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Fashion The Definitive History of Costume and Style 2012

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Published by IKBN Peretak, 2021-04-19 03:21:57

Fashion The Definitive History of Costume and Style 2012

Fashion The Definitive History of Costume and Style 2012

SWINGING

SIXTIES TO

GLAM ROCK

1964–1979

350 1964–1979

SWINGING SIXTIES
TO GLAM ROCK

The fashion revolution of the 1960s changed the way that 1964 1965 1966
women dressed. There was a seismic shift toward youth—
dubbed a “youthquake”—and women were no longer 1964 1966
expected to dress in middle-aged, tweedy suits as soon as they Young designers, By early 1966 the waistline
grew up. Young London designers led the way and took their funky including Mary disappears, and designers
fashions to the US. “Paraphernalia,” a new boutique in New York, Quant and André like Norman Norell showcase
sold British modes, with branches opening across the country. Society Courrèges, loose-fitting dresses with
was becoming less formal with the invention of the contraceptive pill introduce the loose sleeves.
as reflected in the phrase “The Permissive Society.” The new mood miniskirt and
in fashion was slowly changing the more traditional areas of society: minidress.
famously, model Jean Shrimpton attended the Gold Cup horse race
in Australia in 1965, an annual society event, wearing a skirt 5 in ▶ A-line
(12.5 cm) above the knee. minidress

Bright new future 1964 1965

The swinging sixties was a time of optimism and belief in the future— Maija Isola designs the Yves Saint Laurent’s
with the development of Concorde in Britain and France airplanes iconic Unikko (poppy) Mondrian-inspired color
traveled faster than the speed of sound, and the space race between print for Finnish fashion blocks sweep through the
the US and the USSR reached a climax when US astronauts stepped firm Marimekko. international fashion world.
onto the surface of the moon. This dynamism and modernity
were mirrored in fashion at all levels, from the energetic ▶ Mondrian’s Tableau No. IV, 1924
action shots of new British fashion photographers such as
John Cowan and David Bailey to the metallic and plastic 1965 1966
fabrics used by French designers including Michele Rosier
and Paco Rabanne. Young fashion designers, Twiggy, the “face of ‘66”
including Foale and Tuffin and and one of the world’s first
Counterculture Mary Quant, go on the British supermodels, shoots
“Youthquake” tours to the US to fame.
With the continuing war in Vietnam, the Watergate scandal in arranged by the Puritan
Washington, DC, and the three-day week to conserve electricity Fashion Corporation and
in Britain, the bright optimism fizzled out as the sixties became J.C. Penney in New York.
the seventies. An impetus to go “back to nature” was reflected in
the nostalgic romanticism of Laura Ashley printed-cotton dresses and ▲ Poppy print 1966
colorful, hand-knit garments by designers such as Kaffe Fassett. tote bag
Fashion entered a fantasy era from glam rock through to ethnically Jewelry designer
inspired collections such as Yves Saint Laurent’s Chinese and Russian 1964 Paco Rabanne causes
collections and Kenzo Takada’s bright prints. Opting out became most The first Biba store, a sensation when he
extreme toward the end of the 1970s when entrepreneur Malcolm inspiration of designer launches his linked
McLaren, inspired by American groups such as the New York Dolls, Barbara Hulanicki, opens chain and plastic
formed British punk band the Sex Pistols. The group wore ripped and in London, selling young, paillettes minidresses
torn T-shirts with curt slogans such as “Destroy” and “Anarchy.” creative styles at in Paris.
budget prices.

▼ Barbara Hulanicki in her newly ◀ “Experimental” plastic and
opened boutique metal dress by Rabanne

TIME LINE 351

The fashionable woman wears clothes.
The clothes don’t wear her.

MARY QUANT, FASHION DESIGNER, 1960S

1967–68 1969–70 1971–72 1973–75 1976–77 1978–79

1971 1975 1976

Halston, considered by Italian designer Giorgio The comedy crime drama
American socialites as Armani founds his own label. Charlie’s Angels makes its
the best evening wear debut on US television.
designer, is given the The three female leads
“Winnie” (women’s wear are celebrated for their
award) at the Coty American hairstyles and individual
Fashion Critics’ Awards. fashion choices.

▶ Charlie’s Angels: Kate Jackson,
Farrah Fawcett, and Jaclyn Smith

1967 1972

American fashion designer Japanese designer
Geoffrey Beene presents Kansai Yamamoto
his sequined football jersey designs costumes
evening gowns, following his for David Bowie’s
ball gowns in gray flannel and Ziggy Stardust tour.
wool jersey shown the
previous year.

1968 ▲ Concert-goer at Woodstock ▶ Bowie’s Ziggy Stardust 1977
The rock musical Hair opens stage costume
on Broadway and in London’s 1969 Ralph Lauren styles Diane
West End, making Marsha The Woodstock festival 1972 Keaton’s wardrobe in Woody
Hunt a star and proclaiming takes place in New York British designer Bill Gibb Allen’s film Annie Hall,
“black is beautiful.” state, and is seen as a holds his debut fashion show launching numerous copycat
defining moment of the at the Oriental Club, London. looks of baggy linen pants
▼ Recording of Hair with “hippie era” and the His romantic clothes include and crisp white shirts and ties
original Broadway cast counterculture of printed leather skirts and for women.
the 1960s. colorful knits.

1969 1975 ▲ Plaque honoring Perry Ellis
London punk band the Sex on New York’s Seventh Avenue
The US lands the first men Pistols play their first gig at
on the Moon, after space Saint Martin’s College of Art. 1978
exploration earlier in the
decade, which inspires ▶ The Sex Pistols’ Perry Ellis founds his own
space-age fashion looks. Johnny Rotten in concert line, showing American
sportswear, clothes with
loose tailoring, long lines,
and oversized sweaters.

▼ Astronaut Pete Conrad stands
on the surface of the Moon beside
the US flag.

1968

The first Ossie Clark for
Radley collection is shown
at Chelsea Town Hall.

352 SWINGING SIXTIES TO GLAM ROCK White on white
patterned fabric
1964 –1969
Beaded High neckline
MINI MAGIC neckline with stand
and hem collar

The miniskirt spearheaded a fashion revolution, and the Sleeveless
minidress came along hot on its heels. This one-piece with contrast
was easy and versatile for young women to wear, with edging
the basic A-line design flattering all shapes and sizes. Its very
simplicity meant it could be dressed up or down. From Long fitted Simple A-line
minimal cuts and block colors to powerful patterns and sleeves shape
pop-art prints, the dress could be as everyday or daring as
the wearer wanted. Real trendsetters experimented with Go-go boots
bold fabrics, such as metallic PVC and shiny rayon. The with granny-
straight lines of the minidress silhouette left room for
accessories to share the limelight. Matching handbags and style laces
shoes became a popular way to enhance and accentuate
outfits. With the invention of tights, women were able to
wear shorter hemlines while maintaining their modesty.

Oversized
buckle at neckline

Petal-shaped All in white This striking minidress from Polka-dot dress Worn with shiny white
collar the 1960s boasts a crisp cut and a neat go-go boots, sleeveless minidresses were
finish. The collar and hem detail breaks a hit on the dance floor, because they gave
up the block white that was popular at women freedom to move. The basic shape
the time. Long sleeves and a loose-fitting of this minidress lets the polka-dot pattern
waistline present a casual, youthful look. take center stage.

Turtleneck sweater POP ART Dress made
worn underneath of cellulose
During the 1950s a new artistic and cotton
Straight movement called pop art took
side off in the US and Britain. Using The Souper
seams images from advertising and Dress
popular culture, artists and
Pretty in pink Similar to a minidress but British belter This oufit by Mary designers made statements
sleeveless and slightly longer, the shift dress—an Quant demonstrates her creativity on the fleeting and disposable
unwaisted design that grew out of Balenciaga's as a designer. Half-dress, half-skirt, nature of postwar society.
sack style of the 1950s—was also favored during the deep cutaway sides and large American artist Andy Warhol led
the 1960s. This classic shift dress is made from a buckle fastening at the halter neck the pop-art revolution, creating
vibrantly dyed linen, with a printed, backed collar. are both innovative and playful. designs inspired by iconic
products and famous faces.

This Souper Dress pays
homage to Warhol’s Campbell's
Soup prints, with the distinctive
label multiplied into a repeating
silk-screen design. The simple
shape of the minidress was an
ideal blank canvas to showcase
Warhol’s prints. And fashion
provided the perfect medium
for discussing themes of
capitalism and commerce,
art and the everyday.

Smoky eye Contrasting collar MINI MAGIC 353
makeup and front closure
Sailor style The nautical
Oversized collar False nature of this dress by French
pocket designer André Courrèges was
on trend in the 1960s. A smart
aps cut in navy and white with
a slightly longer hemline
produced a more sophisticated
finish for an older wearer.

Two-tone Longer hemline BAGS
oral print than most
Though handbags are a fashion staple for
minidresses most women today, it was not always the
case. After World War II when money was
Mellow yellow These scarce and practicality was important,
minidresses by French many women made do with whatever was
designer Michèle Rosier available. It was in the 1960s that handbags
for Pierre d’Alby show two first became a fashion statement.
fashionable outfits typical
of the decade. Bright blocks Created from a variety of materials
of color are matched with including leather, plastic, and PVC, this
chunky jewelry and new generation of handbags featured
block-heeled shoes. zippers, frames, locks, fasteners, and
handles. Popular designs were finished
with fake animal-skin prints, psychedelic
patterns, and eye-catching candy colors—
often chosen to match a dress, hat, or coat.
The three bags below are in keeping with
the clean lines of fashionable dress during
the 1960s.

American pink, faux snake
skin Eton bag

Matching
hose

Yellow,
low-heeled
shoes
with straps

Ronay bag of faux Ronay bag of faux
pony skin leopard skin

354 SWINGING SIXTIES TO GLAM ROCK

FASHION ICON

TWIGGY

△ MOD HAIRCUT London model Twiggy, born Lesley Hornby, shot to Twiggy’s status as one of the era’s most photographed
Few women could carry off hairdresser fame in 1966, her face imprinted on the decade. people helped to promote many of the main fashion
Vidal Sassoon’s severe five-point cut as London youth fashions dominated the world and trends of the 1960s. Her short hair and underdeveloped
well as gamine-faced Twiggy. Her crop Twiggy was the ideal international ambassador and one figure made her perfect for the little boy/little girl look
hairstyle became an integral part of the of the first supermodels. The teenager’s girlish, twiglike that revolutionized fashion from Europe to North America
mod look of the 1960s. figure, short hair, wide, darkly lined and long-lashed eyes and through to Australasia. The look included the baby-
(with extra lower lashes painted on her skin), freckles, and doll style and pale stockings of London designers such
ANDROGYNOUS TREND 1968 ▷ innocent expression added up to a waiflike gamine look as Jean Varon and Gina Fratini, and the work of younger
Twiggy is best known for modeling that spoke to ordinary young women. Parisian designers such as Pierre Cardin and Emmanuelle
ultra-feminine baby-doll dresses. But she Khanh. Twiggy modeled countless variations of the
The mini-girl in the mini-era all-important simple 60s mini-shift, including Yves Saint
was equally at ease in traditional Laurent's landmark 1967 African collection, which
menswear adapted for women’s fashion. Twiggy—from her existing nickname Twigs—was an featured revealing shift dresses made from raffia, shells,
unlikely icon at just 16 years of age. She was short for and wood beads. She was the first model to design her
a model, at 5 ft 6 in (1.68 m), with a silhouette and own range of clothing, and her line included dresses in
appearance totally different from the curvier, sophisticated
models of the day. Her look was a striking version of trendy psychedelic coloring.
the mod—a crucial youth-cult link. Twiggy’s big-eyed innocence was echoed in fashion

Admiring a photograph of the young girl sporting illustration, particularly in the catalogues for Biba,
a striking crop on the walls of a London hair salon, whose clothes she modeled. And her cropped, boyish
Daily Express journalist Deirdre McSharry asked look brought back 1920s and 30s influences—such
to meet her. Soon Twiggy was splashed as flapper dresses and male-style suiting—in the
across the paper as “The Face of ’66.” 1960s and 70s. All this took just four years.
That same year saw her in a Vogue shoot She retired from modeling in 1970 to focus
and, by the following year, she had her own on acting and singing, reinforcing 1920s
line of dresses and was a top international model, fashions further by appearing in Ken Russell’s
managed by boyfriend Justin de Villeneuve. movie The Boy Friend, released in 1971.
Throughout 1966 and 67 she was featured
in magazines such as Vogue and Elle, in France, Promoting the mature woman
the UK, and the US. Legendary US Vogue editor
Diana Vreeland championed Twiggy and gave While following a varied subsequent career in
her career a powerful boost. music, acting, and TV, Twiggy maintained links
with the fashion world, including designing
Much has been said about Twiggy starting clothes. Later modeling included a key role in
the trend for superthin models. But she has
countered that she was very young when she a high-profile Marks & Spencer women’s wear
began modeling, ate heartily, was naturally campaign from 2005 onward, as well as a
skinny, and disapproves of size zero. broader role as an advocate of stylish clothes
for mature women.

