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Fashion in the 1960s - Introduction
Clothing styles have always mirrored the prevailing attitudes of the times and this is certainly true of fashion in the 1960s. The decade was marked by sweeping social change and the domination of youth culture - baby boomers were growing up and demanded their own fashion style. Designers responded with a much more liberal, daring approach to fashion, boasting colourful fabrics and bold designs. The 1960s saw fashion reject the conventions and niceties of previous eras. Clothing broke with social traditions that dictated what could be worn when and by whom. In the past, attire had been divided in to 'formal' and 'casual' wear, and distinct separations were made between the styles of clothing worn by men and women. The 1960s, however, saw the emergence of unisex clothing such as denim jeans, which could be worn by both sexes.
1960s Mod fashion
Mod, short for 'modern', refers to a youth lifestyle that emerged from London during the 1960s, and quickly spread to America, Europe and Australia. Centred around London's thriving pop music, art and fashion scene, the mod lifestyle focused on innovation and the 'new'. Mod fashion was slim fitting and featured bold geometric shapes. Colour was also a key concern - the conservative greys, browns and pastels of the 1950s were replaced by bright, wild hues. In contrast to fashion trends of the past, these garments were mass-produced and affordable.
Rising hemlines and the mini-skirt
The 1960s saw the appearance of the mini-skirt. Up until that time, skirts and dresses in Australia finished sensibly at the knee. New soaring hemlines created huge controversy when they first appeared, exposing centimetres of thigh never before seen in public. At the Melbourne Cup in 1965, English model Jean Shrimpton created controversy by wearing a synthetic white shift dress with a hem high above her knees. She did not wear stockings, gloves or a hat. Shrimpton's outfit was considered scandalous, and made headlines around the world. By the end of the decade, however, shift dresses and mini-skirts had become widely accepted. See Image 1 Mini-skirts represent more than just a fashion landmark of the decade - they have become an icon of the general culture of rebellion that characterised the 1960s. Young people were rejecting the social standards of the past and so too was their fashion. Many devotees of the feminist movement of the 1960s also saw the mini-skirt as a claim to the right of women to proudly display their bodies as they wished.
1960s Fashion icons
Throughout the 1960s, a number of famous people sported distinct fashion styles that were copied all over the world.
British teenage supermodel Leslie Hornby, also known as Twiggy due to her stick-thin figure, was a fashion idol to young girls everywhere. Her short, boyish haircut and leggy, waif-like frame graced the covers of every major fashion magazine. While 1960s fashion was largely youth-driven, fashion icons also dictated the style of older women. Throughout her career, movie star Audrey Hepburn wore simple, flat shoes, threequarter length pants, and plain black shift dresses. Her clothing style and her beehive hairdo, would be copied by millions of women worldwide. See Image 2 Jacqueline Kennedy, wife of US President John F. Kennedy, became widely known for her beauty, grace and elegant style of dress. Her many public appearances popularised pearl necklaces, the pillbox hat (a small hat with a flat top and straight sides) and simple, bigbuttoned suits.
1960s 'Hippie' fashion
Towards the end of the 1960s, the hippie movement had arrived in Australia. Many young people had become dissatisfied with the prevailing mainstream social values, considering them to be shallow and materialistic. Others strongly opposed Australian involvement in the Vietnam War. Whatever their motivation, many young people began embracing the values of peace, love and freedom and sought an alternative way of life. Many people embraced communal living and a nomadic lifestyle, explored Eastern religions, experimented with drugs and adopted a rebellious style of dress. Clothing styles and fabrics were inspired by non-Western cultures, such as Indian and African. Natural fabrics and tie-dyed and paisley prints were also popular. Many people handcrafted their own clothes and accessories and personal items were often decorated with beads and fringes. Bare feet or leather sandals were typical hippie fashion and flowers and peace signs became symbols of the movement. See Image 3 Both men and women let their hair grow long and men commonly grew facial hair. The hippie movement also influenced other clothing styles. Denim jeans, which had remained a staple wardrobe item for many young people throughout the decade, were inspired by hippie fashion. New styles of denim jeans emerged, such as the bell-bottomed, tie-dyed, marbled and painted jeans.
Clothing fabrics in the 1960s
1960s fashion was influenced by the excitement surrounding space exploration and the first moon landing. Innovative synthetic materials like polyester, plastic, PVC and vinyl enjoyed huge popularity throughout the decade. New blended fabrics were also developed, mixing man-made fibres with natural materials like cotton and wool. Prompted by the animal rights movement, new fabric technology also produced the first artificial fur and leather fabrics. Improved fabrics and mass production techniques meant that clothes could be produced much faster and more cheaply than ever before. This, coupled with quickly changing teen fashion fads, meant that clothes were also discarded more quickly than before.
1960s fashion revealed a decade of change; a change which occurred in the fundamental structure of fashion as it was known. Despite new and different fashions, everyday clothes were simple. From the 1960’s on there would never be one single fashion or trend, but a multitude of possibilities which transcended in all other areas of peoples lives. The youth, with a power and culture all their own, had a powerful impact on the fashion industry. The women of 1960s fashion adopted a girlish style, with short skirts and straightened curves, similar to the look of the 1920s. At the beginning of the 1960s, skirts were knee-high; however, they steadily became shorter and shorter and in 1965 the mini-skirt emerged. Many of these radical changes began in London. Popular designers of 1960s fashion included Mary Quant, who was known for designing the mini skirt, and Barbara Hulanicki (founder of the lengendary boutique Biba). Paris also had its share of new designers including Pierre Cardin, Yves Saint Laurent and Emanuel Ungaro. In the United States, Rudi Gernreich (known for futuristic designs) and James Galanos (known for his luxurious ready-to-wear) became popular among a young audience, selling their outfits through small boutiques with a limited range of size and colors. The basic shape and design of 1960’s fashion was simple, clean-cut and young. Synthetic fabrics became widely used during this period. Typically Alines or shift dresses were worn between high thigh and the knee. Hats became somewhat obsolete, only being used for special occasions. 1960’s fashion saw a transition from stilettos and pointed toe shoes to a lower kitten heel and chisel shaped toes. By 1965, flat boots became very popular with short dresses and eventually they rose up the leg and reached the knee. Two influential designers of 1960s fashion were Emilio Pucci and Paco Rabanne. Emilio Pucci’s sportswear designs and prints were inspired by Op art and psychedelia and his clothing became part of a movement to liberate the female form and is today synonymous with 1960s fashion. Paco Rabanne produced very modern designs, using aluminum, Rhodoid and pieces of scrap metal. As well as being experimental, his clothes were in line with what the modern adventurous women of 1960s fashion wanted to wear. 1960’s fashion became known for the influential “partnerships” of many celebrities and high-fashion designers such as Audrey Hepburn and Givenchy, and Jackie Kennedy and Oleg Cassini. Also, many models had an impact on 1960s fashion, most notably Twiggy, and Jean Shrimpton. The beginning the 1960’s culottes and the bikini and the hippie movement later in the decade also had a strong influence on clothing styles, including tie-dye and batik fabrics, paisley prints and bell-bottom jeans.
