60s Fashion by Molly Winter

ISSUE 1.

The sixties

FIGURE 1

CONTENTS 1.

Introduction

WORLD EVENTS, POLITICS AND SOCIETY

THE DEMOGRAPHICS AND ECONOMY

TECHNOLOGY

ART

MEDIA, MUSIC, CINEMA

INFLUENTIAL PEOPLE

Conclusion

References

10. figures DESN1355: FASHION MARKETING 2500-3000 WORD ESSAY WORD COUNT: 2661 MOLLY WINTER STUDENT ID: 201015232

fashion trend can occur for a large number of reasons as there are so many factors that can act as driving forces for change in a decade. The 1960s saw huge changes as it was the first time the country had experienced economic prosperity since World War II (Behling, 1985). Consequently, people had more disposable income making them more willing to invest in the latest fashion trends and investment in technology saw a change in the design industry (Muscato, no date). Along with these developments, there was a shift in the demography of the UK as due to the post-war baby boom there were far more young people making up the population (Breward et al, 2006). This generation werenâ&#x20AC;&#x2122;t afraid to experiment with fashion and push the boundaries in terms of popular culture therefore lots of new fashions appeared. This may be seen by many to be the most fundamental aspect in changing fashions in the 1960s, however, there were many more reasons for changing styles of the 1960s which also must be recognised.

WORLD EVENTS, POLITICS AND SOCIETY

The 1960s was a time of rapid societal change and development and there were many notable political and world events which shaped the fashion trends of the time; according to Ettinger (1999) “the social climate of the 1960s was blustery”. A significant trend to arise in the sixties was the ‘Hippie’ look. This trend originated from the US as students wanted to rebel against the Vietnam War as many believed “America was not only sacrificing her male youth but the government was also sanctioning the death of children…” (Trueman, 2015). However, in Britain the trend took off as there was an anti-capitalist sentiment. For example “to create a unique appearance out of a bricolage of second-hand clothes, craft work, and army surplus was to protest sartorially against the wastefulness of the consumer society” (Wilson, 1985). Wilson (1985) noted that “hippies adopted a naturalistic, flowing style...Sleeves which had been tight and shortish became long, gathered, flowing. Bell-bottomed trousers widened until they looked like skirts, and skirts which had been short and straight sank to the floor.” This demonstrates how politics directly fed into fashion trends of the 1960s.

Also there was a shift to a more sexually liberated society and the decade was known as the ‘permissive era’, for example, Wilson (1985) noted that the 1960s brought “the eroticization of the total body and the cult of nudity”. This can be partly linked to the introduction of the contraceptive pill for married women in 1961 (Bridge, 2007). This shift in society may have led to the popularisation of tights as “they seemed at the time to symbolize a new freedom by contrast with elaborate suspenders” (Wilson, 1985). Thirdly, the government influenced fashion by supporting students throughout university in the 60s via government grants (Breward et al, 2006). In terms of men’s fashion; jeans became far more fashionable as “a whole flood of students were eager to challenge authority and wear their own thing” (De Marly, 1985). Also, Breward et al (2006) stated that “a crucial influence on the development of London designers was the diploma course in fashion design at the Royal College of Art”. Two influential designers who studied fashion design at the RCA, Marion Foale and Sally Tuffin, “were amongst the first to experiment with cutting trousers for women, reducing the numbers of pleats and darts so that they became flattering, sexy garments” (Breward et al, 2006) Finally, there were several world events in the 1960s that shaped fashion trends, most notably the first landing on the moon in 1969. “Cardin, Courrѐges, Emanuel Ungaro and Paco Robane experimented with the futuristic ‘space age’ looks in the mid- 1960s that featured new shapes and used new technologies. Cardin’s ‘Cosmos’ outfits of the period were inspired by the first space-walks” (Breward et al, 2006). These designers used new materials in their garments like plastic disks, PVC and chain mail to replicate “the sartorial and visual clichés of science-fiction” (Wilson, 1985). Courrѐges even accessorised his looks with “goggles and helmets inspired by the equipment used by astronauts”; whites and metallic colours were another running theme (Reed, 2012). Evidently, this trend trickled down to the mass market, especially after Vogue announced that 1964 was “the year of Courrѐges” (Reed, 2012), thus highlighting how world events shaped the trends of the 1960s.

THE DEMOGRAPHICS AND ECONOMY fter the Second World War there was a "baby

boom”, which mean that median age of the population was a lot younger than previous decade and so there was a very youthful population (Behling, 1985). These children “grew up in an environment of increasing affluence and freedom” (Breward et al, 2006) and so Behling (1985) suggested that a bottoms up trend movement occurred where the youth were responsible for fashion moving up from the streets. This led to a shift in fashion trends as “the young generation was dressing more casually than its parents to show that it was different and disagreed with established norms” (De Marly, 1985). This led to the birth of a ‘Mod’ generation. Mary Quant stated that “they represent the whole new spirit that is present day Britain- a classless spirit that has grown up out of the Second World War” (Wilson, 1985). According to Ettinger (1999) male Mods wore tight-fitting checked hipster pants paired with double-breasted jackets. Small floral prints were also a classic Mod fashion statement for both men and women. Female Mods Also post-World War II the mass market had also wore miniskirts and minidresses in bold prints more disposable income and so the Ready-toWear market changed to target this new or colours and boxy cuts (V&A, no date). demand. The fashion industry “wished to do more than simply reinterpret Paris in watereddown versions” (Wilson, 1985). Chanel was at the forefront of this change and stated that “I am no longer interested in dressing a few hundred women, private clients; I shall dress thousands of women”; as a result the Chanelstyle suit became ubiquitous and “the bright, sharp Mary Quant style of the 1960s was really a marrying of the style of the Chelsea art student with Chanel” (Wilson, 1985).