TIME LINE 1949 Born Lesley ◁ 1966 Launches modeling career 2005 Takes part in the first
Hornby in Neasden, and advertises her Twiggy Dresses Marks and Spencer women’s wear ad
northwest London clothes line for teenage market.
Voted British Woman of the Year campaign featuring women of
1965 Meets hairdresser different ages. Becomes a judge on
Nigel Davies, who 1967 The Twiggy ▷ 1969 Cast in Ken 2009 Featured in
Phenomenon causes Russell’s movie, The TV's America's Next Top Model exhibition The Model
renames himself Justin a stir in New York and Boy Friend, released as Muse: Embodying
de Villeneuve and Twiggy appears on in 1971 1970 Retires Fashion at New
cover of US Vogue from modeling York’s Metropolitan
becomes her manager Museum of Art
1970
1960 2010

THE CHILDLIKE LOOK In 1966 Twiggy epitomized the trend for mini-shift dresses teamed with pale stockings and t-strap shoes. ▷

The Cockney Kid with a face to
launch a thousand shapes...and
she's only 16!

DAILY EXPRESS, February 23, 1966

356 SWINGING SIXTIES TO GLAM ROCK Asymmetric
front button
1964 – 1969 closure

MINICOATS Oversized
AND SKIRTS collar

Short double-
breasted jacket

Silver
leather

belt

Elbow-length
sleeves

With the fast-paced social scene of the swinging
sixties came daring developments in fashion.
The introduction of the mini mid-decade saw
women wearing skirts that finished above the knee for

the first time since the 1920s. Hemlines continued to rise,

encouraged by the designs of Mary Quant and John Bates Simple Knee length
at Jean Varon, reaching a high of the mega-micro, 8 in A-line
(20 cm) above the knee. This controversially skimpy style dress Asymmetric detail This simple wool coat,
from 1967, shows Courrèges’s flair for subtle
was greeted by the older generation with raised eyebrows, subversion of a traditional cut. The design
features large patch pockets on the diagonal,
but for young fashionistas the leggy look was an expression and a metallic leather belt and buttons.

of a new freedom. Skirts were simple and neat but in

bright, head-turning colors. Coats were similarly thigh

skimming, challenging the established notion that women

should cover up their bodies. The iconic miniskirt left a Block color In 1964 French designer André
lasting legacy, with designers returning to the shape again Courrèges included the new short style in
and again, beyond the 20th century and into the 21st. his collection. This minidress and matching
jacket in bright orange wool typifies the
minimalist cut of his designs.

MARY QUANT

Futuristic Pocket ap Small
hairstyle closed stand
collar
with button

Vibrant Wide bright Traditional
oral print yellow belt belt detail

British designer Mary Quant (1934–) Kneesocks Very short
launched her “London look” for the youth hemline
culture emerging in the capital. She created Flat Mary
unique designs for the teenage market, Jane shoes Fancy
including the micromini, and showcased knee-high
them in the windows of her famous Chelsea In Vogue This bright floral print coatdress by New socks
boutique, Bazaar. The style was soon York’s Originala fashion house was photographed
popularized and became mass produced, for Vogue in 1968. The design features double- Belted raincoat This waterproof coat by US
with sales spreading across Europe. breasted button details, a large collar, and a company Weatherbee put a modern twist on
contrasting belt in the style of a raincoat. the traditional raincoat, first produced in the
1820s. Here, it is worn with white knee-high
socks and Mary Jane shoes.

Bold stripes MINICOATS AND SKIRTS 357
on collar
Bobbed hair made
Double-breasted, fashionable by Vidal
button front Sassoon, hairdresser
closure to Mary Quant

Striped side panels have Vivid colors Double-breasted
contrast pocket aps grab attention
Simple,
A-line Wide, vertical straight cut
shape stripes Custom-made
buttons to
Waistline match fabric

Gabardine coat Designed by Matching
Courrèges as part of his 1967 shift dress
collection, this tailored mini-length
coat exemplifies the designer’s Bright stripes The fashion revolution
typically structured, linear style. of the 1960s had a big impact on
coats. Designers such as Frenchman
Patch Emanuel Ungaro reworked winter
pockets warmers, producing short, swingy
at bust styles in vibrant colors.

Monochrome
design with
contrast trim

Flat T-strap shoes in
complementary colors

Black and white French designer Pierre Cardin
experimented with simple geometric patterns
in a mostly monochrome palette. This design
features contrasting details in the white patch
pockets, collar, waistband, and hem.



SWINGING SIXTIES TO GLAM ROCK 359

ANY THING

GOES

The sixties were optimistic, upbeat, and occasionally turbulent.
The new mood of freedom and rampant individualism was
reflected in fashion. Younger designers in Britain such as Mary
Quant and John Bates, Marion Foale and Sally Tuffin, Caroline
Charles and Jean Muir, and also those in France, including
André Courrèges, Emanuel Ungaro, and Pierre Cardin, had
all been experimenting with more youthful styles for young
women who no longer accepted that they had to dress like
their mothers. From such beginnings the miniskirt was born
in 1964. Hems rose swiftly, until by 1967 styles were thigh
high. Stockings with garters could no longer be worn, and
so manufacturers developed all-in-one tights, or pantyhose
as they were then known.

In fashion once an extreme is reached then a reaction sets
in. The miniskirt could get no higher, so designers brought
out new skirt lengths: first of all the midi, followed by the
more enduring maxi. At the same time the miniskirt still
survived, and pantsuits, turtleneck sweaters, and hipster
jeans—part of a “unisex” trend—were being worn. By
the end of the decade it was a case of anything goes.

Once only the Rich, the
Establishment set the fashion.
Now it is the inexpensive little
dress seen on the girls in the
High Street. These girls...are
alive...looking, listening, ready
to try anything new...they
represent the whole new spirit...

GEORGE MELLY, REVOLT INTO STYLE, 1972

◁ CHANGING TIMES
Fashion in the 1960s was evolving at breakneck speed, as demonstrated by the
breadth of styles modeled at the opening of Just Looking, one of the numerous
boutiques that mushroomed on Carnaby Street and the King’s Road, London.

360 SWINGING SIXTIES TO GLAM ROCK Matching
chain-mail
1960 –1969 headdress

INTO THE Short-sleeved
SPACE AGE dresses appealed to

The 1960s was the decade of space exploration, young generation
sparking vivid imaginings about what the
future might be like. Fashion was quick to Geometric shapes
take up the themes—Pierre Cardin’s Space-Age linked with chain
collection in 1964 began the trend—which
continued into the 1970s—with Paco Rabanne, Futuristic acrylic Bare legs were a
André Courrèges, and Rudi Gernreich soon visor recalls necessity with
following suit. The look included metallic or shiny astronaut helmets
cloth along with synthetic fabrics such chain-mail dresses
as clear and colored plastics, PVC, vinyl, High-necked collar
and acrylic. Simple geometric shapes,
A-line silhouettes, miniskirts, unisex The new armor Spanish-born French
styles, and bright colors created designer Paco Rabanne applied his love
futuristic ensembles that appealed of jewelry design to dressmaking. He
to the growing youth market. became well known for chain-mail
dresses, which linked plastic or metal
Wide, stand-up geometric pieces together. Model Karin
collar of Jensen wears this example from 1968.

silvered PVC Blue plastic
miniskirt
White
cotton
gabardine

Circular motifs
were common

Above the Modern geometry Designed Tights in various
knee hemline in 1967 by Italian-born French colors were
designer Pierre Cardin, this popular, as well
Metallic plastics Englishman John Bates, an early black and blue plastic ensemble as black
proponent of the miniskirt, designed this wedding paired with a visor is modeled
ensemble for fashion journalist Marit Allen in 1966. by actress Raquel Welch. An Built-in
Bates created the double-breasted coat with wide instigator of space-age fashion, booties
lapels, using shiny metallic polyester and PVC. Cardin often focused on
circular, and other geometric
cutouts, and straps.

Cream and Fashionably White INTO THE SPACE AGE 361
gold Lurex wide collar plastic ACCESSORIES
zipper
Metallic Bright primary
clutch bag color

Simple, natural Lanvin’s
shoulder/shift earrings and
dress in white
pendant

Hem length Waterproof Short length
borders on material to match
a micromini minidresses

Gold metallic “Eclipse” sunglasses
evening sandal by André Courrèges

Space-age luxury This Lurex minidress epitomizes Practical design A red PVC, wet-look raincoat of While older women continued to wear precious and
the use of new materials and the glamorous effect simple design fits well within the new disposable semiprecious jewelry, younger women often opted for plastic
they produced. Lurex yarn creates a woven fabric consumer society, where plastic items were not or acrylic jewelry and accessories. Bright colors and bold
made with aluminium, gold, or silver, producing a made to last. Pierre Cardin and Mary Quant created geometric shapes, such as jewelry by the French design
shiny, manageable surface with a touch of luxury. similar designs, for the needs of futuristic women. house Lanvin, complemented the mod style, while mass
production made them affordable. Couture designers created
innovative and clever accessories from new materials, too,
such as these sunglasses (above) of soft, lightweight plastic.

Geometric Bouffant Colorful Contrasting
zigzag hair Dutch-boy wigs yoke and
pattern collar
Plunging Two-piece
Contrasting neckline boxy suit with
vertical stripes large metallic
Cut-away buttons and trim
armholes
Empire waist Sharp
emphasizes revers
a youthful
figure

Short skirts
revealing much

of the legs

Skirt ends Plastic, knee-high
mid-thigh go-go boots with
low heel

Metal Science-fiction fashion Youthful at
accessories The 1960s saw a number of shoes and
and jewelry space-age movies, including pulled-up
Kubrick’s 2001: A Space socks
Shiny sequins Designers such as Yves Saint Odyssey and Barbarella,
Laurent, André Courrèges, and Pierre Cardin which starred Jane Fonda Youthful look This pair of two-piece suits
frequently used highly reflective sequins in (shown). Costume designer designed by Frenchman André Courrèges in 1969
contrasting geometric patterns, producing Jacques Fonteray and fashion illustrates his forward-thinking designs. The A-line
evening dresses that sparkled under the lights. designer Paco Rabanne made miniskirts paired with both square and rounded
good use of futuristic-looking jackets show his use of structure as a focal point.
materials and sex appeal.