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Image 1 - Unaware of the controversy she would cause, English model Jean Shrimpton wore a short white shift dress without stockings to the 1965 Melbourne Cup.
Image 2 - The clothes worn by Audrey Hepburn in her movies were quickly copied by women all over the world.
Image 3 - Long, flowing hair, tie-dyed prints and bellbottomed jeans were common hippie attire.
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The 1960s featured a number of diverse trends. It was a decade that broke with many fashion traditions that mirrored social movements during the period. In the middle of the decade, culottes, box-shaped PVC dresses and go-go boots were in style. The widely popular bikini came into fashion in 1963 after being featured in the musical Beach Party.
A velvet minidress from 1965
The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s Mary Quant invented the mini-skirt,and Jackie Kennedy produced the french manicure with false eyelashes. pillbox hat , which became extremely popular throughout the 1960s. Blues, greens, and shimmery eye shadows were popular; false eyelashes were used, and hairstyles were a variety of lengths and styles. While focusing on colours and tones, accessories were less of an importance during the sixties. People were dressing in psychedelic prints, highlighter colours, and mismatched patterns. The hippie movement late in the decade also exerted a strong influence on ladies' clothing styles, including bell-bottom jeans, tie-dye, and batik fabrics, as well as paisley prints.
Colleen Corby, a teenaged supermodel of the mid-1960s In the early to mid-1960s, the London Modernists known as the Mods were shaping and defining popular fashion for young British men while the trends for both sexes changed more frequently than ever before in the history of fashion and would continue to do so throughout the decade.  Designers were producing clothing more suitable for young adults which lead to an increase in interests and sales.
• • • • • • • • •
1 Impact of Fashion on the Era o 1.1 Economy 1.1.1 Textiles o 1.2 Acceptance in Society 2 Early 1960s 3 The mid 1960s 4 The late 1960s 5 Hairstyles 6 Additional fads and trends 7 Image gallery 8 See also 9 References 10 External links
 Impact of Fashion on the Era
Following World War II and its baby booming era, 1960s fashion became popular and fit for the millions of teenagers living their adolescence. Designers were producing
clothing more attractable for skinny, young adults leading to rise in interests and sales. Teenagers had little responsibility and were dropping out of school early to begin working . While living in the moment, people were spending versus saving and enjoying the changes the 60s were bringing.  Textiles As the 60s introduced new versions of synthetic fibers, the use of natural fibers such as wool was contracting. Spandex and Nylon were used towards the production of underwear, swimwear, bras, and sportswear.  Affecting even the stock market and sales, the production of plants supplying synthetic fibers rose globally. As the first man landed on the moon, textiles celebrated modernity, space age silver became a new-age trend. 
 Acceptance in Society
The 1960s represented a change in which Western women were free to dress in any style they chose and were accepted in society. Just as high fashion was transformed to reflect a new, adventurous, unique generation; fashion in the 1960’s also illustrated the natural beauty behind different cultures.  The acceptance of this change in fashion shows the expression of female identity through even allowing to advertise uni-sex dressing amongst women.  By interchanging slacks and mini skirts from day to day, society indirectly freed sexual restraints on women as well as establishing equality between men, women, and young people.
 Early 1960s
Fashions in the early years of the decade reflected the elegance of the First Lady, Jacqueline Kennedy. In addition to the pillbox hat which is discussed in detail below, women wore suits, usually in pastel colours, with short boxy jackets, and oversized buttons. Simple, geometric dresses, known as shifts, were also in style. For evening wear, full-skirted ballgowns were worn; these often had a low décolletage and had close-fitting waists. For casual wear, capri trousers were the fashion for women and girls. Stiletto-heeled shoes were widely popular. As the suits drifted away from pale, toned shades, menswear was now bright and flamboyant. It included frills and cravats, wide ties and trouser straps, leather boots and even collarless jackets. Ties were worn even five inches wide, with crazy prints, stripes and patterns. Casual dress consisted of plaid button down shirts with comfortable slacks. 
Family photo taken in 1965. Sleeveless shifts for women were popular
The Mods were a British fashion phenomenon in the mid-1960s with their anoraks, tailored Italian suits, and scooters
 The mid 1960s
After designer Mary Quant introduced the mini-skirt in 1964, fashions of the 1960s were changed forever. The mini was eventually to be worn by nearly every stylish young female in the western world. The mini dress was usually A-line in shape or a sleeveless shift. In 1964, French designer Andre Courreges introduced the "space look", with trouser suits, white boots, goggles, and box-shaped dresses whose skirts soared three inches above the knee. These were mainly designed in fluorescent colours and shiny fabrics such as PVC and sequins. The leaders of mid 1960s style were the British. The Mods, short for Modernists, were characterized by their choice of style different from the 1950s and revealed new fads that would be immitated by many young people. As a level of the middle social class known as the Mods, controlled the ins and outs of fashion in London, 1960’s fashion set the mode for the rest of the century as it became marketed mainly to youth. Modernists formed their own way of life creating television shows and magazines that focused directly on the lifestyles of Mods.  British rock bands such as The Who, The Small Faces, and The Kinks emrged from the Mods subculture. The Mods were known for the Modern Jazz they listened to as they showed their new styles off at local cafes. They worked at the lower end of the work force, usually nine to five jobs leaving time for clothes, music, and clubbing.  It was not until 1964 when the Modernists were truly recognized by the public that women really were accepted in the group. Girls had short, clean haircuts and often dressed in similar
styles to the male Mods.  The Mods' lifestyle and musical tastes were the exact opposite of their rival group known as the Rockers. The rockers liked 1950s rock-and roll, wore black leather jackets, greased, pompadour hairstyles, and rode motorbikes. The look of the Mods was classy; they mimicked the clothing and hairstyles of high fashion designers in France and Italy; opting for tailored suits, which were topped by anoraks that became their trademark. They rode on scooters, usually Vespas or Lambrettas. The Mods dress style was often called the City Gent look. Shirts were slim, with a necessary button down collar accompanied by slim fitted pants.  Levi’s were the only type of jeans worn by Modernists. Flared trousers and bellbottoms led the way to the hippie stage introduced in the 1960s. Variations of polyester were worn along with acrylics. Carnaby Street and Chelsea's Kings Road were virtual fashion parades. In 1966, the space age was gradually replaced by the Edwardian, with the men wearing doublebreasted suits of crushed velvet or striped patterns, brocade waistcoats, shirts with frilled collars, and their hair worn below the collar bone. Rolling Stones guitarist Brian Jones epitomised this "dandified" look. Women were inspired by the top models of the day which included Twiggy, Jean Shrimpton, Colleen Corby, Penelope Tree, and Veruschka. Velvet mini dresses with lace-collars and matching cuffs, wide tent dresses and culottes had pushed aside the geometric shift. False eyelashes were in vogue, as was pale lipstick. Hemlines kept rising, and by 1968 they had reached well above mid-thigh. These were known as "micro-minis". This was when the "angel dress" made its appearance on the fashion scene. A micro-mini dress with a flared skirt and long, wide trumpet sleeves, it was usually worn with patterned tights, and was often made of crocheted lace, velvet, chiffon or sometimes cotton with a psychedelic print such as those designed by Emilio Pucci. The cowled-neck "monk dress" was another religion-inspired alternative; the cowl could be pulled up to be worn over the head. For evening wear, skimpy chiffon baby-doll dresses with spaghetti-straps were the mode as well as the "cocktail dress", which was a closefitting sheath, usually covered in lace with matching long sleeves.Feather boas were occasionally worn. In 1964, Bell-bottomed trousers were a new alternative to the capris of the early 1960s. They were usually worn with chiffon blouses, polo-necked ribbed sweaters or tops that bared the midriff. The look of corsets, seemed tights, and skirts covering the knees had been abolished. The idea of buying urbanized clothing, which could be worn with separate pieces, was intriguing to women of this era in comparison to previously only buying specific outfits for certain occasions. For daytime outerwear, short plastic raincoats, colourful swing coats and dyed fakefurs were popular for young women. In 1967, the Nehru jacket arrived on the fashion scene, and was worn by both sexes. Suits were very diverse in color but were for the first time ever, fitted and very sliming. Waistlines for women were left unmarked and hemlines were getting shorter and shorter.
