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.
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.
Black leather belt with applique flowers £5 from Kleptomania S.W.3.
Beigey suede shoulder bag with coloured applique decoration £5.19s.6d. from The Westerner, S.W.3.
Vests with appliques, bear and sweetheart, £4 4s., from Mr Freedom, S.W.3.
All images & original text scanned by Sweet Jane from Petticoat magazine 4th April 1970. Original article by Sue Hone, photographs by Peter Mullet.
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.
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.
Suede suspenders with appliqued leather and wooden beads. The snood is held by matching suede band and fastened with tasseled ties.
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 Veruschka,who is not a Sicilian shepherd. Beige suede tunic top is embroidered with wooden beads and right zipped.
The musketeer mood in bright suede vest infested with those leather swirls, wooden bobbles and nailheads again. All is repeated on the gauntlet gloves for Crescendo and the swagger boots.
All images & original text scanned by Sweet Jane from New York magazine, 30 September 1968. All illustrations by Giorgio di Sant'Angelo.
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 an excellent but very concise description (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 which 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 after all, 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.
A chain mail style silver lurex crochet trouser suit 26gns. available from The Carrot on Wheels, July 1966. Photograph by P.L. James. Model: Venetia.
Red plastic mini dress from The Carrot on Wheels, 84 Fulham Road, London S.W.3, november, 1966. Photograph by P.L. James.
Above: some colour stills of the red plastic mini dress as seen in a promotional film for 'Bend It' (Gilbert & George's favourite tune) filmed at The Playboy Club in Park Lane, November 1966.
Far Right: White coat with fox fur trim available from the Carrot On Wheels, as seen in The Daily Mirror September 7, 1966.
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 '60s Fashion Scene.
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.
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.
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.
Three Eurofashion designs by Irish finalist Glynis Miller, a student of The Grafton Academy of Fashion Design, Dublin.
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.
All images & orignal text scanned by Sweet Jane from The Sunday Times Magazine, January 7th, 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.