362 SWINGING SIXTIES TO GLAM ROCK Exposed
shoulder
1960 –1969
Long
EVENING evening
SELECTION
gloves
In contrast to the rigid social constructs of 1950s
evening attire, the 1960s offered a variety of elegant Loose fitting
choices for going out. Gowns could be long or short,
even mini for the young and hip. They could be highly Wide
trimmed and decorated, or plain—solid or print. Pants neckline
were worn as formal evening wear by the daring. For
gowns, A-line silhouettes, empire waists, and undefined
bodices were popular, though some soft shaping was
also in use. Materials for elaborate surface decoration
ranged from feathers and jewels to beads and faux fur.
Many designers created evening clothesin bright colors
or black and white patterns. Popular designers of the
decade included French designers Hubert de Givenchy
and Yves Saint Laurent, as well as the youthful British
designer Jean Muir of Jane and Jane, and Italian
designers Emilio Pucci and Valentino.

Painted Sleeveless
silk jersey

Bold Black silk Scalloped
geometric crêpe feathers

pattern All-in-one cut

Wide Black satin
legs underskirt

Pants dress The end of the 1960s saw an Coq skirt This 1968 cocktail dress by French Feathered trim This salmon-colored silk evening
increasing interest in pants. This 1968 evening designer Givenchy has focused volume on gown from Givenchy’s Fall/Winter 1968–69
pants dress by Italian designer Emilio Pucci, in the skirt, created by layers of dyed-black coq collection is trimmed along each hem with feathers.
one of his signature bold patterns, references feathers. This gives a unique texture and shape They give the dress an added sense of movement
maxi dresses—also popular at the time. to the otherwise monochromatic design. and flow, and also a touch of drama.

EVENING SELECTION 363

Oversized oral
corsage at waist

Dramatic Rounded
high neck neckline

Transparent
sleeves

1920s Short
styling sleeves

Pointed
waistband

Tubular Hand-
shift stitched
feathers
Rayon
crêpe

Very low Taffeta
back lined

Pleated Adventurous Trailing
frills length feathers

Evening minidress Youth-focused Bird of paradise In 1969 French Cocktail dress Designed for
British designer Mary Quant created this designer Yves Saint Laurent created Princess Stanislaus Radziwill in 1969
simple evening minidress for her Ginger this confection of bird-of-paradise by Italian designer Valentino, this short,
Group collection in 1967–68. The feathers and beige silk organza. The velvet cocktail dress features heavy
bottom is full and the high-waisted feathers are untreated and make the rhinestones embroidery and openwork
line is slightly baby doll. dress uniquely airy and dramatic. braid on the cap sleeves and waistband.

Long, full skirt HANDBAGS
Bold, poppy print
Women’s bags of the 1960s were
typically made of leather, alligator, Rosenstein Pucci velvet
or other animal skins in envelope evening bag handbag
or pouch shapes with short
handles or straps and metallic
closures. Everyday bags were
usually in neutral colors—
especially black—in order
to coordinate with a variety of
ensembles. Younger women
experimented with bags made
of nontraditional shapes and
materials, such as clear Lucite box
bags. An evening bag was usually
a small envelope clutch, made
to match the evening dress.

Floral print This beautiful silk chiffon evening Gucci clutch Judith Leiber Faux crocodile
gown, created by American designer Geoffrey bag evening bag bag
Beene in 1969, demonstrates the move away from
sharp tailored fashions, toward a softer, more
romantic, silhouette at the end of the decade.

364 SWINGING SIXTIES TO GLAM ROCK

DESIGNER

BIBA

△ BOUTIQUE QUEEN Less a label, more a way of life, the influential Biba girls were independent and spirited but looked like
Barbara Hulanicki, the genius behind brand of the 1960s and 70s blazed a trail for big-eyed “dolls,” with long, thin limbs and a flat chest.
Biba, listened closely to her customers' young, hip fashion and the affordable boutique. The distinctive Biba garment was cut with narrow, inset
needs and personally chose every item Biba’s 1960s stores were a major democratizing force in shoulders and high, body-lengthening armholes, with
sold in her shop. a fashion world where the options were haute couture, tight, narrow sleeves. Nostalgic “granny” prints and
trendy but pricey stores like Mary Quant’s, or somewhat somber berry, plum, and rust tones became signatures,
FASHION ON A SHOESTRING ▷ dull "grown-up" wear. as did smocks, huge floppy felt hats, and the skinny,
For originality at budget prices, chunky-heeled, squarish-toed “Biba boot” in canvas or
Biba led the way for a decade. This Mail-order origins suede—loyal fans bought several pairs in different colors.

dress-and-pants combination Biba was a marriage of Polish-born fashion illustrator Sophisticated styles were appearing by the late 1960s,
is from a 1967 collection. Barbara Hulanicki’s design genius and her husband Stephen including bias-cut, silky 30s-style dresses, cowl necklines,
Fitz-Simon’s business savvy. In 1963 the couple started a and pants with panel features. Biba added children’s and
mail-order clothes catalogue of Hulanicki designs that men’s clothes, evening wear, and household goods.
became the Biba Postal Boutique—named after Hulanicki’s
sister. After a pink gingham dress and headscarf was Moving up and out
featured in the Daily Mirror they sold 17,000 units.
In 1973 the “Big Biba” department store—seven
In 1964 the first Biba shop opened in Kensington, opulent floors selling Biba-branded goods ranging
West London, and expanded rapidly, moving twice from furniture to baked beans—opened in the
into bigger premises by 1969. Biba was a new kind suitably art deco premises of a defunct department
of oasis, where friends met and shopped amid a store on Kensington High Street. Here, celebrities
unique, faded Victoriana created by low lighting such as David Bowie sipped tea on a roof garden
and eclectic clothes hung from hatstands and complete with pink flamingoes, as comfortable
piled on to antique furniture. Vibrantly patterned as the student crowd. Big Biba attracted a million
minidresses rubbed shoulders with feather boas, visitors a week, but a gathering British recession
hats, lingerie, and accessories. All garments were hastened its closure after just over two years, and
originals, and were cheap and creative; limited the dream came to an end.
runs ensured enormous lines to snap up the
latest offerings. Biba changes hands

Personal vision The Fitz-Simons moved on to other ventures
abroad and the Biba name was sold, the brand
Hulanicki’s visionary mix resurfacing in other hands. In 2006 Bella Freud
of Victoriana, art nouveau,
1920s–30s art deco, designed a shortlived collection, and in 2009/10
Hollywood decadence, Biba lines were launched in two mainstream
and pop culture ensured
that Biba quickly gained an chain stores. Items included a rose-print
international reputation. Biba mini-shift with bell sleeves and a vampish
feather cape—true to Biba’s origins, but at

higher-end prices.

TIME LINE ◁ 1964 First Biba shop, 1969 Move to ▽ 1970 Biba cosmetics 1973–76 Short life 2006–10 Biba
selling clothes and head- first large shop rolled out nationally; of the “Big Biba” relaunched, out
to-toe accessories, opens on High Street become Hulanicki’s most department store; of Hulanicki’s hands;
successful line Biba business stores feature new
on Abingdon Road, Kensington declared bankrupt Biba collections
1936 Barbara Kensington, London
Hulanicki born in ◁ 1966 Biba 1971 Menswear 2000
Warsaw, Poland, and 1963 Launch of mail- dresses in line introduced
raised in Palestine order catalogue that with fashion
then the UK. become Biba Postal of the time
Boutique
1930 1970
1960

PARTY-STYLE BIBA Hulanicki brought runway glamour to mainstream buyers—in 1969 it was sequins and stripes. ▷



366 SWINGING SIXTIES TO GLAM ROCK Thick Coordinated,
overshirt bright colors
1967–1970
Handlebar Military-
MENSWEAR mustache style coat
GOES POP and hat

T-shirt and
scarf worn
under jacket
instead of
shirt and tie

Movers and shakers from the pop charts took Ethnic-inspired Beatlemania The impact of Liverpudlian
the fashion world by storm in the 1960s. shoes pop group The Beatles was huge. The “Fab
Designers used famous faces and fleeting Four” dominated the music charts and, as
fads to influence and inspire their clothing collections, Beatlemania took hold, their fashion
with the result that music and menswear went hand choices influenced a generation.
in hand. Top of the charts was British band The Beatles,
the ultimate mods of music. Their revolutionary style,
including longer hair and matching suits, was reflected
in the fashions adopted enthusiastically by young men
on both sides of the Atlantic. Clothing lines grew at
the same rapid rate as fan bases. Continental creations
favored by well-known actors and models were also
manufactured for the mass market. The admiration
and adulation that greeted the arrival of new style
icons on the music scene, including the Rolling Stones,
The Who, and The Animals, was unprecedented. More
and more mainstream stores opened, encouraging
young men to spend their hard-earned cash on replica
clothing that paid homage to their heroes.

KING OF CARNABY STREET Paisley
shirt

Patterned tie Square, slightly
padded

shoulders

Double-
breasted
suit jacket

Tight sleeves
with artificial

cuffs

Narrow Narrow Trousers cut
belt stripes create straight for
rainbow effect a tight fit
Flared
trousers

In 1957 John Stephen (1934–2004) arrived in London from Fontenoy’s flares A low waist and flared Velvet cords This cotton velvet corduroy
Glasgow and started work as an assistant in Carnaby legs were popular developments in men’s suit is made from a furnishing fabric
Street’s Vince boutique, the first men’s clothing store to trousers at the end of the 1960s. This produced by the American manufacturer
open in this trendy area. Here, he was inspired to build on on-trend pair made of synthetic jersey was Hexter. Lined with silk, it pairs a double-
the growing demand for modern menswear and also unisex produced by French fashion house Fontenoy. breasted jacket with hipster trousers.
styles, which resulted in his chain of influential stores
opening across the capital. Stephen is seen here (second
right) posing with models on his beloved Carnaby Street.

Brocade in oral MENSWEAR GOES POP 367
turquoise design
TIED UP
Turtleneck
The trendiest sixties suit was unlikely to
Pocket impress if the accompanying tie was not
zipper up to snuff. Italian designer Emilio Pucci
(1914–92) spotted the commercial
Patent- opportunities for vibrant ties and produced
leather belt a range of original geometric and abstract
designs to enliven and transform men’s
fashion. Although Pucci’s silk ties were
classically cut, they were transformed by
his creative use of color and became
an instant success.

Off-center
zipper

Patent-
leather
boots

Cardin jersey Part of a collection Pucci printed silk ties
put together by English photographer
Sir Cecil Beaton, this wool jersey tunic Fake fur
is by French designer Pierre Cardin. It vest
features a longer length and a stylish,
off-center zipper closure.

Loose-fitting “Mop top”
suit hairstyle

Fabulous Fish This sensational suit was
devised by British designer Michael Fish.
The lurex brocade jacket revives an Art
Nouveau design, while the corded-silk
closure and beaded tassels are inspired
by Victorian men’s jackets.