French actress Brigitte Bardot wearing a transparent top and a feather boa, 1968 Footwear for women included low-heeled sandals and kitten-heeled pumps, as well as the trendy white go-go boots. Shoes, boots, and handbags were often made of patent leather or vinyl. The Beatles wore elastic-sided boots similar to Winkle-pickers with pointed toes and Cuban heels. These were known as "Beatle boots" and were widely copied by young men in Britain.
German fashion model in 1966 wearing a wool suit trimmed with fur, and a matching fur hat
 The late 1960s
By 1969, the androgynous hippie look was in style. Both sexes wore frayed bellbottomed jeans, tie-dyed shirts, workshirts, and headbands. Wearing sandals was also part of the hippie look for both sexes. Women would often go barefoot, and some even opted to go braless. Fringed buck-skin vests, flowing caftans, Mexican peasant blouses, gypsy-style skirts, scarves, and bangles were also worn by teenage girls and young women. Indian prints, batik and paisley were the fabrics preferred. For more conservative women, there were the "lounging" or "hostess" pyjamas. These consisted of a tunic top over floorlength culottes, and were usually made of polyester or chiffon. Another popular look for women and girls which lasted well into the early 1970s was the suede mini-skirt worn with a French polo-neck top, square-toed boots, and Newsboy cap or beret. Long maxi coats, often belted and lined in sheepskin, appeared at the close of the decade.Animal prints were also popular for women in the autumn and winter of 1969. Women's shirts often had transparent sleeves. Pshycydellic prints, hemp and the look of “Woodstock” came about in this generation. 
John Lennon, with long, unkempt hair and a beard, 1969. Photo courtesy of Roy Kerwood
Head coverings changed dramatically towards the end of the decade as men's hats went out of style, replaced by the bandanna, if anything at all. As men let their hair grow long, the Afro became the hairstyle of choice for African Americans. Mop-top hairstyles were most popular for white and Hispanic men, beginning as a short version around 1963 through 1964, developing into a longer style worn during 1965-66, eventually evolving into an unkempt hippie version worn during the 1967-69 period which continued in the early 1970s. Facial hair, evolving in its extremity from simply having longer sideburns, to mustaches and goatees, to full-grown beards became popular with young men from 1966 onwards. Women's hair styles ranged from beehive hairdos in the early part of the decade to the very short styles popularized by Twiggy just five years later to a very long straight style as popularized by the hippies in the late 1960s. Between these extremes, the chin-length contour cut and the pageboy were also popular. The pillbox hat was fashionable, due almost entirely to the influence of Jacqueline Kennedy, who was a style-setter throughout the decade.
Actress Jane Fonda with Roger Vadim in 1969. She is wearing the Newsboy cap which was in vogue at the end of the decade
Colourful headbands, bell-bottoms, and bare feet were part of the hippie look which was popular in 1969
 Additional fads and trends
The '60s also gave birth to the skinny jean, (slim-fit pants), worn by Audrey Hepburn, which is again popular with young women today. The late 1960 produced a style categorized of people whom promoted sexual liberation and favored a type of politics reflecting “peace, love and freedom”.  Ponchos, mocassins, love beads, peace signs, medallion necklaces, chain belts, polka dot-printed fabrics, and long, puffed "bubble" sleeves were additional trends in the late 1960s. New materials other than cloth (such as polyester and PVC) started to become more popular as well.
 Image gallery
A selection of images representing the fashion trends of Singer and actress the 1960s: Barbra Streisand in 1962 wearing a top German fashion with a crew-neck. models, 1962. Her hair is teased at the crown.
First Lady Jacqueline Kennedy wearing a strapless pink evening gown and elbowlength white gloves. She was a fashion icon in the early 1960s
Actress Tina Louise in 1964. Her hair is Young woman in styled into thick, Florida, 1965. rolled curls piled up on her head.
American girl wearing a mini skirt Biba's in Kensington, and patterned tights, London, was one of the trendiest shops in 1966. the 1960s.
Family photograph taken in Los Lars Jacob wears the Woman at a Angeles, California, popular "dandified" Young woman Singapore zoo, 1967. 1968. The man is wears her hair in a Note her Pucci-style wearing a medallion male fashions. pageboy flip, 1967. print dress. necklace.
Young girl wearing a mini dress and white go-go boots, 1968.
Two men at the In the late 1960s, Woodstock Festival, brides often wore 1969 white mini wedding dresses.
Girl in late 1969 wearing a tiger-print mini jumper dress and matching beret.
Singer Maria Muldaur in 1969, Boy with a mop top wearing a gypsystyle kerchief and hair cut, 1969. hoop earrings.
