Monday, 13 August 2018

Pinch the shirt off his back! Mr Fish, Take 6, Lord John, and The Westerner (1968)



                          PINCH THE SHIRT OFF HIS BACK!
Girls are stripping men of their shirts! Well, not bodily, but girls are crowding into men's stores to snap up their snappy shirts. Is it because we're envious? Because we're being outshone by dazzlingly dressed males? We ask leading menswear firms the reason for this shirt stampede. Here are their answers, plus a few of our own.







Cecil Gee say girls go for the gorgeous colours now available: pinks, purples, greens, yellows, deep blue. Girls all over the place flock to buy these bright colours that they can't get in blouses in the women's shops!  Mr Fish make some of the most beautiful (and expensive!) shirts in London. They specialize in made-to-measure shirts that are romantically patterned in silk, some with huge bloused sleeves—and girls go for this look so much that twenty-five per cent of their customers are female. In fact Mr Fish are happy to steal girls' ideas for their shirts and make them up for men.  Carnaby Street Shops find that girls go for the cut of their shirts, which they say have been tapering into the waist for a long time now. The pretty colours and flowery patterns obviously suit girls as well as men, and sizes in Carnaby Street tend to be skinnier too: a size 14 in shirts is about the same as a size 12 blouse.  Take Six who make the nearest thing to a blouse for a men-roll collared, buttoned down the back, in heavy satin—are selling over sixty a day in their Gt. Marlborough Street shop, a lot of them to girls for evening wear.  John Michael say that girls descend in flocks on their Westerner shops tracking down the genuine John Wayne look: the very fitted western shirts are pounced on, together with fringed leather waistcoats. Lots of super coloured shirts at all their branches too. And this is probably the key to the whole trend—there are shirts to suit every mood: pick the right one and you can look like a wild thirties gipsy, a dashing cowgirl, romantically Byronesque, in fact, very, very feminine. And now that shirts are so much more shaped you needn't swim in baggy folds around the waist: sleeves are still very long—they're cut to be long on a man, so that cuffs show under jackets—but most girls like the fragile ''little girl lost in a man's shirt'' effect this gives. And girls' blouses still can't match the crispness of men's shirts, and the shapeliness of collars which never go limp and curled up in the wash. So pick your look, and your shirt, from the five shown here, and discover that a shirt doesn't always ''look better on a man!''




1960s fashion Mr Fish and Apple Boutique

Wildly romantic in a gipsy-sleeved silky shirt, dark blue with burnt orange and white. Mr Fish, 8gns. Sizes 14-16, several colours available, from Mr Fish, 17 Clifford Street, London W.1 (or by post 2s 6d. extra). Skirt in orange crêpe designed by The Fool, 4½ gns., for Apple Boutique, 94 Baker Street, London W.1. Sashed with a silk scarf, scattered with silver jewellery, all from Indiacraft.




vintage 1960s shirt by Mr Fish Clifford Street London

An example of the Mr.Fish shirt above in one of the alternative colour options as mentioned. Although this item sold in 2014, there are several excellent detailed photographs of it still available to view courtesy of Vic and Bertie Vintage...well worth a look!





vintage 1960s fashion Mr Fish kipper tie and Take 6 boutique floral shirt Carnaby street

Stunningly efficient in a creamy shirt delicately flowered and high collared, from all branches of Take 6, 60s. 6d.. Clotted cream kipper tie Mr Fish, 2 gns. (other colours available), Mr. Fish, 17 Clifford Street, London W.1.. Camel skirt, Etam, 19s. 11d. (other colours available) from all branches of Etam. Patent belt buckled in Tortoise-shell, Otto Glanz, price about 36s. 9d., from  Selfridges, Oxford Street, London W.1. Tortoise-shell winter sunspecs, Oliver Goldsmith, approximately 6 gns., from most leading Opticians.




vintage 1960s western style shirt from The Westerner old compton street

Wildly Western in a beige John Wayne shirt from The Westerner, 79 gns. 6d. (other colours available), The Westerner, Oxford Street, London, W.1. and Old Compton Street, London W.1. New twist to the jeans theme, black corded cotton with white stitching, Separates Centre, 3 gns.  Available from the Separates Centre, Oxford Street, London W.1 and Girl, Kings Road, London, S.W.3. Huge buckled military belt from Moss Bros., £4 10s., paisley silk scarf from a selection at Indiacraft.