Sash

Belt

Flared trousers Harem-style Tunic top
in matching pants with ared
turquoise sleeves

Trailblazers As pop stars Tight-fitting
donned ever more daring designs, pants
young men copied them by
experimenting with fashion. Fake Pants
fur, wild patterns, and feminine gathered
colors were all up for grabs. at ankle

Cowboy
boots

368 SWINGING SIXTIES TO GLAM ROCK Beau Brummell influence Two
rock bands of the 1960s named
1964 –1969 themselves after the Regency
dandy as men again became as
THE NEW fashion conscious as women.
DANDIES This young man strikes a pose
in his sharp suit accessorized
After World War II, the accepted norm for menswear was with gloves, cane, and
a double-breasted, three-piece suit, heavy in fabric and breast-pocket handkerchief.
loose in fit. With dark blue, gray, or brown as the usual
options, and pinstripe the only pattern around, young men Contrasting
simply followed suit. But by the 1960s it was not only women collar color
who were revolutionizing their wardrobes. As popular culture
took over music and fashion, men also discovered a whole new 1965
range of style options. Suits sharpened up their act in subtle
ways that had major aesthetic impact. Collars became longer Accessories
and larger, while belts and ties grew wider. Slimmer fits were for men
now popular, as tailored, single-breasted jackets and tighter
pants showcased the male form. Color and pattern came in to Fitted box
the alarm of the more conservative. But for a generation of jacket
gentlemen finding their fashion feet, it was time to get suited
and booted, and ultimately to suit themselves. Silk turtleneck shirt
in classic black
Matching Narrow collar
shirt and tie Slim-fitting
Front zip pants
Suit in fastening
contrasting Slimmer-
Savile Row’s fitting suit
color quality
tailoring
1968
Button detail
on jacket arm

Flattering fabric Fabric in
mottled gray

and white

Low-heeled
stylish shoes

Fresh with finesse Designed by tailor Blades, Relaxing the rules The 1960s saw the arrival
this suit is an example of what happened when of more informal dress codes. Teamed here
the freshness of Carnaby Street’s clothing met the with a silk turtleneck shirt, this casual suit by
finesse of Savile Row’s tailoring. Roy Strong wore it H. Huntsman & Sons has a noticeably slimmer fit
while he was director of the National Portrait Gallery. in the pants and modern tailoring on the jacket.

THE NEW DANDIES 369

“Highwayman” Purple bow Shirt worn open Hair grown
collar tie adds color at the collar over the ears

1966 Tailored
suit jacket
Tighter fit
on the leg Flared wrist
on the

suit jacket

1967

Frock coat with
extended lines

Fitted pants with
creased front

Matching Dapper delight This suit is a classic from Carnaby Mismatched suit This young London mod
white shoes Street, London’s fashion center during the 1960s. experiments with color and pattern in his
The long frock coat, tall “highwayman” collar, and combination of oversized tweed jacket and
Stylish suit Double-breasted suits, with striking bow tie result in a truly dapper design that bright red drainpipe pants. A pale shirt and
tight-fitting sleeves and lower legs, made pays homage to 19th-century dandyism. white shoes keep the look casual.
in fabric that was light in both color and
weight, such as this brought traditional SETTING UP SHOP
menswear up to date.

Vest to Lighter
match suit colored suit
than seen earlier

1969

Nutter’s suits
experimented with
fabrics and patterns

Lighter stripes Trained on Savile Row, British tailor As trendy boutiques such as Hung On You sold cheaper and often funkier alternatives. With
Tommy Nutter produced high-end fashion suits in started opening up around London in the 1960s, male models posing inside the stores, wearing
the late 1960s for big names including the Beatles. shopping became a popular pastime for young the latest creations from up-and-coming
This bespoke suit was designed by Nutter in the men. Savile Row was too expensive for most designers, trends were set and styles explored
same year he opened his own shop. followers of fashion, and these smaller stores in the brave new world of men’s fashion.



SWINGING SIXTIES TO GLAM ROCK 371

DESIGNER

YVES ST LAURENT

Agiant of 20th-century international fashion, French From hippies to disco △ YSL
designer Yves Saint Laurent dominated the 1960s Yves Saint Laurent outside his first
and 70s. He deftly juggled street style and By the late 1960s Saint Laurent had shown his famous London boutique in the late 1960s.
traditional tailoring, revolutionized the female wardrobe safari jackets and suits for women (and men), thigh- Couture’s “bad boy” was much influenced
by popularizing women’s pants, and raised the status high boots, controversial see-through blouses, and an by Paris’s Left Bank scene and used the
of ready-to-wear clothes. African collection (1967) inspired by ethnic motifs. He name Rive Gauche for all his boutiques
pioneered the referencing of other cultures and was the and ready-to-wear collections.
After winning an international fashion competition, first designer to feature African and Asian runway models,
a teenaged Saint Laurent studied fashion in Paris. Having his multicultural interests greatly influencing hippie ◁ PANTS REVOLUTION
seen some of his sketches, leading legend Christian Dior fashions. There were dresses featuring exotic feathers Until Saint Laurent dared to change
hired the prodigy as an assistant. (1969–70), and patchwork fur coats, alongside glamorous everything, women were sometimes
evening gowns. His 1940s-inspired, square-shouldered refused entry to restaurants for wearing
Fashion’s enfant terrible Libération collection (1971) offended some with its pants. This glamorous suit featured in
his 1979 Spring/Summer collection.
When Dior died, in 1957, Saint Laurent became reminders of German occupation but made
Dior’s creative head, and at 21 the world’s youngest a huge mark on the 1970s. The watershed Opéra-
couturier. His first solo collection was Trapeze (1958) Ballets Russes collection (1976) offered “peasant
—short, trapezoid dresses that swung from narrow
shoulders and echoed his mentor’s A-lines. chic.” Mixing larger shapes and gemlike colors,
However, his rebellious “beatnik” collection its luxurious notes chimed with the growing
(1960), inspired by a love of Paris’s Left Bank hedonistic US disco scene and helped define
clubs and jazz bars, sparked criticism. Appalled 1980s couture.
by the collection’s streetwise black turtlenecks
and leather biker-style jackets, Dior acted swiftly The empire changes
when Saint Laurent was drafted into the army
in 1960 and replaced him with Marc Bohan. Through the 1980s and 90s Saint Laurent
After his discharge from the army, Saint Laurent consolidated both his classic styles and an
successfully sued Dior for unfair dismissal and empire embracing fragrances, cosmetics, home
set up his own maison, showing his first linens, accessories, the all-important ready-to-
collection in 1962. wear lines and stores, and stylish menswear. In
1999 Gucci bought the YSL ready-to-wear line
Early collections featured peacoats and smocks and made Tom Ford its designer (1999–2004).
—more high-end reinventions of street style. Ford paid homage to many YSL classics, while
The 1960s brought the shock of the cross-gender his successor, Stefano Pilati, favored a sharp chic.
Le smoking tuxedo suit for evening wear, as well Hedi Slimane, former designer at Dior Homme,
as making pantsuits a daily womens’ wear staple; took over in 2012.
variants included knickerbockers and culottes. Saint Saint Laurent closed the couture business and
Laurent’s love of art exploded in the mid 1960s: retired in 2002. His promotion of the timeless classic
color-block dresses (1965–66) inspired by Mondrian’s remains a major legacy, while YSL motifs crop up
paintings and the Pop Art collection (1966). constantly in the collections of younger designers,
such as the tuxedo styles of Stella McCartney.

1936 Born in 1962 Launches 1976 Opéra-Ballet
Oran, Algeria own fashion house Russes couture-peasant
collection hits front page
TIME LINE 1957–58 At 21 takes ▷ 1965–66 Creates ▷ 1998 2008 Dies
over at Dior, when much-copied “Mondrian” of New York Times Dress worn at in Paris
Christian Dior dies. color-block dresses. First opening of the
Presents A-line Trapeze Rive Gauche boutique 1971 Libération YSL Room at 1999 Sells
look at successful first opens in Paris collection reinvents a the National YSL to Gucci
collection big-shouldered 1940s Gallery, London
1930 silhouette 2000
1960 1990
1970

◁ TIMELESS STYLING Saint Laurent made elegant but wearable clothes for women. These styles are from a collection shown in Paris in 1973.

372 SWINGING SIXTIES TO GLAM ROCK Glamorous hairdo Youthful
bangs
1964 –1979 High-waisted
trousers Tunic shirt
WOMEN WEAR
THE PANTS 1965

Stemming from the unisex fashions by futuristic designers such Wide trouser
as Pierre Cardin and André Courrèges, fashionable women began hems
wearing pants in the 1960s and 70s. The sexual revolution and
“women’s lib” meant that women were taking greater strides to enter Tapered to bell-bottoms From the beginning, pants
the workforce, and as a result they borrowed more from men’s fashion. were worn by younger women as a part of the growing
French designer Yves Saint Laurent (YSL) first created his sleek but youth culture. This group from 1965 shows the variety
controversial Le Smoking tuxedo suit for women in 1966, and continued of styles. As the decade progressed, pants evolved,
to create androgynous styles each season. The look slowly became more including more fitted styles and more flared pairs.
widely accepted as an alternative to skirts and dresses. In 1971 YSL was
inspired by 1940s clothing, incorporating this look into pantsuits and Belted
jumpsuits alike. Other designers quickly followed his example. The tunic blouse
hippie flower power movement brought in faded denim jeans with
wide hems, and the advent of disco encouraged sleek, figure-hugging
suits with wide, bell-bottomed pants for both men and women.

AND MEN WEAR THE HEELS Cotton jacket in Long sleeves Machine
primary colors embroidery
Starting in 1967 designers began 1973
to bring back the platform shoe 1970 Matching
for both men and women, a look Nylon jersey Art Deco trousers
that had last been popular in Slight are crêpe motifs
the 1940s. British musical
performers such as Elton John
and David Bowie quickly adopted
the look as a part of a new
“male peacock” and psychedelic
movement in men’s fashion.
The examples here are of modest
leather styles and heel height,
but some platforms were as high
as 6–7 in (15–18 cm) and made
of wildly imaginative materials
and textures such as cork,
textured fabric, rope, and even
leather-covered plastics or wood.
Platform shoes and boots went
well with a pair of bell-bottoms.

Platforms teamed
with bell-bottoms

Men’s 1970s leather platform shoes The acid test Bright colors and simple motifs Floral motif British designer Janice Wainwright
bridged the gap between 1960s and 70s design. created this black pantsuit embroidered with floral
Marimekko, a Finnish design firm, led the way by Art Deco motifs—a typical detail of her work from
creating bold floral prints similar to this stylized this period. She continued to focus on simple
daisy-print jacket with acid-yellow trousers. silver-thread embroidery through the 1970s.

Jabot blouse Dramatic WOMEN WEAR THE PANTS 373
and black cat's-eye
makeup JEANS
silk bow tie
Alpaca Levi’s had been around for 100 years but, by
1967 dinner the 1960s, they had become the uniform of
spencer youth. Hippies wore faded and bell-
Sleek jacket bottomed jeans, often customizing them as
tailored leg a part of the antifashion movement. “Second
Modern skin” or figure-hugging jeans were high
tailored jacket waisted to emphasize long legs. The first
“branded” jeans were introduced by Gloria
Romantic Vanderbilt and Calvin Klein and were widely
textile design worn by the fashionable elite, such as Bianca
Jagger and Jacqueline Kennedy Onassis.
Slight are

High-fashion trousers French designer YSL Levi’s advertisement
presented the women’s tuxedo suit, Le Smoking,
and it soon became the signature piece of his Gathered
collection. YSL became well known for empowering shoulders
women with the option to wear men’s styles.