 See also
• • • • • • • • • •
Yves Saint-Laurent Oleg Cassini Andre Courreges Lauren Hutton Veruschka Jean Shrimpton Penelope Tree Twiggy Celia Hammond Mod (lifestyle)
1. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009
<http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 2. ^ Rich, Candace. "Makeup." Fifties and Sixties Site. 1996. 8 Apr. 2009 <http://www.fiftiesweb.com/fashion/sixties-fashion-w1.htm>. 3. ^ Vintage Fashion Newsreels 1960s. Dir. Vidcat1. You Tube. 13 Feb. 2007. 27 Mar. 2009 http://www.youtube.com/watch?v=PP_MmvNxUSI 4. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 5. ^ Goodwin, Susan, and Becky Bradley. "American Cultural History: 1960-1969." Kingwood College Library. June 2008. Lone Star College. 1 Mar. 2009 <http://kclibrary.lonestar.edu/decade60.html>. 6. ^ Goodwin, Susan, and Becky Bradley. "American Cultural History: 1960-1969." Kingwood College Library. June 2008. Lone Star College. 1 Mar. 2009 <http://kclibrary.lonestar.edu/decade60.html>. 7. ^ "The 1960's." The People's History. 2009. 30 Mar. 2009 <http://www.thepeoplehistory.com/60sclothes.html>. 8. ^ Orzada, Belinda T. "Fashion Trends and Cultural Influences 1960-present." Twentieth Century Design: Ethnic Influences. 7 Oct. 1998. University of Delaware. 10 Apr. 2009 <http://udel.edu/~orzada/trends-90.htm>. 9. ^ Orzada, Belinda T. "Fashion Trends and Cultural Influences 1960-present." Twentieth Century Design: Ethnic Influences. 7 Oct. 1998. University of Delaware. 10 Apr. 2009 <http://udel.edu/~orzada/trends-90.htm>. 10. ^ "History of 1960s Fashion and Textiles." V&A. Victoria and Albert Museum. 27 Feb. 2009 <www.vam.ac.uk>. 11. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 12. ^ Goodwin, Susan, and Becky Bradley. "American Cultural History: 1960-1969." Kingwood College Library. June 2008. Lone Star College. 1 Mar. 2009 <http://kclibrary.lonestar.edu/decade60.html>. 13. ^ Marshall, Peter. "Peacock Revolution: Informal Counterculture." Black Tie Guide. 2009. 27 Feb. 2009 <www.blacktieguide.com>. 14. ^ PaperpastYearbook,www.paperpast.com/html/1960 _fashion.html 15. ^ Fashion From Ancient Egypt To The Present Day, by Mila Contini, page317 16. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 17. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 18. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 19. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 20. ^ Braggs, Steve, and Diane Harris. "60s Mods." RetroWOW. 1 Mar. 2009 <http://www.retrowow.co.uk/retro_style/60s/60s_mods.html>. 21. ^ Paperpast Yearbook, www.paperpast.com/html/1960_fashion.html 22. ^ Contini, page 317 23. ^ Orzada, Belinda T. "Fashion Trends and Cultural Influences 1960-present." Twentieth Century Design: Ethnic Influences. 7 Oct. 1998. University of Delaware. 10 Apr. 2009 <http://udel.edu/~orzada/trends-90.htm>. 24. ^ Paperpast Yearbook, www.paperpast.com/html/1960_fashion.html 25. ^ Paperpast Yearbook,www.paperpast.com./html/1960_fashion.html
26. ^ "The 1960's Hippies." Ariki Art Online Gallery. Ed. John Corney. 2008. 8 Apr. 2009
27. ^ "The 1960's Hippies." Ariki Art Online Gallery. Ed. John Corney. 2008. 8 Apr. 2009
1. Fashion From Egypt To The Present Day, by Mila Contini Crescent Books New York
 External links
Wikimedia Commons has media related to: 1960s fashion
Paperpast yearbook (1966) "1960s Fashion and Textiles collection". Fashion, Jewellery & Accessories. Victoria and Albert Museum. http://www.vam.ac.uk/collections/fashion/1960s/index.html. Retrieved on 2007-06-08. "60s Fashion in the Round". Fashion, Jewellery & Accessories. Victoria and Albert Museum. http://www.vam.ac.uk/collections/fashion/features/round/rotations/index.html. Retrieved on 2007-12-09.
link 60s Supermodels on the Web
The 60s Mini Skirt - 1960s Fashion History
• • • • • • • • • • • • Fifties Fashion Hangs on until 1966 Mary Quant and the Mini Skirt 'That Was The Week That Was' Death of Stockings 1960s Footwear Pantyhose Introduced Mid Sixties Pinafores and Knits Outdoor Clothes Trousers So Many Influences on 1960s Styles Rock Around the Clock New Synthetic Yarns in the 1960s Fashions
Talent was the prerequisite to success in the 1960s. For the first time ever in any fashion era, the young became the leaders of fashion. They led with new and radically innovative fashion styles, with little girl woman androgynous looks for women that swept away the sophisticated sweater girls of the early
sixties. The picture of Twiggy in the header defines her as the epitome of a sixties baby doll woman.
Fifties Fashion Hangs on until 1966
In the 21st century it's easy to associate all 1960s fashion with short skirts, but the short skirt was not really worn by many until 1966 and not nationwide until 1967. Just as in the 1920s for half a decade clothes still showed signs of belonging to the late fifties. The fore runner of the mini dress the straight shift, which had developed from the 1957 sack dress, was still well below the knee. In the early sixties, pleated skirts set on a hip yoke basque were worn with short sleeved over blouses which were cut not unlike the shell tops of today. Straight skirts had front and back inverted pleats called kick pleats and were ideal for doing the twist dance craze as they allowed the knee to move freely. Straight sweater dresses in lambswool or the synthetic acrylic variety called Orlon were worn belted with waists nipped in became fashionable. Pencil skirts were still worn with sweaters or even back to front cardigans that had been pressed super flat. Before the days of tumble driers many women lay their washed rung out knitwear in paper tissue and then brown paper. They put it to dry under a carpet for two days. When it was removed from the tissue, the footsteps that had pounded over the knit gave it a flat dry cleaned as new appearance. Laundering of delicates could still be a problem, but everything changed when mass produced synthetic garments arrived.
Mary Quant and the Mini Skirt
By 1966 Mary Quant was producing short waist skimming mini dresses and skirts that were set 6 or 7 inches above the knee. It would not be right to suggest she invented the fashion mini skirt. In 1965 she took the idea from the 1964 designs by Courrèges and liking the shorter styles she made them even shorter for her boutique Bazaar. She is rightly credited with making popular a style that had not taken off when it made its earlier debut. Quant found London girls seeking newness only too willing to try her new daring short mini skirt. The fashion trend took off because it was so different and to wear it well you had to be youthful to get away with an outfit that was so controversial particularly among adults. The Quant style was soon known as the Chelsea Look. You are reading an original 'The 1960s Mini Skirt' fashion article by Pauline Weston Thomas at www.fashion-era.com © Right - The length of a typical late sixties short mini skirt. The shapes Quant designed were simple, neat, clean cut and young. They were made from cotton gabardines and adventurous materials like PVC used in rain Macs. They almost always featured little white girly collars. The five point hairstyle that says 1960s.