Schoolmarmish (as no schoolmarm ever looked) in a brilliantly flowered shirt with high button-down collar, from all branches of Lord John, 60s. 11d., aubergine knitted mohair waistcoat by John Stephen, 79s. 8d., John Stephen, 52-55, Carnaby Street.




vintage fashion 1960s satin roll-collared shirt Take 6 boutique Carnaby Street

Pure glamour in a white satin roll-collared shirt, deeply cuffed and buttoned in pearl, from all branches of  Take 6, priced 4 gns.  Squared pewter brooch, studded with amethyst coloured stones, Adrien Mann, approximately 2 gns.




                                                              IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from Intro Magazine, January, 1968, with special thanks to Kirstin Sibley for the gift! Photographer and model uncredited. More fashion for him & her from The Boyfriend book (1970). An excerpt from Sex and Unisex: Fashion Feminism, and the Sexual Revolution by Jo B. Paoletti on Pop Matters. Examples of Le Masculin Féminin fashion trend from Dépèche Mode (1971). Just Dandy: The Style and Legacy of Mr Fish. Terry Rawlings interviews Warren Gold of Lord John, Carnaby Street (Part One) & you'll find the rest of the Warren Gold/Lord John interview here in Part Two. More from The Westerner in Rags for Riders (1971). John Stephen of Carnaby Street womenswear. John Michael Ingram: The Menswear designer whose refined tailoring made his clothes and shops a favourite of 1960s mods. The Victoria and Albert Museum's Oliver Goldsmith Eyewear Collection. And finally, Clothes by Mr.Fish, Douglas Hayward, Blades and other tailors, who see nothing sissy about finery for men, and are influencing the ready-to-wear racks (1968).

Sunday, 22 July 2018

Wrangler Jeans & Jackets Print Advert (1970)



             WRANGLER JEANS AND JACKETS (1970)


Wrangler Logo 1970


Cool gear for cool people. Jeans and jackets designed for the tough life. In denim or soft corduroy. Make the scene in a new pair of pants in parallels or flares. Get hooked on any of 13 shades—like red, lemon, petrol blue, loden, wheat, white, black, rosé and antelope. They're great. They're Wranglers. For illustrated brochure, send postcard to: Wrangler Jeans, Dept. N7, Blue Bell, Colwick Industrial Estate, Nottingham, NG4 2DP.




Sweet Jane Blog Vintage 1970s Wrangler Jeans illustrated advert





                                                               IMAGE CREDITS & LINKS
Image scanned by Sweet Jane from 19 Magazine, October 1970. Artist uncredited. View some of my previous 1970s Jeans posts: Just Jeans! (1972); Wrangler denim jackets from The Westerner and wide flare denim jeans from The Emperor of Wyoming in Rags for Riders (1971) ;  Lee Jeans (1970) and The Debutante in Blue Jeans—Tom Wolfe (1970). Discover more about Denim via Jean Genie: The Denim Evolution; View Wrangler's 1970s adverts archive, and finally, The Wrangler way of life (1978).

Monday, 9 July 2018

Les Collections de Printemps (1970) Dior, Cardin, Patou, Nina Ricci & Saint-Laurent



                            Les Collections de Printemps 

                    Légendes Du Dossier Haute Couture


FASHION MAGAZINE ILLUSTRATION 1970







DIOR FASHION ILLUSTRATION 1970

(Above) Dior: Abraham black crépe de chine mid-calf dress, Cheval black leather and tortoiseshell belt, religious folds in the bodice!




FASHION ILLUSTRATION 1970
(Left) Cardin Harem pants, bright yellow satin crépe blouse by Léonard. (Right) Saint-Laurent Flower dress with godets, made in a marvellous voile printed with red-gold Qiana nylon yarns.





PIERRE CARDIN FASHION ILLUSTRATION 1970

             (Above): Cardin Maxi length dress, slit at front, with bell sleeves in double pistachio green pure wool.           





JEAN PATOU LOUIS FERAUD FASHION ILLUSTRATION 1970

(Left) Patou's Maxi Dress in Veron's fibranne fabric,  in café au lait, white and red. (Right) Féraud: Beige cotton gabardine dress with Courtelle knit inlay and matching trousers.