Wide lapels

Similar to
upholstery
fabric

Cuffed Front patch
sleeve pockets

Metal Button front
zip front
Built-in
waist yoke

1974

Bell-bottomed Bell-bottomed
trousers trousers

Jump into the future Continuing the interest in Wide are with Cuffed hem
outer space and the future that began in the 1960s, turn-up
the 70s jumpsuit had ties to futurism and popular War influence This gray tweed jumpsuit from
science fiction of the era. It became the ultimate in Feminine print Designed in 1974 by Warsaw-born Stirling Cooper is a variation on the boiler suit worn
stylish leisurewear, due to its utilitarian functionality. Barbara Hulanicki for Biba, the British boutique, this by women factory workers during World War II.
cotton floral pantsuit combines a traditional pink Inspired by 1940s style, the suit’s wide lapels and
and green cabbage-rose print, reminiscent of bell-bottomed trousers are typical of the 1970s.
furnishing fabric, with a contemporary design.

374 SWINGING SIXTIES TO GLAM ROCK

FLOWER

POWER

Preaching love, peace, and freedom, the hippie movement
was a vocal and articulate subculture. Hippies first emerged
in 1967 in San Francisco's Haight–Ashbury district, but the
trend was soon adopted around the world. They not only
took issue with the lifestyle of their parents, but also with
racial inequality, sexual discrimination, and civil rights. Protest
was at the heart of the movement, in particular against the
US involvement in the Vietnam War (1965–73).

Hippie dress conveyed new beliefs: peace, interest in other
cultures, and experimentation—especially with psychedelic
drugs; bright clothing patterns attempted to reflect the LSD
experience. The trend was antifashion and individuality was
the key. Clothing, often secondhand, was customized with
patchwork, embroidery, and appliquéd designs. Rustic
imagery and celestial symbols reflected the strong pacifist
and back-to-nature sentiments. The ethnic look dominated:
shaggy Afghan coats, fringed suede jackets, caftans, head
scarves, and lots of beads. Patterns were psychedelic, and
where possible fabrics were natural. Skirt lengths dropped
to the floor in swaying maxis, though the mini was still
worn, and flares and bell bottoms were in style for pants.
American blue jeans were no longer the preserve of the
working class, and denim was worn by nearly everyone.
The clothes and hairstyles of Indian and African-American
communities were also incorporated. The fashion for unisex
blossomed, and clothes were gender neutral with couples
often wearing the same outfits.

Today, nothing is out, because
everything is in. Every costume
from every era is now available
to everyone.

MARSHALL MCLUHAN, HARPER’S BAZAAR, 1968

BIRTH OF THE HIPPIE ▷
Hippies spreading flower power in Haight-Ashbury, San
Francisco, CA, in 1968. Bright, patterned dresses were
influenced by Indian fabrics and psychedelic experimentation.



376 SWINGING SIXTIES TO GLAM ROCK Floral leather Turban
motifs
1970 –1979 Silk
Leather lining
LONG PRINTED streamers
DRESSES with plastic Skirt of
many
tubing panels

In the 1970s short skirts were replaced by long, loose A-line Full-length Matching
dresses. Reminiscent of dress lengths in Victorian times, these skirt turban
“floor-skimmers” wowed with flower power patterns, paisley
prints, feminine fabrics, and softer shades. The new decade saw Pop star production Made Fitted
young women embracing peace, love, and freedom in a clear by British designer Bill Gibb in shirt
rejection of the warring nations and corrupt capitalist societies 1972—who was synonymous with the
dominating the news around the world. The shift toward idealistic maxi-length print trend—this dramatic Paneled
notions of harmonious living was best reflected in carefree, natural maxi was worn by UK pop princess Sandie skirt
attire. The ethnic styles of non-Western cultures, especially Indian Shaw. It is made of printed cotton, and
clothing and fabrics, visibly influenced the dresses of the hippie trimmed with leather and plastic.
movement. Styles also reflected a romantic, nostalgic view of the
past, recalling the countryside or Victorian aesthetics. Many women Cream, tan,
opted for tie-dyed creations or floral patterns, personalizing their and mint
dresses and jewelry with decorative beads and tassels, and adding oral print
printed head scarves and turbans. In the 21st century maxi dresses
made another appearance, as long lengths became fashionable again. Extended
V-neckline
Rich red and
green colors Sheer,
loose-fitting
WEDGES AND PLATFORMS sleeves

While many hippies preferred to pair their long dresses

with bare feet for an entirely natural look, designers were

stepping up a gear with ever more exciting shoe styles.

From bulky boots to strappy sandals,

young women and men had an

abundance of choice with the variety

of shoes both available and on trend

in the 1970s. For practical

purposes, heels stayed low, but

when dressing to impress, wedges

or platforms were the chunky

choice, adding inches

to leg lines. Despite

medical advice that Feminine
fabric
these high heels were

dangerous, young women Contrasting
black
put their best foot forward, Low-heeled
background
creating more statuesque lace-up boots

silhouettes

than ever before.

Wedge-heeled Platform open-toed Clark’s creations Flamboyant British designer Fabric of choice Silk was another popular
clogs sandals Ossie Clark was renowned for his flowing fabric during the 1970s. This striking ensemble
dresses in beautifully soft fabrics. Looking consisting of a shirt, skirt, and turban in
to Hollywood’s glamour girls for inspiration, matching silk was crafted by Italian
his lavish designs flattered the female form. designer Pancaldi & B. in 1976.

Contrasting print LONG PRINTED DRESSES 377
halter-neck strap
High
Edwardian-
style neckline

Frilled short Square
sleeves neckline

Full sleeves Cinched
with deep cuffs waistline

Fitted
at waist

Full skirt

Full-length Blue and
skirt green ower
print
Flounce
on fabric True blue A nod toward Laura Ashley’s
at hemline style, this Indian print design in dark blue
Floaty florals When Welsh designer Laura is fitted to accentuate the waist. The square
Ashley shifted from furniture coverings to neckline and flared short sleeves give the
feminine clothing, her signature style was defined. suggestion of a child’s Victorian pinafore.
Pretty floral prints in natural cotton or pinwale
corduroy resulted in classic romantic dresses. Satin yoke
and collar
Quilting
feature Satin-
covered
Satin buttons
in three
colors Loose sleeves
frilled at elbow
Contrastingly
brighter colors
in lower panels

Circular skirt Strawberry-
in three layers print crêpe

de Chine

Stitching satin British designer Zandra Rhodes Halter-neck hit Empire-line halter-neck dresses Uneven
produced a series of textiles, called Knitted were the ultimate in hippie chic. This 1974 example hemline creates
Circles, with motifs taken from knitting and has a deep scoop at the back, but it is the pattern
embroidery stitches The distinctive motifs are that catches the eye. The floral print has contrasting oaty finish
seen on this silk screened caftan-style dress. paisley panels sewn into the handkerchief skirt.
Berry best Inspired by Ossie Clark, this
strawberry-print dress flatters the female form
while showing just a hint of flesh around the
neck and bodice. The wraparound skirt ties
at the back with a matching sash waistband.

Soft frill across Topstitching adds SOFT SUEDE DAY DRESS 378 SWINGING SIXTIES TO GLAM ROCK
the top of subtle detail
the bodice JEAN MUIR
CLASSIC

By the mid-1970s, British designer Jean Muir
(1928–1995) was at the height of her success. This
knee-length, navy, suede dress is typical of her fluid,
timeless clothes: subtly detailed and made from a natural
fabric that hangs beautifully to emphasize the female
shape, its construction enhancing the wearer’s movements.
Unlined, the dress is gathered at the neck in a soft frill. It
has a beaded tassel decoration and a belt that can be tied at
the front or back. In trademark Muir style, the skirt has two
rows of hand-punched eyelets in a dot and teardrop pattern
that is repeated around the armhole and on the belt.

Softly Topstitched
ared seams
skirt
△ TASSELED HAT
The hat, custom-made to
accompany the dress, is
decorated with a matching
tassel and topstitched
seams. Muir frequently used
neat, machine over stitching
on her clothes; it was usually
the only decoration needed.

BACK VIEW SIDE VIEW

Belt sits naturally IN DETAIL
on the waist
◁ DRESS LABEL
Muir launched her own label
in 1966. From the beginning her
name was associated with
ageless classics, always flattering,
and beautifully feminine.

◁ FRILLED NECKLINE
With the unlined suede worked
like woven or knit fabric, the
intricately constructed dress is
gently gathered at the top of the
bodice to create a soft neckline.

◁ TASSEL DECORATION
Being particularly careful with her
use of accessories and decoration,
on this dress Muir has added a
suede tassel with beads—a small
nod to 1970s fashion.

◁ BACK BUTTONING
Muir loved beautiful buttons and
used handcrafted ones on many
of her clothes. Here, she places
a four-button placket on the rear
of the dress to close the bodice.

◁ TIE BELT
The butter-soft suede belt can be
tied loosely at waist level, either at
the front or back. Small, punched
eyelets, matching those on the
dress, add subtle decoration.

◁ HEM
The heaviness of the suede gives
the dress a sculptural quality.
Muir’s trademark, hand-punched
detailing, used on the skirt, was
dubbed “brogueing” by the press.

380 SWINGING SIXTIES TO GLAM ROCK Black,
knit hat
1970 – 1979
Circular,
STYLISH turned-down collar
CASUALS
High waist
Even dressing down involved staying stylish in the 1970s. Simple
cotton, versatile polyester, and comfortable jersey were ideal Two-tiered
fabrics for everyday wear, but it was handcrafted knitwear skirt
that had the fashion-conscious in a tizzy. Knit and crochet garments
in bright colors and geometric patterns not only kept women
warm but also meant they were in fashion. At this time, color
coordination became possible as mix-and-match collections of
separates grew to be commonplace in boutiques and stores. In these
one-stop shops customers could get entirely matching outfits without
having to rummage around for similar pieces. Those on a tight budget
could buy balls of wool and knit or crotchet a whole new wardrobe
for themselves. For winter days, women opted for chunky cardigans,
wool skirts, jersey tops, and pinafore dresses to look impressively in
style with the very minimum of effort. But it was not only fashion
designers coming up with the goods—anyone could follow a crochet
or knit pattern and create their own clothing.

Large collars Accessorizing
with crotcheted with hat

edging

Central frill Fitted at Decorative
on blouse waist bow

Double lace Patch
frill on sleeve pockets

Full-length Pleated
skirt skirt

Platform Woven
sandals black

Lacy confection This crocheted outfit by British Maxi skirt Legendary British designer Mary stripes
knitwear designer Mary Farrin comprises a stylish Quant was the creator of this popular look.
matching skirt and blouse. Both are crafted from The pale blue blouse with an oversized bow Chorister costume Designed in 1971 by British
a slub-textured yarn, including intricate, heavy lace is coupled with a silky blue, pleated maxi skirt. designer John Bates, this ensemble was named
detailing around the sleeves, buttons, and hemline. The hat and platforms set the 1970s seal. for its similarity to choirboy dress. The tweed
maxi dress was worn with a plain-weave rayon
blouse, with stiffened, circular collar and cuffs.

Low V-neckline STYLISH CASUALS 381

Covered Soft-brimmed hat
buttons
Oversized Gathered detail
collars on shoulder

Retro pattern

Belt cinching
in waist

High waist with Narrow belt
gathers beneath
the bust Flat envelope
bag

Prince Long
of Wales cardigan
check
Full knee- Black
length skirt miniskirt

Platform soles Two-tone,
with chunky heels slingback

Princely pinafore The pinafore dress was easy sandal
to wear because of its apron style and full skirt.
The example from 1972 (left) by John Bates uses Bus Stop top A classic miniskirt was a versatile Model knits One of the first black models,
a Prince of Wales check. The choice of blouse wardrobe staple, making the top the focus. This America’s Beverly Johnson is seen here in
worn underneath influenced the overall look. crêpe de Chine blouse by popular British 1970s 1974 working a cotton-knit cardigan, matching
fashion chain Bus Stop combines distinctive button-front tank top, and pleated wool skirt
colors with a flattering, feminine fit. by American designer Bill Blass.