Technology

In the 1960s, modernism was a strong sentiment so naturally technology progressed in this period. According to Muscato (no date) “after World War II, all of the technological advancements of the war were applied to commercial products”. As a result synthetic fibres started to be used more in the 1960s, “by 1968, synthetic fibres surpassed natural fibres in the U.S.A. for the first time in history”. Consequently, fabrics which weren’t previously made available to the mass market now were (Ettinger, 1999). Polyester “really became a definitive material of choice in the 1960s”; Kevlar which was produced in 1965 was also popular as well as velvet (Muscato, no date).

As well as the production of fibres, the way in which these new fabrics were being decorated also changed. “In the 1960s, pop artists like Andy Warhol devoted their attention to screen printing as a way to explore modern culture” (Muscato, no date). This experimentation was mirrored in the textile industry and fabrics were printed with exciting prints displaying “rhythm and motion with an explosion of colour” (Ettinger, 1999). These popping colours and eye-catching designs, which didn’t fade could now be cheaply produced on a huge scale and were made affordable to the masses. As a result “men's clothes became so vibrant and bright during the 1960s that many historians have labelled this decade the Peacock Revolution” (Ettinger, 1999). Another technological advancement that influenced fashion in the 1960s was the television; in 1961 75% of households had a TV, this grew to 91% by the end of the decade (Marwick, 1982).

As a result, people were consuming the media much more regularly and TV programmes such as Ready Steady Go, which was a weekly pop music programme, started to promote fashion trends. For example, if the presenter, Cathy McGowan, wore a particular dress on a programme, by the next day that same dress would sell out (Breward et al, 2006). Another influential programme was The Avengers; “its heroines, Honor Blackman and Diana Rigg, wore catsuits of black leather, long flat-heeled jackboots, and short, pointed dominatrix boots, plus a range minidresses and outfits designed by John Bates” (Breward et al, 2006). These costumes were soon reflected on the highstreet.

ART Art was a major driving force of fashion in the sixties, Pop Art and Op Art were particularly influential. In 1965 an exhibition called The Responsive Eye was exhibited at the Museum of Modern Art in New York, which focused heavily on Op Art. A key element of this art form is “basic design elements such as circles, squares, checkerboards, spirals and wavy lines”. The fashion industry was hooked and many archetypal prints of the decade were inspired by this art work (Ettinger, 1999). Pop Art’s influence was equally as ingrained in the fashion industry, for example, many clothes at the time imitated work from the painter Mondrian, as “they were hardedged, brightly coloured or black and white, and squared-off” (Wilson, 1985). An iconic dress example of the collaboration between art and fashion in the 1960s is the Yves Saint Laurent’s 1965 Mondrian Dress, which was on the September cover of Vogue that year, thus giving this new trend fundamental exposure (Whiteley, 1987).

Consequently, this Pop Art trend underpinned the paper fashion trend of the late 1960s. In 1962 Andy Warhol printed his work onto dresses for “New York society women who wore them to art gallery openings”. However, this exclusivity was short-lived and Campbell’s Soup Company exploited Warhol’s work and created “the Souper Dress, a paper garment featuring the iconic print”. This new disposable approach garments took advantage of the rapidly evolving mass market and set the tone for the consumerist society of the sixties (McCorquodale, 2015).

Media, music, cinema Music, cinema and the media all had a huge impact on the 1960s generation, and fashion was deeply intertwined. Arguably these were some of the most important driving forces of fashion at the time. According to Breward et al (2006) “the media were powerful enough to promote the activities of those involved in the ‘Swinging London’ they had christened, radically increasing the reach and significance of these cultural changes.” The popular magazine Honey pushed boundaries when it “ran articles on leaving home, flat-sharing, premarital sex, living with a man out of wedlock and…the contraceptive pill” (Breward et al, 2006). Many subcultures looked up to their favourite bands for fashion inspiration. Pop music heavily influenced the younger generation as it symbolized the rebellion against the establishment (Wilson, 1985). As a result when the Beatles were seen to be wearing single breasted suits, with, velvet collars, slim ties and curved-edge collars (De Marly, 1985) fans of the band followed in their fashion footsteps. Other bands like The Kinks and The Who were key fashion icons for the Mods (V&A, no date). The “Summer of Love in 1967” was a time when “the prevalence of free love, recreational drugs and psychedelic music became apparent in fashion” so artists like Jimi Hendrix and Janis Joplin opted for a more psychedelic look, thus pioneering the Hippie trend (Richardson, no date). The iconic sixties girl groups had just as much influence with the likes of The Supremes and The Ronettes popularising the “mascara-and-miniskirt uniform” (Leaper, 2016).