NINA RICCI FASHION ILLUSTRATION 1970

      (Above) Nina Ricci: Chatillon, striped shantung canvas dress, zip closure, braided leather belt and suede  bow.




PIERRE CARDIN AND CHRISTIAN DIOR FASHION ILLUSTRATION 1970
(Left) Cardin: Maxi dress in golden salmon and lilac Crépe de Chine, long vest on dress, low belt and collar in vinyl maroon.  (Right) Dior: Crépe de Chine dress, printed in red, yellow and black.


                                             IMAGE CREDITS & LINKS
All images scanned for the Sweet Jane blog from Dépèche Mode, March 1970, with thanks to Brad Jones. View some more examples of Paris fashion from Spring 1970 in my previous posts The Ad-Lib Fashion Show at a Paris Bistro (1970) and Paris in the 70s, the Spring Collections Petticoat Magazine (1970). Another fashion report on the new longer lengths from the same period—the Maxi Look from Biba in Jours De France (1970). And finally, discover more about Qiana the luxury, silk-like, nylon fibre introduced to the fashion industry by Du Pont in 1968 through its association with various Couture Houses.

Sunday, 1 July 2018

A Raver's Holiday Guide (1967)



                        A RAVER'S HOLIDAY GUIDE!


An all-happening guide for ravers spending their summer in Britain! Where to go, what to do, how much it can cost, and how to have fun the rave way. In the next seven pages we spotlight six of the swingiest resorts in Britain. So read on, and have yourself a RAVING holiday....



                             A Raver's Holiday Guide Maps illustrated by Alan Parry (April 1967). 




















      ☀☀☀ A RAVER'S GUIDE TO TORQUAY ☀☀
















     ☀☀☀A RAVER'S GUIDE TO BRIGHTON AND BLACKPOOL ☀☀☀










Read all about where the action is at the rave resorts, and find  your way there with these special rave maps!











                                                                 Illustration by Alan Parry (1967).









                                                                   Illustration by Alan Parry (1967).





                         ☀☀☀ A RAVER'S GUIDE TO GT. YARMOUTH ☀☀☀                                 




                               





                  ☀☀☀ A RAVER'S GUIDE TO BOURNEMOUTH ☀☀☀                                






              ☀☀☀ A RAVER'S HOLIDAY GUIDE TO SOUTHEND ☀☀                                








                                 

                                             IMAGE CREDITS & LINKS
All images scanned by Sweet Jane from RAVE Magazine April I967. Illustrations by Alan Parry. Photographer and models uncredited.  View some more illustrations by Alan Parry for Rave in my previous posts: The Pop Market - A Raver's Guide to the Portobello Road Market (1966); The British Boutique Boom! (Part One) and (Part Two) 1965. The Summer of Love filmed around Brighton in 1967 on a standard 8 cine camera. Queen's Park, the sea front, Preston Park's Rock Garden, Brighton Pavilion all make brief appearances. The short lived Biba Boutique at 21 Queen's Road, Brighton—“It was very much the Brighton of Graham Greene’s Brighton Rock,” says Hulanicki! Discover more about Swinging Bournemouth—Dorset TV producer Roger Hopkins, grew up in Poole and, by 1963, was cutting his professional teeth as a freelance photographer feeding on Bournemouth’s burgeoning nightclub scene. Memories of watching The Who in Great Yarmouth in the Swinging Sixties. Jimi Hendrix Lays Wild Thing On Blackpool, 1967Northern innocents have ears blown by psychedelic sonic attack!  And finally, I think it's safe to say that it is most definitely Summer in the City!



Tuesday, 19 June 2018

The Biba Bed-Sitting Room (1970)



                                     THE BED-SITTING ROOM

How many of you have bothered to do anything to your rooms since you moved into them months and months ago? Are you still living in a shamefully untidy bed-sitter, and do you still get that 'How I wish I had a cheerful, bright room' feeling every time you come home from work? Have you, for weeks now, been meaning to get down on your hands and knees to scrub and scrape? Has your boyfriend repeatedly offered to help wallpaper the ceiling and bang the nails in? We asked Barbara Hulanicki of Biba to design a fairly inexpensive bed-sitter for 19. Incorporating a few original ideas that were not unduly complicated to carry out. She chose Pontings, which has a good whitewood department—the result is rather stunning. You can see the 19 Biba and Pontings bed-sitter on display, from the 19th September, in the window of Pontings, next door to the High Street Kensington tube station. All merchandise can be got from Biba (opposite Pontings) at 124 High Street Kensington, London W8.