Mary Quant also sported a sharply cut geometric hairstyle. One of the most famous and favoured cuts of the era was the 5 point cut by Vidal Sassoon. Left - Provincial more bouffant variations of the asymmetric cut fringe circa 1968.
That Was The Week That Was
The London TV Saturday night programme 'That Was The Week That Was', watched by half the UK nation had some time earlier shown a model wearing a dress with a belt that enabled the model to lift the dress up showing the possible various shorter lengths that designers were forecasting hemlines would rise to in the next six months. The audience laughed and gasped and viewers across Britain tittered, but within less than a year the shorter length was firmly established with under twenties and soon after their mothers too began wearing a short mini skirt. Typical of the era the opening lines of the show were 'that was the week that was, it's over let it go...' It was typical of the 1960's attitude of let's get on with the future, making it a very fast moving decade in fashion, lifestyles, innovations and morals. The fashion mini skirt became one of the icons that symbolized this era. You are reading an original 'The 1960s Mini Skirt' fashion article by Pauline Weston Thomas at www.fashion-era.com ©
Death of Stockings
What made the mini really acceptable was the introduction of pantyhose known mostly today as tights. It was hard to wear a mini dress with stockings and feel confident, but with tights there was protection from the elements and no unsightly glimpse of stocking tops. Stockings died in the mid 1960s and were only revived as leg wear in the 1990s or else kept for the bedroom.
When tights were first introduced in the 1960s it liberated women from girdles, roll-ons and suspender belts. It's difficult to know which came first the skirt or the tights, but the introduction of seamless stockings had started the tights revolution. What is certain it is unlikely the one could have existed without the other as no groomed young lady ever went out bare legged then. A pair of Wolsey tights cost about £1 in 1965 and with careful daily washing they could be made to last a month. Obviously planned obsolescence has been introduced since then for all brands, as most of us now find it difficult to make them last for more than a day or two's wear. Tights in the late 60s were often patterned with arrangements of diamonds or other motifs and a favourite colour of the era was a golden brown called American Tan. Fishnet tights were also popular briefly. Lurex glitter tights in gold or silver were a hit for the Christmas period.
Lower kitten heels were a dainty alternative to stilettos Pointed toes gave way to chisel shaped toes in 1961 and to an almond toe in 1963. Flat boots also became popular with very short dresses in 1965 and eventually they rose up the leg and reached the knee. A cult for Dr. Scholl clog sandals worn in offices and outdoors was all the rage in the mid to late sixties in the same way that Birkenstocks were popular in the 1990s.
Pinafores and Knits
Knitted twin sets were still worn, but often the items were worn as separates. Square, V or round neck pinafore dresses in plain or tartan wool fabrics were teamed with polo neck jumpers or tie neck blouses. Other combinations were burgundy plum pinafores worn with white or mustard blouses. A sleeved variation of the button through version of the pinafore was called a coat dress and it was worn with or without a skinny rib fitting sweater. It was often worn with a half belt at the back waist. All clothes were narrow shouldered and cut in at the armholes to properly reveal the arm and its shoulder joint. Even short sleeve versions were set well into the armscye. Left - Dresses of 1967 with cutaway armholes Baby doll dresses of 1966 were full and flared into tent shapes mostly with cutaway armholes or/and a halter neck. They were made of transparent tulles, lace or chiffons plain or tree bark mounted over a matching lining or could be made of crinkled cotton crepe fabrics. Lace of all types from Broderie Anglaise to guipure to crochet effects over coloured linings or flesh toned linings were often seen. Black polo neck sweaters made popular by the Beatles cover album were often worn under check pinafore dresses. The dresses were usually solid colours of red or purple wool material. Checks of black and white such as dog or hound's-tooth or Prince of Wales check. Black and white was a sixties combination and was used in op art dresses and block pieced dresses worked in Mondrian style. Black patent accessories complimented all these combinations. One of the easiest ways to get the sixties look was to wear short little coloured gloves with a hole cut out to reveal the back of the hand. The gloves were similar in appearance to golf gloves of today. With the gloves coloured plastic beaded raffia knit bags and plastic coloured bangles and chandelier earrings made of large sequin discs were all high fashion accessories that lasted about 5 years.
All of these trend setting outfits and accessories could easily be obtained from Wallis, Richards, Etams or Chelsea Girl shops. You are reading an original 'The 1960s Mini Skirt' fashion article by Pauline Weston Thomas at www.fashion-era.com ©
Outdoor looks were achieved by using fabrics like wool, Terylene or cotton gabardine, corduroy, leather, suede or mock suede fabrics made up as car coats. Also cheaper alternatives such as padded nylon diamond quilted anoraks or cotton anoraks with toggles and Austrian peasant embroidered braids were quite common.
The mini dominated fashion and women sometimes needed a practical alternative smarter than jeans that could be worn day or evening. Quite formal trousers worn with a tunic, shirt, skinny rib or matching suit jacket were acceptable in certain work situations and liked as alternative evening wear when made from slinkier materials. Trousers were made from Courtelle jersey, cotton velvet, silky or bulked textured Crimplenes, lace with satin, and Pucci style printed Tricel. Hipster versions were popular and very flared versions developed by the late sixties, with every style ultimately translating into denim jeans. Its worth noting that the hipsters of the 60s were not quite as low cut along the pelvic line as low rise jeans of 2005.
So Many Influences on 1960's Styles
Many things influenced fashion in the 1960s. Social mobility, daring fashion photography, easier travel abroad, the Vietnam war, new music of the Beatles and their much copied hairstyles, retro military and ethnic clothes, musicals, pop art and film all played a part. Right - Jackie Kennedy in the early 1960s wearing her trademark pill box hat and three quarter sleeves. Courrèges clean cut sharp 1960's design. I have already looked at Mary Quant and the role of pantyhose, but other major 60's influences included the trend setting globally photographed Jackie Kennedy. In addition Emilio Pucci's exotic psychedelic beautiful fabric prints, Courrèges's space age sculptured designs were as important as the fresh approach to fashion as that of Yves St. Laurent. The then youthful designer Yves St.Laurent made a clean forward looking fashion design image with his Mondrian inspired dress. Yves St. Laurent's much copied Mondrian inspired shift dress. See and buy great 1960s photographs at www.philiptownsend.com
Rock Around the Clock
By the 1960s the Twist, the Shake and the Locomotion ousted the paired dancing couples of earlier generations. Only for the last few dances of the evening was the Smooch allowed for couples to romantically hold each other as they made their play to walk a partner home. Some stalwarts continued to rock and jive and to wear Teddy Boy gear.
