Klopman Zodiac fabric from 1970, currently available on Etsy here.
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A Diamond is Forever 1969
IMAGE CREDITS & LINKS
Image scanned by Sweet Jane from Life Magazine, June 27th 1969. Original artwork by Jacqui Morgan for DeBeers Consolidated Mines Ltd. Discover more about the artist and her work here.
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Les 15 Revolutions De La Mode 1968
I've had this copy of Les 15 Revolutions De La Mode by Gisèle D'Assailly in my collection since the mid 90s, it's an amazing large format/coffee table fashion history reference book originally published in 1968, comprising of 251 pages, each one heavily illustrated throughout. In keeping with the general timeline of this blog, apart from the first image on the cover, these particular scans are all from the final chapter which concentrates on the 1960s, featuring the work of Cardin, Courrèges and Saint Laurent.
Le Collier Nouveau, Robe du soir by Paul Poiret, illustrated by George Lepape for Gazette du Bon Ton No.1, January 1914.
Two piece ensemble by Andre Courrèges, 1967. Photograph by Roland Bianchini.
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| Dress by Pierre Cardin. |
Over the knee leather boots by Cardin.
IMAGE CREDITS
All images scanned by Sweet Jane from Les 15 Revolutions De La Mode by Gisèle D'Assailly, 1968. Published by Hachette.
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Mary Quant Cosmetics 1967
IMAGE CREDITS
All images scanned by Sweet Jane from Honey magazine Quant special supplement 1967.
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La Marche du Temps - Plexus 1969
Some more early illustrations by Polish born artist Wojtek Siudmak for Plexus, the bimonthly French erotic magazine which ran from April 1966 - June 1970. Siudmak became one of the many regular contributors to the publication towards the end of the decade after he had relocated to France, these particular graphics were used frequently in varying colourways throughout the later issues as an introduction to the news, reviews and event pages etc. You can view other examples of the artist's work for the magazine during this period via the labels at the end of the page.
Les voyages Plexus - Wojtek Siudmak
La gazette du Palais - Wojtek Siudmak
IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Plexus Issue No. 21 February 1969. All illustrations by Wojtek Siudmak. Visit the artist's website and online shop here.
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Knickerbocker Glory 1970
Long wide gauchos with matching fitted waistcoat in heavy linen. Various colours available. Sizes 8-14. Gauchos 38gns. Waistcoat £2 19s 6d. Printed silk blouse with wide sleeves and high collar £5 19s 6d. Leather shoulder bag £7 19s 6d. All at Biba, 124 Kensington High Street, London W8. Long canvas lace-up boots 7gns at Bata. - Photo by David Stanford.
IMAGE CREDITS
All images & original text scanned by Sweet Jane from The Guardian, Tuesday August 18, 1970., with thanks to Kirstin Sibley. Photographs by Robin Laurance & David Stanford.
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The Culture Vulture 1970
IMAGE CREDIT
Image scanned by Sweet Jane from New York Magazine March 9 1970. Artist uncredited.
Image scanned by Sweet Jane from New York Magazine March 9 1970. Artist uncredited.
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Beyond Biba - Barbara Hulanicki Cosmetics
I've recently photographed some examples of the Barbara Hulanicki Cosmetics range from my personal collection, which I purchased on Ebay circa 2008. The range was developed in the early 1980s and eventually launched in autumn of 1983, the decision to produce a Hulanicki range was largely influenced by the continuing success of the Biba cosmetics line that she had created in 1970 which was still available nationwide throughout Britain via Dorothy Perkins and also at Etam branches and selected chemists in the Republic of Ireland, proving unequivocally, that inspite of Biba's demise some 8 years previously, the popularity of the brand and the legacy of Biba was still very much alive and well. The vibrant new 1980s Hulanicki range was encased in Barbara's signature Art Deco style packaging and moderately priced, with blushers retailing at £5.85, lipsticks at £2.65 and nail varnish at £1.99. It was initally available through Top Shop & The Body Shop in the UK and H&M (known as Hennes & Mauritz at the time) in Sweden and Germany. In 1985 it launched in the USA, retailing through Macy's Department Store and Judy shops in California until 1989 when Barbara sold the cosmetics line to the L.A based investors of Ronnie Wood's nightclub Woody's On The Beach, whereafter it disappeared from view, until now....
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| Art deco influenced retail display unit from the Barbara Hulanicki Cosmetic range, c.1983. |
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| Barbara Hulanicki, sketches for cosmetic colours and looks, 1983. |
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A selection of shades from the Barbara Hulanicki eyeshadow range, starting at the very top and moving in a clockwise direction, the colours are as follows: Pitchblack No.28; Opal No. 9; Cosmic No.8; Dallas No.27; and lastly Nocturne No.13. |
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| Packaging detail from the Barbara Hulanicki cosmetic range 1983. |
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| Example of a plastic carrier bag from the range featuring the brand logo. |
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| Four mascaras from the Barbara Hulanicki cosmetic range 1983. Left to Right; Dracula No.104 (black of course,the name speaks for itself); 122 (a bright metallic jade green, this one had no specific identifying name other than the number but it may possibly have been called Goblin); Queen No.107 (a bright metallic amethyst purple); and finally, Devil No.106 (a burnished metallic red). |
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| Hulanicki Nail Varnish in Tremor No.32 (a burnished old gold). |
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| My complete collection of Hulanicki Cosmetics, the two silver compact cases are empty apart from a mirror inside, sadly there is no actual product or indication of what it may have originally contained, but i'm presuming that it would have been pressed powder or perhaps a larger format blusher. IMAGE CREDITS All Hulanicki cosmetic product images photographed by Sweet Jane from my personal collection, Barbara Hulanicki illustration 1983 scanned from The Biba Years 1963-1975, Special thanks to Likrish Marchese of Barbara Hulanicki Design for personally providing me with the photograph of the cosmetics display unit and all additional information. |
LINKS
You can find Barbara Hulanicki Design here.
Barbara Hulanicki on Facebook & Twitter.
Ronnie Wood's website, Facebook & Twitter.
My post about Biba's American debut here.
A make-up tutorial with Biba girl Ingrid Boulting in 1971 here
A contemporary make-up tutorial inspired by the Biba look can be found on the Lisa Eldridge website here.
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