BIBA FASHION 1970

ABOVE: Cream satin pyjamas, from Biba, approx. 10gns., matching cap, £4 10s. Upright desk, from Pontings, £6 7s. 6d. painted with one top coat of Biba cream Flat Oil paint, and trimmed with wallpaper border; dressing-table stool, from Pontings, 28s. 9d., decorated to match. Tissue box has been covered in matching Biba wallpaper (with Polycell) at 1s. 2d. per sheet.



BIBA WALLPAPER 1970


ABOVE: Long cream satin nightdress with frilled neckline and tie waist, from Biba, approx 10gns. Single whitewood hardtop divan with two storage drawers, 36ins. wide, from Pontings, £18 4s. Cream lace bedspread, single 7gns., double £9 10s.; and cream satin cushions, small 19s. 6d., large 29s. 6d. All from Biba. Belling Champion convector heaters, from Pontings, £7 19s., painted with two coats of Biba cream Emulsion (turn the heater up to warm it―turn off―then apply paint) and one coat of Biba cream Flat Oil paint. Cream lace at the window, tacked on to give a blind effect and soft light in the room, available from Biba, 15s 6d. per yard. Cream satin lamp, from Biba, 8gns. Whitewood bedside table, 24ins. high, £5 16s.; desk with compartments and shelves (used here as a dressing-table) 39ins.high, 28s. 9d.; blanket box, £6 17s. All from Pontings. The furniture is painted with one top coat of Biba cream Flat Oil paint, then trimmed with chocolate and cream Biba wallpaper. Emulsion paint, 15s. per quart; Flat Oil paint, 9s. 3d. per pint; wallpaper is 1s. 2d. per sheet. All from Biba.




BIBA FASHION DESIGN 1970

ABOVE: Model wears an ox-blood satin nightdress with lace-up front, from Biba, approx 10gns., with matching scarf tied as a turban, 42s., and choker, 10s. 6d. Biba chocolate brown and cream wallpaper covering walls, ceiling and panels of the bedroom door. The floor has been covered in felt, from Biba, 55s. 6d. per square yard. Cream bedside rug, from Pontings, 5gns. Wall bookshelf (also available with doors, 11s. per pair), from Pontings, 62s. Chest of drawers (five drawers of different depths), 34ins high £13 11s. 6d., valet stand used as a towel rail, 59s 6d. All from Pontings and all painted with Biba Flat Oil paint. Open storage cupboard covered by bedspread, from Biba, 7gns., and lined with wallpaper.



  

                                                   HOW TO DO IT

All you need is a little imagination to change completely the look of a room. Here, along with Biba, we transformed a bed-sitting room and chose a chocolate/cream colour scheme. After the necessary preparations (see below) we gave the furniture a top coat of Biba cream Flat Oil Paint and hung paper on the walls and ceiling and—for continuity used wallpaper borders, applied with Polycell, as a decorative trim, inside the window, bookshelf, stool, desk, blanket trunk, dressing-table and chest of drawers. The wallpaper was also applied to cover the open wardrobe (see picture 3), door-panels and necessary extras. Biba lace cushions and lampshades come in a variety of colours. The following instructions from the furniture manufacturer produce a really professional finish.



BIBA INTERIOR DESIGN 1970




                                          BIBA'S HOUSEHOLD DEPARTMENT 

Three years later, upon moving to the much larger Derry & Toms building at 99-119 Kensington High Street—twenty times the size of its predecessor, Barbara Hulanicki finally had enough room to expand the lifestyle goods section into a fully fledged Household Department located on the fourth floor of the new premises. It was stocked with Biba furniture, rugs, art deco mirrors, lampshades, fabric, tableware and kitchenware, wallpaper, paint, and much more, along with twenty-four individually themed Biba room sets designed to display the products as they would look best in a variety of domestic settings, to inspire customers with ideas on how to transform their own living space. The opening day Big Biba newspaper, art directed by Steven Thomas and beautifully illustrated by Kasia Charko which had been created to familiarise shoppers with the new store's layout, devoted an entire page to it, the first line of the introduction copy declared that ''This is where houses start becoming homes.''  