New Synthetic Yarns in the 1960s
Many of the fashions of the 1960s existed because of the fabrics. They introduced new fabric properties and when synthetics were mixed with natural fibres there was improved performance in wear. Some had been invented years earlier in the 1930s and 1940s, but it was only in the 60s that huge production plants for synthetic fibres sprang up globally. Meanwhile as man made fibres gained a hold, the Yorkshire woollen industry began to contract at an alarming rate. Job losses were inevitable and yet so often the newer man made yarn companies settled in areas where there was already a body of knowledge and a heritage of spinning, knitting or weaving. Du Pont and ICI were the giants of synthetic manufacture producing a wide range of fabrics under trade names relating to Polyamide, Polyesters, Polyurethanes, Polyolefins, and Polyacrylonitriles the polyvinyl derivative. All the fibre bases could be used as bulked or fine yarns dependant on fibre extrusion method and final finishing. The name often related to the country or plant where the fibre was produced for example Enkalon was Irish made nylon whereas Crylor, an acrylic yarn was made in France. Polyamide is nylon. It came under trade names such as Nylon 6, Celon, Enkalon, Perlon, Bri-Nylon, Cantrece and others. Polyester was known variously as Terylene, Dacron, Terlenka, Trevira, Kodel, Diolen, Tergal and Lavsan. Polyurethane is the generic name of the elastomeric family of stretch fibres like Spandex, Lycra and Spanzelle. All these man made synthetic fibres began to be used in bras, underwear, swimwear and sportswear. Lycra eventually found its way into fabric mixes to aid crease recovery, wearing ease, fit and stretch. Polyvinyl derivatives produce polyacrylonitriles and this includes Orlon, Acrylic, Crylor, Courtelle and Creslan. Modified acrylics such as Dynel and Teklan were first used to make fake furs and fake hair for wigs in the sixties. You are reading an original 'The 1960s Mini Skirt' fashion article by Pauline Weston Thomas at www.fashion-era.com
The knee breaches and trousers worn by men and boys in the 18th century were normally tight and form fitting. The long trousers that men began to wear in the early 19th century were Figure 1.--. also normally long rather tight. At about the same time that men began to wear long trousers, bell-bottom rtousers also
appeared. And they first appeared at sea. I'm not yet sure when and where they first appeared an who invented them. They were first adopted by the American Navy. We know they were in use by the 1810s, but they may have first appeared somewhat earlier. The American bell-bottoms had 13 buttons. We are not positive just what the purpose of flared trousers at sea were. There are a variety of theories. Bell-bottoms were easier to take off if a sailor fell overboard. They were practical aboard ship as well. Sailors could more easily roll them up to scrub the decks. Another factor may be that a standard bolt of serge was always 54" wide. This mean that bell-bottoms were a more efficient use of the fabric. Bellbottoms were also adopted by other navies, including the British Navy. When Prince Albery has his youngest son Prince Albert Edward painted in an enlisted man's bell-bottom sailor suit, it created a sensation leading to the sailor suit becominh one of the most enduring boy's fashions. The American Navy continued using tbell-bottoms throughout the 20th century, finally abadoning them in 1998. Bell-bottoms remained a strictly military fashion, except for boys' sailor suits. Most boys wore sailor suits with kneepants, especially after the 1860s. There were also longpants sailor suits, these were always bell-bottoms. This did not change until the late 1960s. At this time in America, youth, both boys and girls began wearing bell-bottom trousers. They were particularly popular among the Hippy Movement. I am not entirely sure why, but we note that while the Hippies and AntiWar Movement objected to the military, the youths involved often war a variety of military garments. The term bell-bottom ws the only term for these pants until the mid-1960s when the term "flares" came into use. Some fashion historians claim that the designer Coco Chanel played a role in popularizing bell bottoms. The original flares for teenagers were jeans. In the 1970s brightly colored flares became popular for disco dancing. Clothing companies began making flares in other materials, especially polyester. Flares went out of style in the 1980s. There was a renewed interest in flares duing the mid-1990s. Flares are now popular, especially for girls jeans.
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The 1960s fashion factory
Last updated at 15:53 14 March 2007
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Shooting star: Sienna Miller as Edie Sedgwick in the new film Factory Girl As a new film opens about Andy Warhol's stylishly decadent entourage, LIZ JONES asks why we're still so obsessed with the 1960s...
If, like me, you are still mourning the demise of Sex and the City and its endless opportunities to play spot the designer, you will relish every scene of Factory Girl, the biopic of poor little rich girl Edie Sedgwick, who in 1965 became an Andy Warhol acolyte at his studio, the Factory in New York. The film tells the story of her rise and fall, from her blueblood but deeply troubled upbringing, to her meteoric rise as a celebrity who, err, didn?t really do very much other than wear beautiful clothes and attend parties (how very post-modern) until her untimely death from a drug overdose, aged 28, in 1971. Sienna Miller bears a remarkable physical resemblance to Sedgwick, and her command of the role probably stems from the fact that she too has become famous for not doing very much, and for wearing an eccentric wardrobe that is then copied around the world. And although Miller is ostensibly the star of the film, it is Edie?s unique sense of fashion that steals the show. While today?s celebrities employ expensive stylists to dress them, Edie pretty much came up with her look all by herself. Chaotic, flakey and (once her family severed the purse strings) penniless, her trademark look was jumbled together as if by accident. She didn?t really care what people thought of her, and definitely didn?t dress to appeal to men. She took dance classes in the morning (when she could get out of bed), and was often too lazy to change out of her leotard and tights once she got to Warhol?s studio, and so she just added things, like a pair of chandelier earrings, or a cream woollen tufted shift, or a boy?s T-shirt she would wear as a dress. Edie started the whole trend of wearing vintage and mixing clothes from different decades, often raiding her patrician grandmother?s wardrobes for expensive, classic items (a full-length leopardskin coat, a giant battered leather tote) which she then teamed with something much younger and funkier (and you thought Carrie Bradshaw?s hotpants worn with bare legs, heels and a fur were cutting edge). An early trip to Paris with Warhol certainly influenced her wardrobe ? she adopted striped boat neck sweaters, for example, and tight black Capri pants ? and it wasn?t long before Edie?s unique style was photographed by Life magazine and American Vogue (under the heading ?the youthquaker?, although the magazine tore up her modelling contract when Sedgwick?s lifestyle became too sordid for the powers that be at Conde Nast). She was even dubbed ?the waif? a full year before Twiggy came along with her carbon copy Leonard crop. And what about the make-up? Was Edie the first to do the double row of false eyelashes, the pencilled-in eye socket and the matt, beige mouth and pale skin? Well, the provenance is debatable, but Edie certainly used make-up more and more heavily to cover up the effects of her excessive partying.