MASTERY OF MISSONI

Matching Flattened
scarf collars

Checked Vertical
pattern stripes

Tie-front
bow belt

Patchwork Lined Knee-length
design cape skirt

Knee-high Knee-high Founded in 1953, Italian fashion house
boots boots Missoni was the center of knitwear, designing
everyday clothing in cotton, linen, rayon,
Check it out Checked and patterned fabrics brought Sharp stripes London Fashion Week in silk, and wool. Bright, colorful patterns were
casual wear to life, as seen in this 1975 outfit. 1975 featured a range of on-trend knitwear the company’s trademark, reflected in this
Though the everyday styles prioritized being warm designs. The latest winter warmers introduced outfit from 1975, which consisted of a
and comfortable, eye-catching prints breathed new powerful patterns and contrasting colors, such herringbone weave head scarf, striped top,
life into the basic designs. as this striped knit jacket and matching skirt. and maxi skirt. Even the bed linen around
the model in this image is made from
Missoni’s distinctive fabric.

382 SWINGING SIXTIES TO GLAM ROCK Padded shoulders
add definition
1970 –1979
Fitted,
STAGE, DANCE, white
AND PARTY jacket

The 1970s was about fantasy, escapism, and new fabrics, Accessorizing
expressed in exuberant colors and prints and experimentation with cane
with style. Big stars were shining bright in outfits that went all
out to impress. Chart toppers and celebrities donned the finest fabrics Matching Creased
to create luxurious looks that were a photographer’s dream. Classy, turban pants
full-length figure huggers battled with short, sparkly halter necks and
hot pants for center stage. Lycra, satin, and velvet were the fabrics All white In 1974 Bianca Jagger, then wife
of choice, while feathers and sequins added extra sparkle. Designers of Rolling Stones front man Mick Jagger,
went to town creating showstoppers, knowing that an outfit could wore a dazzling white satin pantsuit by US
make or break an up-and-coming artist. As innovative styles were designer Roy Halston Frowick. Halston-
worn, new fashion icons were born. Young people copied their idols, inspired outfits were popular at Studio 54
putting on the glitz in cheaper imitations. in New York and parties in 1970s London.

AGE OF ACCESSORIES Feathered detail Multicolored jersey
makes shoulders fabric
Dresses and suits were set off by a variety
of on-trend accessories. With the penchant appear padded On-trend
for luxurious soft fabrics, many were made halter neck
of suede, velvet, and fake fur, including hats Heart-shaped
and handbags. Belts were also tightening décolleté
their fashion grip as unusual chain versions
cinched in waists and accentuated outfits. Half navy
blue and half

bright red

Loosely tied Fabric
vest clings
to body

Newsboy cap Hot pants and chain belt Silver thread Long,
through rayon pleated
pants skirt

Long-strapped shoulder bags in materials Flared Full-length,
such as sleek satins, crushed velvets, and satin green,
colored leather were a must-have for young from knees
women. Art Deco inspired bags were styled pleated skirt

with ornate decorations and
artificial jewels. Straps ranged
from narrow chains to

chunky leather, while buckle
and zipper closures
finished the look.

Lettuce-leaf
hem

Gold bag by Decorative bag Fancy feathers Theatrical influences Parisian gown The Parisian House Rainbow dress African–American
Judith Leiber turned some clothing into costumes. of Torrente used bold color blocking designer Stephen Burrows’s passion for
British designer Carol McNicoll here in bright red and navy blue silk crêpe both strong colors and comfortable,
mixes fine fabrics, using feathers to for this pleated gown that both jersey-style materials are seen in this
showcase the shoulders, flared satin reveals and conceals. The addition of evening dress from 1973. Bands of
to add originality, and a colorful vest a matching turban creates a striking colors are seamed carefully around
to break up the black. look from head to toe for summer ‘73. a white, oval center.

Deep neckline, Velvet STAGE, DANCE, AND PARTY 383
revealing almost shoulder
straps Twisted, purple
entire chest head scarf
Acrylic
Laces lozenges Single
close waist decorate sleeve
suit
Diamond
Slightly ared design
A-line shape covers
dress

Machine- Wide
embroidered, ared
sheer chiffon
pants

Shimmering sequins This 1972 Jumping Jack Flash Worn by Pink fur Close
halter-neck minidress by British designer Mick Jagger on stage in 1972, this wrap fit at
Georgina Linhart was perfect for nights flashy jumpsuit by British designer waistline
at the disco. It is made of light and Ossie Clark is an unusual mix of
flexible chiffon and covered with fabrics. Velvet, Lycra, acrylic, Matching
iridescent sequins. and metal all combine in what scarf
is truly glam-rock garb.

Vibrant
dyed hair

Pendant Low Tight fit
necklace neckline around
torso
Wide Distinctive,
sleeves striped
gather pattern
into slim

cuff

Flared, Shorter-length
satin pants pants

Stage suit Rod Stewart wore this Starman’s stripes Pop star David Bowie Supreme style A passion for
slinky, white suit in 1975 while on was fearless when it came to fashion. purple was evident in singer Diana
a US tour with his band the Faces. He experimented with makeup, hair dye, Ross’s choice of gown here. Worn
The legendary rock star has a hairstyles, and clothing throughout the in 1975 for a photoshoot, the
fashionable, mullet hairstyle and 1970s to the delight of his fans. This elegant shape and feminine fit of
wears bell-bottoms and a blouselike unisex, striped top and pants pushed this design by Mahogany ensured
shirt in shimmering satin. fashion boundaries. she looked every inch the star.



THE DESIGNER

DECADES

1980 ONWARD

386 1980 ONWARDS

THE DESIGNER
DECADES

In the modern age, fashion designers have become celebrities and 1980–81 1982–84 1985–88
runway shows are major events. Late in the 20th century creativity
reached new heights, and designers began to use the runway 1981 1985
show as theater, as in Alexander McQueen’s Spring/Summer 1999 Lady Diana Spencer marries With her jangling jewelry, lace,
collection, where machines spray painted the models’ dresses in front Prince Charles. She wears black mesh vest, and hair
of the audience. The London Designer Collections were established in an ivory silk wedding dress bows, Madonna in
the 1980s, and fashion journalists and buyers traveled to New York, designed by David and Desperately Seeking Susan
London, Milan, and Paris every spring and fall to view the collection Elizabeth Emanuel. It sets the becomes a style icon for
for the following season. The power of the brand, from Armani to fashion for wedding dresses many women throughout
Burberry, became international—designers’ names sold products. for at least the next 10 years. the world.
Calvin Klein’s fragrances, for example, sold an aspirational lifestyle,
and his underwear line in the 1990s was so famous that the garment ▶ Diana’s wedding dress 1985
became known simply by the designer’s name. had puffed sleeves and Dolce and Gabbana’s first
25-ft (7.5-m) train women’s collection is
Street style presented in Milan.
1981
For the first time, fashions emerged from the street not the Music Television
design studio. Toward the end of the 20th century the dress (MTV) is born and
of subculture groups from goths to surfers became brings pop-star
increasingly mainstream. The fresh and authentic feel to syles to a global
street style seized the imagination of designers, and the audience.
styles themselves became more complex as designers
adapted and reworked them. Parisian designers were ▲ MTV brought star style to 1983
particularly engaged with street style: Jean-Paul Gaultier popular consciousness
famously said he was inspired by London club wear in the 1980s, and John-Paul Gautier launches
Karl Lagerfeld showed stretch denim and baseball caps combined with 1981 his Dadaiste collection, which
classic Chanel jackets in the early 1990s. A particularly popular street The first episode of the includes his signature corset.
style during the 1990s was the phenomenon that came to be known US TV series Dynasty airs
as “bling.” Popularized by hip-hop culture, wearing expensive-looking and helps to popularize
clothing and in particular lots of light-reflecting jewelry became a power dressing and
dominant fashion trend through the 1990s and 2000s. shoulder pads.

Globalization ▼ The cast of Dynasty set 1980s
fashion trends
Communication became truly global with the invention of the internet
and social media, and a sense of worldwide consciousness developed ▶ Anna Wintour
as a result. Fashion, too, became more international, and production
moved away from Europe and America to China and Asia. The cycle 1984 1988
of increased production and consumption from the 1990s onward Donna Karan International
led to the success of mainstream, mass-market stores such as Zara and is established. Anna Wintour becomes
Victoria’s Secret. Supermarkets and budget clothes retailers such as editor-in-chief at
Walmart in the US and Primark in the UK also experienced booms in 1984 American Vogue.
business following the economic crisis of the late 2000s. In the late Polo Ralph Lauren flagship
1990s international fashion weeks began to crop up all over the store is built in New York City.
globe. Though traditional fashion hubs such as Paris remained key,
Mexico, New Zealand, and Pakistan host their own style events.

TIME LINE 387

Power dressing now is designed to let
the woman inside us come through.

DONNA KARAN, 2006

1989–90 1991–92 1993–96 1997–2000 2001–07 2008

1989 1991 2003 2008

Prada launches its women’s Vivienne Westwood wins the The first season of reality First Lady Michelle Obama
ready-to-wear collection, British Fashion Award for contest America’s Next wears a dress by Jason
bringing its designs to a wider Designer of the Year. Top Model premieres on Wu at the inaugural ball
audience. US television. for President
Barack Obama.

▶ Vivienne Westwood with her ▶ Jason Wu’s
muse, model Sara Stockbridge white ball gown

1991 1994 2004

Rifat Ozbek’s all-white New Tom Ford becomes creative The group Designers Against
Age collection is launched. director of Gucci. Aids is launched to promote
It is viewed as a backlash awareness of the disease.
against the 1980s and a Designer Marc Jacobs and
spiritual new dawn for clothes store H&M go on to
fashion at the beginning collaborate with the charity.
of a new decade.

1991 1997 ◀ The red ribbon 2010
symbolizes AIDS solidarity Kate Middleton and Prince
Nirvana releases its The Fendi Baguette Bag William announce their
“Smells Like Teen emerges. It is the first of 2005 engagement. She wears
Spirit” single, which the designer “it bags” The Istanbul Cevahir an Issa London sapphire
is a big influence on and becomes an Shopping Centre opens. dress, which sells out within
“grunge” style. overnight sensation. It is the largest mall in minutes. The following year
Europe, and the sixth she marries Prince William
largest in the world. in a bridal dress designed
by Sarah Burton for
▶ Nirvana’s single, from Alexander McQueen.
the album Nevermind,
remained high on the 2011
charts during 1991 A “Culture Chanel” exhibition
showcasing the colorful life of
▲ Madonna’s conical “bullet bra” 1992 1995 1997 Coco Chanel opens in
is an enduring fashion icon Friends actress Jennifer Shanghai, China.
Marc Jacobs wins the Aniston debuts “the Rachel Italian fashion designer Gianni
1990 Council of Fashion Designers haircut.” It is copied around Versace is murdered outside ◀ Visitors flock to the Chanel
of America’s award for the globe. his Miami Beach home; his exhibition in China
Madonna creates a fashion Women’s Designer of the sister Donatella Versace
sensation when she wears Year. He is later dismissed 1996–2011 becomes head of design
the notorious Jean Paul from Perry Ellis for designing John Galliano is head at Versace.
Gaultier corset during her a “grunge” collection. designer at the House of Dior.
Blonde Ambition World Tour.
▼ John Galliano celebrates
50 years of Dior fashion

1990

Vera Wang opens her own
design salon in New York,
featuring her trademark
bridal gowns.