BIBA OPENING DAY NEWSPAPER SEPTEMBER 1973
The Biba Household Department illustrated by Kasia Charko for the opening day newspaper, September 10th, 1973.  A total print run of 300,000 copies were produced on newsprint, with a further 1000 limited edition produced on cream cartridge paper.

        

BIBA HOUSEHOLD LOGO KASIA CHARKO 1973

        The Biba Household Department logo, art directed by Steven Thomas, illustrated by Kasia Charko (1973).                            




                                                         BIBA ROOM SETS

BELOW: Some examples of the twenty-four themed Household room-sets, permanently on display at Big Biba 99-119 Kensington High Street, each decorated and stocked with products from the store.                          

BIBA ROOM SET 1973
                                                                           Biba Room-Set, 1973.



BIBA ROOM SET 1973
                                                                              Biba Room-Set, 1973.



BIG BIBA ROOM SET 1973
                                                                              Biba Kitsch Room-Set. 1973.




                                              IMAGE CREDIT & LINKS

All Biba bed-sitting room images scanned by Sweet Jane from an original article by Fiona Bird for 19 Magazine, October 1970. Photographer and model uncredited. Big Biba Opening Newspaper Household Department page 13, Household logo, and Room-Sets scanned from Welcome to Big Biba by Steven Thomas and Alwyn W. Turner. Discover more about Barbara Hulanicki and view some fantastic behind the scenes footage of Biba 124 Kensington High Street filmed around the same period that this 19 Magazine feature was originally published. More boutiques business from Biba 124-126 Kensington High Street (1970); The Maxi-Look from Biba (1970); and Biba's American Debut (1971). An earlier bed-sitting room make-over, this time courtesy of Celia Birtwell, Ossie Clark and Molly Parkin—Bedsitter Girl - Jane Asher in Nova (1966). Tips on Cooking in a Bedsitter by Katharine Whitehorn (1963). A detailed history of Ponting Brothers Ltd—John Barker’s Magnificent Department Stores On Kensington High Street. And Finally, the Barbara Hulanicki designed range of wallpapers currently available from Graham & Brown, and her current paint range, which includes shades of  Witchcraft, Fetish, and Earth.

Monday, 21 May 2018

One Plus One, The Rolling Stones and Jean-Luc Godard - A Rave Magazine Exclusive (1968)


The 50th Anniversary of the tumultuous anti-establishment Paris protests of May '68 which eventually brought the entire economy of France to a standstill is upon us, as is the anniversary of the acclaimed French film director Jean-Luc Godard's ''One Plus One'' starring the Rolling Stones from the same year—an early example of work made during what is now regarded as his revolutionary period. The film was still in the production stages when this Rave magazine interview with producer Iain Quarrier (who also had an acting role in it) was originally published, and although Quarrier wasn't entirely sure at this point whether or not his own part would make it into the final edit, he was emphatic about one thing—that this was not a Rolling Stones' film—it was a Godard film! However, upon its release, it transpired that Quarrier/Cupid Productions had made just two but nonetheless very significant changes which altered that balance. Firstly, before the London Premiere, without Godard's knowledge or permission, he chose to re-edit the final scene to include the fully completed version of 'Sympathy for the Devil' which is the opening track on Beggars Banquet—the Rolling Stones' seventh studio album, documented in the making by Godard throughout the entire recording process as it evolved at Olympic Studios, in Barnes, West London...then renamed the film title after it accordingly. It's probably needless to say that these changes caused quite a bit of friction between the two men, and also created a marketing nightmare as both versions were released simultaneously, often screening at the same theatres, adding to the controversy and confusion. Much has been written on the subject over the years, so I've included several links at the end of this post to some of the best that I've found as I sifted through all of the news, reviews, personal accounts, and critiques. However, if you're in the London area, you can see what all the fuss is about for yourself this very week, as One Plus One (or perhaps Sympathy for the Devil) + Intro by Alex Loftus and Mark Shiel from King’s College London will be screening as part of the BFI's Uprising: The Spirit of ’68 Season on Tuesday, 22nd May 2018. And I would also suggest that you check out Rainbow Quarrier, a comprehensive overview of Iain Quarrier's career. I'm surprised that there hasn't been a book or documentary about this man yet, there's certainly enough material and 'Swinging London' backstory there for one, or maybe both! 