Lanvin fashion Because Edie?s life in New York was so well documented (she was surrounded by Warhol?s coterie of photographers, film makers and painters), the film?s costume designer, John Dunn (whose credits include Martin Scorsese?s Casino and Julian Schnabel?s Basquiat) was able to reproduce many of her outfits exactly, scouring vintage shops and even buying originals on Ebay. ?I tried to use the real thing as much as possible because now there is nothing like those fabrics from the 60s, the clothes then had a unique stiffness that can?t be reproduced,? he says, adding that a staggering 90 per cent of the costumes in the film
were originals - by Andre Courreges, Paco Rabanne, Dior and only a smattering of Biba and Tommy Nutter; the whole Swinging London look was never really that big in the US. Only a smattering of copies had to be made - some of these were based on Sixties designs by Betsey Johnson, who had actually employed Sedgwick as a house model when she first moved to Manhattan ? and the only contemporary clothes in the movie were by John Galliano, from his tribute to Edie collection from a few seasons ago. "The 1960s was a period of self-expression," says John Dunn. "Edie loved to run around town in black tights, knee-high boots and a motorcycle cap. She would go out for dinner at a restaurant in a boy?s T-shirt and black tights, which in the mid Sixties was deeply shocking; no one had ever dressed that way before. She was the first to wear dancewear as evening wear, paving the way for sportswear which, as we know, has now taken over the world. She used to make her own shoulder duster earrings; she liked the way they photographed." Was it difficult getting Sienna Miller into those Sixties originals? ?Sienna was very open and fearless,? says Dunn. ?Sometimes it was a bit of a squeeze,? counters Miller. ?Edie Sedgwick was skinnier than me, but she was a drug addict and had an eating disorder, and I don?t.? But she loved the clothes and feels a great deal of affinity for Edie?s approach to fashion ? who else would be brave enough to wear Sedgwick?s uniform of leotard and black tights to a post premiere party in New York? ?You know, the whole fashion thing, I get it really wrong and I get completely slammed for stuff as well because I just sort of dress how I want to dress and it's great. People respond well to it, but I get a lot of criticism," she says. "I just wear what I want. I think that's the key - to not dress for anyone but yourself. That is what Edie did too." How to get the Factory Girl look
Fendi fashion How do the clean lines, geometric shapes and primary colours translate today? Well, rather than slavishly copying the originals, designers have updated them: fabrics are far softer and less scratchy than the originals (Lycra, remember, hadn?t been invented, and cashmere back then was too expensive), and colours are more muted. And this summer you really won?t be able to avoid cropped swing jackets with large buttons and bracelet sleeves (think also Audrey Hepburn dressed by Hubert de Givenchy in films such as Funny Face and Charade), huge sunglasses, patterned tights, graphic prints in orange or brown, animal prints, horizontal black and white stripes, sleeveless A-line mini shifts and metallic gold bags and shoes.
And although, as John Dunn points out, ?The Edie Sedgwick look didn?t last very long. It was very difficult to wear if you had hips or breasts, and so by 1969 women were starting to welcome the more bohemian, hippy look with open arms? there is much on offer this summer that is eminently wearable. Luella sent a black and white horizontal stripe sweater dress down the runway (£195), while Gharani Strok has a beautiful black jersey babydoll mini dress with a metallic beaded neckline (£348). For her first collection for the resurrected label Biba, Bella Freud blatantly raided the archives, and sent out shockingly short shifts in bright colours and graphic prints; I loved a brown print long-sleeved mini dress with ruffle collar for £195. Burberry Prorsum?s spring/summer collection was very Sixties, too (designer Christopher Bailey dressed Sienna Miller for various premieres and TV appearances in a succession of sleeveless, patterned trapeze dresses); his very short cream coat with big black buttons, bell sleeves and princess collar (£1,210) is gorgeous and very Edie, as is a white ribbed tennis dress at Miu Miu (£430). Happily, bearing in mind that the whole gamine, knock kneed vibe will pretty much be over by the autumn, to be replaced with something far grown up and sombre, the high street is awash with homages to Edie Sedgwick. New Look?s ?Gold? collection by Giles Deacon (which goes on sale tomorrow) is very 1965: gaudy brooches and dangly earrings, graphic pink and grey print shifts and tweed mini dresses so short they will barely cover your knickers. Giles?s red or black patent leather clutches for Mulberry have a very Sixties feel, too. French Connection has a very short white sequinned shift (£150); Topshop has a black double-breasted pea coat (which would look very Edie teamed with a peaked cap, black opaque tights and black boots) for £65, a cream and grey striped mini sweater dress for £18, and giant silver hooped earrings for just £4. Flat, sparkly ballet pumps at Marks and Spencer fit the bill perfectly, too, as do the white-framed Ray-bans on sale at David Clulow (£120). And, finally, never adopt the look wholesale. Never wear a mini skirt with bare legs and heels; knee boots (the stiletto kinky boots in the film were all made by Jimmy Choo) and tights are much classier, or wear flats. I have a friend who wears a peaked Beatles cap with jeans; wear one with an op art mini skirt and you will look as though you are trying too hard. Huge, spiky lashed black panda eyes will have people wondering whether you, like Edie, should be committed, but matt, beige lips are very in this summer, and so much more kissable than sugary pink glossy ones. Shoulder duster earrings are great (the beautiful chandelier earrings in the film were made by Erickson Beamon and Dior), but only if you have a gamine hair cut; on long hair it all gets a bit too droopy. Factory Girl opens nationwide on March 16th
Fashion in the 1960's was largely influenced by the rebellion of youth. The feminist movement was protesting for equal rights for women, the hippie movement shunned conformity and the invention of the pill created sexual freedom. Fashion rules virtually went out the window and new, daring styles emerged. -Daring designsIt was during the 1960's that the bikini really came into being.