1990

Fashion models become
increasingly successful and
recognizable; the age of the
supermodel begins.

388 THE DESIGNER DECADES Two-tone leg Jane Fonda’s workout Jane Fonda was
warmers one of the personalities credited with
1985 – 2010 spreading the aerobics craze and changing

FITNESS the idea of exercise clothes. She
IN FASHION released a bestselling book,
video, and line of leotards
The fitness boom of the 1980s was the catalyst for the and accessories (such as leg
crossover of sportswear into fashion. As increasing numbers warmers) that became part
of women donned gym shorts, leotards, and leggings to of mainstream fashion.
attend aerobics classes or workout, the gym became a social scene,
and exercise garb became stylish. At the same time, designers were 1985
experimenting with fabrics normally used for activewear. In
1980 American designer Norma Kamali created a collection Bright
entirely in gray fleece jersey; in 1984 Donna Karan, also neon
American, popularized the stretch bodysuit; and Tunisian-born leotard
Azzedine Alaia designed Lycra dresses—a fashion revolution.
Women’s bodies were now shaping the clothes, rather than Decorative
clothes shaping the body. Beyond the body-conscious trend, belt
other sportswear styles have infiltrated fashion over the
past few decades. The celebrity status of athletes, such as Saddle bag
basketball players, coupled with a trend toward casual worn at waist
dress, has made athletic gear, especially footwear such as
sneakers, desirable and prestigious. No buttons on tailored
jacket make it casual
Coat in style
of horse rug Cutouts
and trim for
Shoulder tattoo aerodynamic look

Crop tops Worn hip-hop
make look style with waist

sexy pulled down

1995 2001 2004

Tracksuit
bottoms
popularized by
hip-hop culture

Piping gives Pointed-
crisp edge toe stilettos
add sharp,
Riding boots and dressy edge
bare legs for
modern twist

Track stars Pop stars adapted designer sportswear Equestrian chic Riding clothes are a recurring Deluxe sportswear Paired with a tailored
and took it to a wider audience. British group All source of inspiration. American designer Michael jacket and high heels, a swimsuit and gym shorts
Saints wore tracksuit bottoms and sneakers as a Kors’ Fall/Winter 2001 collection included jodhpur- become idiosyncratically luxurious. This look,
kind of uniform in the mid-1990s, and girls around style pants and quilted field skirts, creating a new by New York-based Proenza Schouler, turns
the nation copied their style. way of dressing based on active sportswear. sportswear into high fashion.

Cricket- FITNESS IN FASHION 389
style FLASHDANCE

Kangol hat sweater Hooded
with shirt sweatshirt
Baseball
jacket Suit
pants
1994

Loose-fitting,
stonewashed
jeans

White When Jennifer Beals leapt across cinema
sneakers screens in the 1983 movie Flashdance as
steelworker-cum-dancer Alex Owens, she
Antifashion A rap star in the late 1980s and early 90s, sparked a passion for dance-wear-inspired
Will Smith (right) reflected the antifashion mood of the fashions. Slouchy, off-the-shoulder gym
times in his clothing. Oversized casual wear, stonewashed sweats, and ripped T-shirts are still referred
jeans, and pristine sneakers indicated street credibility, in to as “the Flashdance look.”
contrast with the central figure above.
Revival of
Produced in sun visor
candy colors
Personalization
Intentionally with embroidered
oversized
Head-to-toe proportions Transparency Built-in
branding and layering support
Fitted around look modern
Basketball hips and
jacket with buttocks Cutout
satin-look embroidery
Black with green, on skirt edge
sleeves team color of
Boston Celtics 2009

Basketball stars Converse basketball sneakers were Straight Range of
first manufactured around 1908, and helped popularize leg to matching shoes
the sport. From the 1980s Converse sneakers became fall over and accessories
a fashion item, worn by hip-hop and rap stars, including sneakers
Snoop Dogg who used them as his trademark style. Beauty and function Stella McCartney
Juicy tracksuit Juicy Couture’s hooded tracksuit creates the ultimate sports-fashion fusion
launched in 2001 made casual clothes sexy. By with her line for Adidas. She uses high-quality
2003 it had become ubiquitous. Sales soared stretch materials for peak performance, but
when Madonna was photographed wearing adds her own desirable details.
a customized version.

390 THE DESIGNER DECADES

DESIGNER

VIVIENNE WESTWOOD

△ FASHION REVOLUTION One of the most admired British fashion designers, of 1982–83 were made from combinations of twisted,
Rebel fashion visionary Vivienne Vivienne Westwood has played a key role on the oversized asymmetrical cuts of layered material, inspired
Westwood wears a signature plaid British and international fashion stage for over by Third World cultures.
bondage suit in 1977. Working alongside three decades. Westwood began designing in 1971 when
Malcolm McLaren, her look became the she opened her first store, Let It Rock, on the King’s Road, Body-shaping design
uniform of the punk movement. London, with partner Malcolm McLaren (1946–2010). She
looked to the past for inspiration and sold teddy boy clothes The corset emerged as a key element, along with other
GLAMOROUS ANARCHY ▷ reflecting delinquent youth culture, moving on to biker- body-shaping pieces such as the crinoline, bustle, and
Westwood’s Spring/Summer 2012 inspired gear with black leather and zippers. Rebranding towering shoe. While in Italy in the mid-80s Westwood
collection, inspired by China, mixed their store Sex (1975), they advertised their ambition to developed the Mini-Crini, featuring shortened 19th-century-
bring sexual experimentation and fetish to London streets. style crinolines teamed with tailored jackets—the antithesis
in corsets, lace, brocade, and The store soon became synonymous with punk, heavily of 1980s masculine power dressing. She later combined
ticking-stripe bedspread fabrics, and promoted by McLaren’s new band, the Sex Pistols. The the style with traditional British fabrics such as Harris Tweed
dramatic make-up to glorious effect. look was aggressive and anarchistic. Sweaters had holes and Scottish tartans. Her Anglomania collection (1993–94)
in them, and safety pins pierced cheeks and lips. ran with the theme with mini kilts, gowns, newly created
T-shirts were slashed, and emblazoned with tartans, and tweeds. Westwood said, “I am never more
provocative images, studs, and slogans. The
bondage look became integral to the punk genre, happy than when I parody the British in the context of
using leather and rubber. In particular, pants a classical perspective.” Designs constricted posture
were adorned with bondage straps and chains. and movement and emphasized the hips. Underwear

The romantic look became outerwear, with bras worn over dresses.
Westwood’s Café Society collection (1994) was a
As punk fashion became absorbed into the
mainstream, Westwood explored the essence new take on the hourglass silhouette. Collaborating
of Englishness and sexual politics. Drawing with her partner Andreas Kronthaler, bustles were
again on historical costumes, she devised a made from cushions and cages, voluminous dresses
new range of clothes that formed the basis had long trains, and busts were padded. Famously,
of her first runway collection (1981).
platform shoes were extremely high. She later
The Pirate range was adopted by musicians became inspired by the costumes in paintings
labeled the New Romantics, who embraced by French artist Jean-Antoine Watteau
the baggy pants, frills, billowing shirts, (1684–1721), creating sumptuous, strapless
and lavish colors that were inspired by gowns made of silk taffeta.
18th-century men’s clothing. The Savage By the end of the 1990s Westwood
collection (1982) gravitated toward a tribal was firmly established as one of the most
look, with rough, distressed fabrics and important designers in the world. She
exposed seams, while Buffalo Girls (also launched a fragrance line and opened new
known as Nostalgia of Mud) garments labels. Despite being made a Dame of
the British Empire in 2006, her clothes
are still subversive. Rooted in the classics,
Westwood remains unflinchingly cutting edge.

TIME LINE 1971 Westwood 1981 Her first 1989–91 Appointed ◁ 1993 Designs her 1996 Vivienne ◁ 2011 The
and partner, runway show, Pirate, Professor of Fashion at own tartan and tweed for Westwood Man is Spring/
Malcolm McLaren, borrows heavily from Vienna Academy of Applied Anglomania collection. launched, and she opens Summer
open their London history and inspires Arts. Shows first menswear Includes staggeringly stores in London, New
store Let It Rock high platform shoes York, Tokyo, and Milan menswear
the look of the collection in Florence collection sets
New Romantics
1982–83 Buffalo and Punkature the trend for
1976 The Sex Pistols are shown in Paris to critical 1994 The British Fashion a relaxed
play their first gig wearing acclaim. Her innovative designs Council names Westwood
Westwood designs are widely copied designer of the year as she informal style
launches her new Red Label with plaid
trousers
1970 1980 1985 1990 1995
2000

LAYERED AND ASYMMETRICAL Westwood's 2010–11 Red Label collection draws inspiration from tapestries and old country houses for an eco-warrior look with strong makeup. ▷



392 THE DESIGNER DECADES Sleeves are Strong shoulder Distorted
constructed to sit line interrupted captain’s
1980 –1989 with show of body hat in gold
at right angles gauze
MUST-HAVE Button under
LABELS Wool printed with bust draws
rubberized, ancient in fabric

erotic motif

After the antifashion 1970s, when casual and 1982 1983
street clothes gained prominence, it seemed
inevitable that the role of the designer would Large pocket Thigh-high
stage a revival. During the 1980s not only was interest with Greek slit and gold
focused increasingly on high fashion, but also on the key design tassels
designer as a personality. The names of some designers inside ap
became synonymous with their iconic pieces: Italian
Gianni Versace for his perfectly fitting cocktail dresses White and gold
in metallic colors; Frenchmen Christian Lacroix for his become ultimate
puffball skirt and rose prints, and Jean Paul Gaultier marriage of 1980s
for his cone bra; and the German Karl Lagerfeld for
the classic Chanel suit updated in jewel colors with History After the furor of punk designs New look French designer Thierry Mugler
a flamboyant dash. Some of the influential 1980s Vivienne Westwood produced a number of created a new way of dressing for women in the
designers continue to the present day. inventive collections in the early 1980s that 1980s, using a strict cut and precision lines to
established her as a mainstream force. This enhance, and contrast with, natural body curves.
piece is part of her Savage collection. This nautical look is from Spring/Summer 1983.

Puffed Distorted Signature
shoulder line and leg-of-mutton rose motif
sleeve creates on headpiece
tapered sleeves broad shoulder

Royal blue, Elizabethan- Dark denim with Front bustle, Sheer bodice
satin, style evening gold, asymmetric or pouf, as with sequin
dress zipper bustier
V-shaped hand warmer
bodice Covered
buttons and Victorian-era
1985 pintucks hourglass silhouette

Flared, 1987
silk-satin skirt
Demi-couture
take on street
fashion

Unexpected
color

combination
of brown
and black

Evening fantasy In the “greedy” 1980s most Body-conscious engineering Tunisian-born Extravagant couture Despite being the
women could not afford luxury brands, but there Azzedine Alaïa was one of the most influential youngest couturier in 1986, Lacroix’s look drew
were many mid-priced designers creating stylish designers of the 1980s. Women loved his on old-world luxury. His designs brimmed with
clothes. Vera Mont was one such British label, formfitting clothes because they were a kind of historical references, and were executed with
which focused on party dresses and bridal wear. internal corset to hold and flatter the wearer. gorgeous fabrics and a sense of coquettish charm.