Exclusive to RAVE, a report of the Rolling Stones' first film, ''One Plus One''...
It's been three long years since the Rolling Stones first announced their intention to become film stars. It took almost a year for them to discover that they wanted to do '''Only Lovers Left Alive''. By the time they almost got down to starting it, they had changed their minds. And their own personal problems of last year set them back, film-wise, even further. These troubles cropped up once again this year, when after a year's break from the pop world, and just at the point of their 'comeback', which they celebrated with a No.1 record, ''Jumping Jack Flash'', Brian Jones was involved once again in the most unfortunate, drug charges publicity. The old Stones magic is still there, and fortunately so was Brian Jones, for the shooting of their first film ''One Plus One''. It was directed by French avant-garde director, Jean-Luc Godard, and produced by Cupid Productions, the company founded by the Hon. Michael Pearson and Canadian actor Iain Quarrier. The Stones, as always in times of trouble, were hard to get hold of, but producer Quarrier was available to comment on the film. ''The idea was brought to me and I liked it. We wanted to do this film very much, especially with Godard. It's quite a fantastic opportunity to do this, Cupid's first film—and one so big.''  Quarrier has also got a part in this, Godard's first English speaking film, but ''This is really the last thing on my mind at the moment. I'll be very pleased if I am used by him in the film, but it's not definite. He switches around so much that you just don't know what is going to happen next. Nothing is certain.'' Films and film are not new to Quarrier, from the other side of the camera. He's appeared in ''Cul de Sac'' and ''The Vampire Killers'' with ''Wonderwall'' and Roman Polanski's ''Dance of the Vampires'' to come—quite an impressive score.


''This is not a Rolling Stones film, it's a Jean-Luc Godard Film!'' Iain Quarrier


'Godard bases his film on a sort of treatment'' he went on. ''It's all improvisation with the people he uses. He uses people naturally, experimentally. He let's them be themselves. There's never any kind of script, as such.'' How did the Rolling Stones come to be chosen out of all the groups on the pop scene? It was once suggested that the Beatles were very interested in doing this film, but the Stones were chosen as being more suitable. At the mention of the Stones, Quarrier insisted, ''This is not a Rolling Stones' film, it's a Jean-Luc Godard film! The Stones were chosen because we liked them the most, and they seemed much more suitable. Godard's long been an admirer of their creative and musical talent. He just adores them, and they fit in with the whole project of this film.'' ''One Plus One'' will be based on parallel themes of construction and destruction. The destruction side comes in the form of the old, but ever popular, eternal love triangle, which in this case ends in suicide. Terence Stamp has been approached for a part, but nothing, as yet, has been signed on the dotted line. As far as construction goes, there's the Rolling Stones cutting a record in the Olympic Recording Studio in London. Both situations take place in the same, in the same time —London. 





''Things are going very well. We all roll up at the studio, and Godard and his camera crew are ready to shoot.'' Mick Jagger


How are the Stones shaping up? ''Well, they're just fantastic. Basically it's just the Stones being themselves. Acting as they act in the studio, talking as they talk, all very natural. We were very fortunate to get them. I can't really say more about the film, because with Godard, it's very difficult to say what is actually happening until you've seen the the finished film.'' As for the Stones themselves, they love Godard, and it's all really sort of a mutual admiration society, which can only bring out the best in people. Says Mick, ''Things are going very well. We all roll up at the studio, and Godard and his camera crew are ready to shoot what is to be shot. When there was the fire at at the studio, Godard quickly filmed it—then we ran for our lives!'' Apparently, while the Stones, along with Marianne Faithful, were at the studio, the roof burst into flames and started to collapse. All the Stones equipment was damaged by debris and water. ''It was a pretty fantastic blaze,'' said Mick. ''It was a good job it was the roof. We saw it coming! It was filmed, so there's a small chance it may be included in the film.''  What Godard is actually shooting is the Stones cutting their latest album. ''Beggars Banquet'', released on July 26th, which is Mick's birthday, filming the recording, the hang-ups, everything as it happens.  Said Keith, ''We made our album and we were filmed at the same time. That's the way he does things. He films a bit, then he takes a look at it and decides what to do next. That's the way we like to work too.''  When you will see the film depends on a lot of things. How quickly Godard edits the film, and if there are any more riots in Paris where he works, are factors! Nevertheless, wait and watch out for ''One Plus One''. It all sounds rather interesting, and the Stones captured on celluloid for posterity a very rare milestone in movie history!