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This development also spurned the phenomenon of topless sun bathing. On the street women had began to wear skirts above their knees and when Mary Quant wore one of these, the mini was adopted by the masses. Young women began wearing pants, initially this was considered shocking, but in 1966 Yves Saint Laurent introduced trouser suits for women. By the end of the decade trousers were considered acceptable for women. Designers also experimented with fabrications, which saw youths wear paper, plastic and leather clothing. The hippie movement rejected commercialism leading to second hand clothing becoming desirable for the first time. -1950's glamour continuesAt opposite ends of the spectrum a classic elegance was still popular. Givenchy continued to dress Audrey Hepburn in elegant creations. When she wore a black dress in "Breakfast at Tiffany's", the little black dress became a coveted item. Jacqueline Kennedy, the wife of the American president exuded grace in simple clothing that still doesn't look out of place today. Her style created so much attention that her husband announced I am the man who accompanied Jacqueline Kennedy to Paris.' -LingerieThe 1960's is often referred to as the "bra burning" generation because women used the bra as a tool to protest for equality. They threw away or publicly burned their bras opposing the restrictive rule's governing a woman's appearance. Many women still
wore bras, but they were more minimal and comfortable. Manufacturers began to make lightweight, flexible bras like Rudi Gernreich's "No Bra Bra" which was a soft bra in skin tone. -DesignersPierre Cardin brought out thigh high boots and bright coloured shift dresses in mini length. Andre Courreges designed go-go boots. Yves St Laurent developed safari jackets and an evening style tuxedo for women. Emilio Pucci created the famous colourful Pucci print and inspired designs like the palazzo pant. -Hair and make-upSome of the most popular hair and beauty looks during the 1960's included; headscarves, false eyelashes, thick dark eyeliner, long straight or wavy locks and short cropped hair. -ModelsPrior to the 1960's fashion models were women from aristocratic bloodlines. During this decade photographers began to discover fashion muses on the street. The most popular being Twiggy, a skinny 16 year old with huge blue eyes who went on to take the world by storm in mini skirts and short shift dresses. From Hollywood elegance to mods, rockers and flower power the 1960's was a revolution in fashion. We continue to see designs like baby doll dresses, mini skirts and shift dresses grace the runway and streets today. 1960s style and fashion ideas As a young teenybopper, I wore white Go-Go boots, Mary Jane shoes, flowers in my hair and plenty of Day-Glo and psychedelic textiles. Designer Mary Quant was my fashion hero; Biba, Courreges, Piet Mondrian and the art of Peter Max were also a source of style inspiration from hippie to Mod. Incense and the Peppermint Twist, the dawning of the Age of Aquarius, Woodstock, and flower power - the 60's! Fashion-wise, the sixties were about celebrating a perpetual state of prepubescence - the flat-chested, coltish legged, waif-like female (such as Twiggy and Jean Shrimpton) became the new fashion plate.
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Even men's fashion reflected a pre-adolescent, boyish charm; from the mopheaded charmers from Liverpool to the new Beau Brummell - lanky, schoolboyinspired fashions made meanswear headlines. The mod Carnaby Street look was all about youth. Folks were encouraged to "live for today" and a mature sense of responsibility was often in short demand - fashion reflected this outlook by glorifying the quintessential child within. Similarly, rebellion was in and it was a time of experimentation with everything from sex to drugs to rock n' roll. purple haze In the 1960s, as a fashion design and illustration student at New York's High School of Art and Design, along with fellow students I was immersed in the fashion of the times - as a trend-setter. I recall going through a "purple phase" where my fellow classmates and I wore purple from head to toe - purple tights, purple miniskirts, purple patent leather "Mary Jane" shoes, hats, bags - I even went through a phase of eating predominantly purple foods - talk about taking fashion way to the extreme! Oh yes, we were fashion innovators ... stars were in. We appliqued five-pointed satin stars on our purple t-shirts, glued them on our sneakers - I even got a star tattooed on my shoulder! Betsey Johnson had just opened a boutique "Betsey, Bunky and Nini" around the corner from our school and guess what she did? She copied our star motif and incorporated star-appliqued t-shirts into her early collections. As budding designers, did we feel ripped off? No, we were flattered. Other fashion statements we made were culled from local thrift-shops - "little boy" pajama tops and tee shirts, always a size too small so they'd ride up above the belly (better in kiddie prints) were all the rage. Guess who copied that? Betsey! Before long, trendy clothing boutiques around town were selling skimpy tops styled after the same PJ uppers, in prints ranging from birthday cakes to little pastel elephants, perfect to wear with anything from minis to flared jeans. Crushed velvet anything, brocade vests and feather boas were other staples on our lists of hot things to wear - vintage monkey or raccoon fur coats (for boys AND girls) were also hallmarks of our high school. You could always spot an Art & Design student by the bulky vintage fur coat and oversized art portfolio we all toted around. Along with the Mod Squad look, came the "see-through" blouse (for boys AND girls). Usually fashioned in chiffon, in some Day-Glo-ish color, many of us got sent to the principle's office for wearing them! But those were the 60's and we were often sent right back to class with nary a scolding. My buddies and I referred to ourselves as the "Mod Squad" - no, it was not just a TV show! We hung out on MacDougal Street in Greenwich Village, dressed to the nines, and ... well, did a lot of posing.
Rock concerts in Central Park and the Fillmore East were also where we did a lot of posing ... and of course, Vietnam War protests.
Victoriana - boleros ( though it's more because they keep me warm where I need it than because of aesthetics ) - cuff bracelets (the trend seems to have faded immediately after its beginning over here. I see some supersized bangles, but very seldom nicely crafted cuffs) - parasols/ nice umbrellas (though it's not really a trend, they are still more seen than a few years ago) - ballet flats - pencil skirts - gloves - delicate stoles, wrap or shawls - t-bar shoes - diy/knitting/sewing (not the kind that's made to look as if the wearer made it when it's not the case, à la Fendi knit Chef, or the even worse fake deconstructed clothes that still can be seen everywhere) it's nice to see people actuaLots of examples of dry denim in "what are you wearing today" thread Second that, and of course agree with neoGothic I must say, though, I don't see much "street style" here ... more the absence of it
I recently saw a girl who was dressed just beautifully though, transitional outfit, teal, camels, knits, raw leather ... so some good color trends there ... The thing I've been seeing on the street that bugs the living s&*+ out of me is camisole tops worn under but peeking out enough for me to see that they're wrinkled to death--look like they've been balled up on the floor of the closet for months. That really sets my teeth on edge lly creating what they want with their own hands black new gothic* high waist pants/skirts/shorts* ....shiny vinyl or high gloss faux leather for bags, accessories, shoes* square" messenger bags to be worn like a handbag on one shoulder (the one in"* (red featured on Lily Donaldson for Marc Jacobs ss 06 is gorgeous raw denim* black sunglasses that are very small (no large frames) in high gloss black....* ..like the one at Miu Miu ss06 sleek hair, NO highlights whatsoever, flat colors.... cut straigh across, no* layers/chunkiness medium sized flat buttons in same color as the fabric* punk* minimalism* ....long gloves, in black* no jewelry* cummerbund belts,victorian shirts,skinny jeans, ballet flats, big massive belts, flat pointy toe boots are all trends im loving at the minute. __________________
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