MUST-HAVE LABELS 393

Haute couture PRINCESS DIANA
attention to detail
As a member of the royal family Diana,
Padded Princess of Wales, used the clothes that she
shoulders wore to project an image and to promote
British fashion. She turned to David and
Scarlet Reminiscent of Elizabeth Emanuel for her wedding dress in
cashmere Paul Poiret’s 1981, followed by Belville Sassoon the same
cloak evokes style year for a romantic, off-the-shoulder gown,
the 1920s one of 70 outfits made for the princess
Aluminium by David Sassoon. As she became more
Wrapped mesh drapes confident, she went to Bruce Oldfield for
torso a vivid blue, one-shouldered dress to wear
like silk to a fashion show in 1982. Perhaps her
Skirt is closest designer relationship was with
draped with
side pouch Catherine Walker, who
created more than 1,000
pieces for the princess.

Asymmetric Black silk
hemline and bindings
trailing silk bow

Sash emphasizes
slim waist and
sets off full skirt

The glamour of Versace One
of Versace’s most talked about
innovations was his dresses
of aluminium mesh, which he
fashioned into figure-hugging
forms as if from silk.

Cultural mashup
with various
ethnic textures

T-shirt under
corset dress
breaks rules

Emphasis Belville Sassoon’s
on breasts 1981 fairytale gown

1988 1989

Color mix Trademark
challenges notion silhouette
with nipped-
of good taste in waist

Seducing with luxury From his Antibourgeois Inspired by his Parisian roots Bold Catherine Walker
graduation show of 1984, British designer and his interest in crossing boundaries between print dress, 1988
John Galliano impressed fashion editors the genders, Gaultier created clothes that
and buyers with his romantic yet daring challenged preconceptions about how people Bruce Oldfield gown, 1985
vision and refined tailoring skills. dress, and about their sex, age, and ethnicity.

I think the way people
dress today is a form of
artistic expression…Take
Jean Paul Gaultier. What
he does is really art.

ANDY WARHOL, 1984

THE DESIGNER DECADES 395

DESIGNER

JEAN PAUL GAULTIER

Dubbed the enfant terrible of fashion, French runway show where men wore see-through skirts and △ SHARP TAILORING
designer Jean Paul Gaultier catapulted onto the women smoked pipes. Gaultier continued to play with the Gaultier has become world famous for his
scene of the late 1970s, upending the status idea of men in skirts through the 1980s and 90s, offering exemplary couture skills. Here, he wears
quo with his unconventional, and often humorous, a variety of styles, including kilts, sarongs, tunics, and two of his signature pieces: a beautifully
avant-garde creations. Gaultier had no formal training maxi skirts. He became famous for using unconventional tailored tuxedo jacket worn over a classic
as a designer. He started his career in 1970 as an assistant models such as older men, full-figured women, and Breton striped top.
at Pierre Cardin, and then, in 1976, he scraped together heavily tattooed models, and played with gender
funds to set up a new label for women. stereotypes. A master tailor, he used details such as ◁ GREEK CHIC
metal-tipped collars and extended shoulder lines to create Inspired by other cultures, Gaultier based
His first collection included a studded leather jacket a flattering shape, demonstrating a supreme appreciation his 2006 Spring/Summer couture
paired with a tutu. Gaultier derived inspiration from collection on ancient Greek mythology,
movies, music, and street culture, showing a of cut, form, and beautiful fabrics. dressing some of his models as
deep appreciation of multiculturalism. He loved goddesses, with wide puffed trousers,
London, attracted by the look of punk, and Further inspiration surprising cutouts, and soft pleats.
iconic figures such as James Bond. His first
thematic collection (1979), full of Gaultier’s interest in pulling together different
miniskirts and leather pants, brought him cultures continued. His fall collection of 1993,
international attention. Gaultier went on inspired by the traditional apparel of male
to turn the classic idea of Parisian chic on Hasidic Jews, was typically controversial.
its head. He introduced elements that His profile was further raised, especially
became Gaultier staples: the navy-and-
white striped Breton fisherman’s sweater in America, when he turned his hand to
and the reconstructed trench coat. costume design, creating clothes for such
movies as Luc Besson’s The Fifth Element, Peter
Gender bender Greenaway’s The Cook, The Thief, His Wife and
Her Lover, and Pedro Almodavar’s Kikaa.
In 1983 Gaultier launched the Dadaiste
collection, establishing what would become Brand name
a signature outfit: the corset. Reworking an
object of female suppression, he turned it In 1997, disappointed not to be chosen as the
into a symbol of feminine power. (The pop new head designer at the House of Dior, Gaultier
star Madonna later wore Gaultier’s most launched his first couture collection to critical
famous creation, a beige corset, for her acclaim. From a strapless denim ball gown to
1990 Blond Ambition World Tour.) a feather and seashell dress, he has created
Gaultier jumped into menswear in 1984. clothes that mix outrageous features with
Men had been reportedly buying Gaultier high-quality tailoring. The Jean Paul Gaultier
women’s jackets because of the fabrics he brand now includes jeans, eyewear,
used and the clever cut. Seizing the accessories, jewelry, ties, perfume, and
moment, Gaultier produced a sensational shoes. Gaultier may have been fashion's
bad boy, but he has become one of the
most respected designers in the world.

1952 Born 1980 The James Bond ◁ 1990 Madonna’s 1994 ▷ 1997 Launches 2003–10 Creative
Arcueil, France collection makes a strong Blond Ambition World Spring/Summer women’s haute director for Hermès
aesthetic statement with Tour grabs international show features couture, Gaultier Paris.
TIME LINE headlines with tribal-style models Designs the costumes 2012 Member of
leather, miniskirts, and Gaultier’s conical for Luc Besson’s The the jury at the Film
beautifully tailored bra and corset and clothing Fifth Element Festival in Cannes
silhouettes
2000 Receives prestigious
1976 Launches first women’s 1985 Introduces 1993 Launches Chic International Award from
label at the Palais de la skirts for men in his Rabbis, inspired by Jewish the Council of Fashion
Orthodox apparel Designers of America
Decouverte in Paris and earns And God Created
the title enfant terrible Man collection

1950 1970 1980 1990 2000

◁ FINE FEATHERS This striking Hecate coatdress from Gaultier’s Les Surrealistes Autumn/Winter collection of 2006 features a rooster on the sleeve.

396 THE DESIGNER DECADES Natural shoulder
line does not
1980 – 2012 distract eye

A POWERFUL Neckline
MESSAGE emphasizes
décolletage

The idea of using clothes to convey status is as old as civilization, 1980
but fashion historians point to the 1980s as the pinnacle of
power dressing. As more women entered traditionally male- Unusual cut
oriented work environments, they found it advantageous to dress as and color

though they were in command, and sure of their sexuality. This meant elevate basic
black dress
jackets with heavily padded shoulders, vibrant colors, big hairdos, Bolero-style
Color and contour An jacket
bold accessories, and shoes with pointed toes and spiked heels. original outfit from the 1980s
shows how contrasting color Shaped double-
Throughout the decade TV series such as Dallas and Dynasty and form can shape the body breasted jacket
to eye-catching effect. This
influenced women’s wardrobes. These shows projected images black, body-conscious dress
with the meticulously shaped,
of rich, confident women wearing jewel-toned suits with sharp mustard-yellow jacket creates
an hourglass silhouette.
shoulder lines, extravagant dresses, and larger-than-life
No shirt
jewelry. From the 1990s onward designers underneath

such as Calvin Klein and Giorgio Armani Soft jacket
developed a low-key, less “costumey” style felt
for working women. Neutral tones, expensive beret

fabrics, and minimal lines sent a subtler

message about competence and capability.

GIORGIO ARMANI Long-line
jacket

Lightweight
silk adds
luster

1990 2004

See-through
kick panels
in skirt reveal
most of legs

Italian designer Giorgio Armani’s luxurious, Wide-legged,
softly tailored clothes in neutral tones have tailored pants
been in vogue for more than 30 years. Since
establishing his own label in 1976, he has Strappy
become renowned for making business attire high heels
for both sexes more youthful and relaxed, yet
still giving the wearer a look of authority and Crossover style One of the most significant trends Sexy suiting American designer Donna Karan
glamour. His preference for simplicity has for working women was Giorgio Armani’s soft, built her brand with clothes intended to make a
significantly influenced contemporary fashion. elegant tailoring. As in this 1990 outfit, he feminized woman feel strong, sensual, and comfortable. Here
men’s styles, made them in luxurious fabrics in she puts a sexy spin on the traditional, gray flannel
neutral colors, and fashioned a long, lean silhouette. suit, with revealing, transparent panels in the skirt.

Pearl Elaborate hair Striking White collar A POWERFUL MESSAGE 397
earrings is a balance of white beret detail recalls
soft and strong Puritan ethos Hat adds
Sensuous Football-type polish and
velvet Romantic shirt shoulders
height
Cropped tux
shows off Covered
waist neckline
is restrained

1983

Pencil skirt Natural Belt and fashionable
demure, but fabrics peplum emphasize
reveals knees waist and hips

Bow on Flat, no-
court nonsense
shoes
shoes
Corporate charm Dominican-born Oscar
de la Renta brought romantic outfits to the Bold scale Oversized garments were the first part
office in the 1980s. The model wears a gray of the 1980s look. Subverting the dress of Puritans—
flannel skirt, black velvet jacket, and white silk known for their work ethic—French designer
and lace blouse. Claude Montana created impact in 1983 with
massive swagger, rather than showing off the body.

Short, slim skirt
elongates legs

Strong Ruf ed blouse
shoulder adds softness
line
Neutral palette
Vibrant ideal for the Neat fit
orange acts workplace on jacket
as stimulant
2010 2012
2008

Loose-legged Flattering
pants with cut on
pants
center crease
Statement Conservative
Sensible, shoes shoe style but
tan pumps sexy heel height
Career mode In the 1990s German designer Jil
Pantsuit power In the world of male-dominated Sander used expensive fabrics and flattering tailoring Commanding attention The Duchess of
politics, Hillary Clinton has opted to wear a pantsuit for women who wanted to look professional and feel Cambridge’s outfit is a perfect example of
with masculine tailoring but one important confident. Here Japanese actress Tyoko Yonekura modern tailoring, designed to draw attention
difference: color. Her outfits come in bold, bright, promotes the sellout Jil Sander-Uniqlo collaboration. to her slim figure and height and to emphasize
head-to-toe colors that stand out on TV. both her authority and glamour.

398 THE DESIGNER DECADES Straight line
across the
WOOL MIX TWO-PIECE shoulders

POWER
SUIT

The “executive look,” which first
found expression in the 1970s as
part of the working woman’s
wardrobe, matured by the mid-1980s into
“power dressing.” This outfit, by French
designer Thierry Mugler, combines a
sharply accentuated, shoulder-padded
jacket with a feminizing short skirt. The
single-breasted jacket, in orange worsted
wool and polyester mix, is fitted at the
waist and rounded on the hips. The
pencil skirt is knee length, straight, and
made of black wool. The increasingly
high profile of women in the workplace
was reflected in their wardrobes. Suits
were tailored, but used softer
dressmaking padding to structure the
shoulders than in traditional men’s suits.
Accessorized with bold costume jewelry
and stiletto heels, the look spoke of
confidence and power.

Close-fitting
skirt ends above

the knee

BOLD AND BRIGHT
Thierry Mugler tailors his suit
to create a stylized feminine
archetype: square shoulders,
cinched waist, and full hips.
Typically crafted in strong
colors, this ensemble
appeared thoroughly modern
in its day. The short, buttock-
hugging skirt invited attention
but defied anyone to touch.

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