Above: The official Cupid Productions trailer for Sympathy for the Devil (1968). But, in spite of the Rave magazine headline, this, as we all know, was not the Rolling Stones first film. Peter Whitehead had previously shot the Stones in 1965 over a three day period as they embarked on a two-date tour of Ireland. The film would premiere a year later as 'Charlie is my Darling' before disappearing from public view after a management change, resurfacing thereafter over the years that followed via poor quality bootleg copies, or at the occasional screening, before eventually seeing an official release by ABKCO Films in 2012.
























                            

                                           The Heart of Occident
The aforementioned studio fire, Terence Stamp, and also the narrative regarding the 'eternal love triangle' ending in a suicide may not have made it into the finished version of the film, but Iain Quarrier certainly did, resplendent in purple corduroy, as a bookseller of pornographic literature, reading aloud from Mein Kampf. 



Iain Quarrier - One Plus One (Dir. Jean-Luc Godard - 1968) courtesy of Cupid Productions Ltd. (Note: *All wardrobe Department/Costume Design information absent from the film credits).




      

                      IMAGE CREDITS,  LINKS, & FURTHER READING
All images scanned by Sweet Jane from an original article in Rave Magazine, August 1968. Read an edited transcript of an interview with the director, made for the BBC TV programme Release in November 1968: One to One: Jean-Luc Godard Speaks, and also The Rolling Stone Interview (1969)A look behind the lens at the famed French new wave director of 'Breathless' and 'Band of Outsiders'. One Plus One, the original version of Godard's 'Sympathy for the Devil' film, is shown to benefit filmmakers organization (April 2, 1970). The Depiction of late 1960s Counter Culture in the 1968 films of Jean-Luc Godard'. Mim Scala: Diary of a Teddy Boy- a Memoir of the Long SixtiesChapter 18 provides an excellent behind the scenes insight into the making of the film.  A look at the events and some of the causes of the uprising in France in the Spring of 1968 - including footage of protests by Godard and Truffaut in defence of Henri Langlois who had been dismissed from his position as co-founder and director at the Cinémathèque Française. The Story Of Olympic Studios—an interview with studio engineer Keith Grant. Discover more about the actor Sean Lynch, who although unseen in One Plus One, can be heard as a constant narrative throughout the film, and you can also view the man behind the voiceSean Lynch photographed outside Paddington Registry Office on the day of his wedding to English Jazz singer Annie Ross, in London, August 19th 1963. Separation (Dir. Jack Bond - 1968)  Starring Iain Quarrier (*with clothes from Granny Takes a Trip, Quorum, and The Carrot on Wheels). Cupid Productions Ltd the company responsible for two of the classic films of the 1960s and 1970s: the car chase cult movie Vanishing Point, directed by Richard C. Sarafian and the Rolling Stones movie Sympathy for the Devil, aka One Plus One, directed by Jean-Luc Godard. From Paris in the Sinister Sixties to Hollywood’s Magic Castle: Cult Horror actor Ferdy Mayne recalled, among other things,  Quarrier as ''a central supplier of the chemicals, mostly acid, that kept the scene soaring at its stratospheric level.'' Mia Farrow, the American actress, used a four-letter word at Bow Street Court, London, yesterday, when she was called as a witness in the case against Canadian producer Iain Quarrier (16th November 1968). Jagger vs Lennon: London's riots of 1968 provided the backdrop to a rock 'n' roll battle royale. Some more Rolling Stones on film: Charlie is my Darling (Original 1965 cut); The Rolling Stones Rock and Roll Circus (1968); Gimme Shelter (1970); Performance (1970) plus, be sure to keep an eye out for the forthcoming limited edition, large format book by author Jay Glennie, with new & unseen images marking the 50th Anniversary of Performance starring Mick Jagger, James Fox, and Anita Pallenberg, available for pre-order soon!; Ned Kelly (1970);  Cocksucker Blues (1972); Ladies and Gentlemen: The Rolling Stones (1974); The Greatest Rock 'n' Roll movie never made—Only Lovers Left Alive. And finally, The Radical Film Network's 1968 Festival Programmea worldwide programme of film-based events and discussions around the legacy and potential of 1968 in the popular imagination.

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