In terms of cinema, a variety of films, actresses and actors shaped fashion trends of the decade. Edwardian-style dress was made fashionable by Brigitte Bardot and Jeanne Moreau after their appearance in the 1965 film Viva Maria (Wilson, 1985). In 1961 when Audrey Hepburn starred in Breakfast at Tiffany’s the LBD (little black dress) “teamed with movie star shades and top-handle bag” captured the hearts of the nation (Leaper, 2016). The films themselves were just as influential for example, in the 1967 film “Bonnie and Clyde set going the thirties look of berets and long, lanky skirts and ‘old-fashioned’ jumpers” (Wilson, 1985). Mods took inspiration from French films like Shoot the Pianist from 1960 (Breward et al, 2006). Finally, historical films were another influence on the fashion in the 1960s with designers turning to early silent movies for inspiration, which caused a “return to fashion of the twenties” (Wilson, 1985).

Influential people

The 1960s had many fashionable figures in the limelight who were made more influential due to the growing influence of the media. Models themselves were trend setters for example, Lesley Hornby who was more commonly known as ‘Twiggy’ shot to fame for her cropped hair cut and painted eyelashes like those on a Victorian doll (Breward, 2006). She was a famous model by the age of 16 and consequently helped to reinforce the child-like look “when girls wore skirts that rose to the crotch and curtains of hair that descended to meet it, when they exposed nipples in see-through blouses and navels below crocheted tank tops that never met hipster pant” (Wilson, 1985). In addition, Jean Shrimpton was an equally influential model during the 1960s and she helped to popularise the miniskirt by being pictured at Melbourne Racecourse in 1965 “in a dress that ended three of four inches above her knees”. Thirdly, model Edie Sedgwick, who was Andy Warhol’s muse, wore “lashings of eyeliner, chandelier earrings, mini mod dresses with sheer black tights and a crop of platinum hair” making her a role model for the Mod movement.\

Fashion designers were also celebrities in their own right in the 1960s and they clearly had a monumental influence on fashion in this era. There was a lot of fresh new talent emerging perhaps most notabley Mary Quant and her husband Alexander Plunket Green. The pair “were well-connected socially and could capitalize on being members of the ‘Chelsea Set’, whose parties and general way of carrying on had won the total attention of the gossip writers”, therefore this media attention amplified the exposure of their deigns and their products, like the mini-skirt, became ubiquitous (Wilson, 1985). Parisian designer, Andre Courrѐges, also helped shape the fashions of the sixties through his collections in 1964, which featured high-fashion trouser suits for women as well as the mini-skirt (Wilson, 1985). Barbara Hulanicki and Stephen Fitz-Simon’s Biba brand became popular in the late 60s when they “made chic the druggy trance…and the bleached-out glamour of the thirties”. This style was ingrained in their designs through their iconic floor-length vest dresses or tight-sleeved tops set into narrow shoulders in “off greenery yallery colours” and their designs impacted the fashion at the time by appealing to both Mods and Hippies (Wilson, 1985). Menswear designers were also key individuals in driving new fashion at the time, such as John Stephen and Rupert Lycett. Lycett was instrumental in making Britain move towards ‘The Return of the Dandy’ (De Marly, 1985) and Stephen “offered the latest essentials-denim shirts, T-shirts, moccasin shoes, reefer jackets” via his Lord John boutiques situated in Carnaby Street, which were a great hit with the Mods (Breward et al, 2006).

n conclusion, it is evident that the 1960s was a very rich era for experimental fashion trends. This was mainly made possible by the fact that the younger generation, who made up a larger proportion of the population than previous decades, were more willing to pioneer these quirky new trends. However, these new trends would not have occurred without the other diverse driving forces at the time such as the political protests stemming from the Vietnam War to the progressive art movements and captivating music, cinema and media of the time. Therefore, as a whole the 1960s was a very exciting decade for fashion designers and is still hugely influential in inspiring contemporary designs such as items in the Louis Vuitton Spring 2013 collection (Mower, 2012).

Behling, D. 1985. Fashion change and demographics: a model. Clothing and textiles research journal Breward, C. Gilbert, D. Lister, J. 2006. Swinging Sixties. Fashion in London and Beyond 1955-1970. London: V & A Publications Bridge, S. 2007. The Guardian (online). A History of the Pill. (Accessed 15 October 2016). Available from: https://www.theguardian.com/society/2007/s ep/12/health.medicineandhealt De Marly, D. 1985. Fashion for Men: an Illustrated History. London: B.T. Batsford Ettinger, R. 1999. Psychedelic Chic: artistic fashions of the late 1960s & early 1970s. Atglen: Schiffer General Register Office for Scotland. 2005. Scotland's Population 2004: The Registrar General's Annual Review of Demographic Trends: 150th Edition (online). Edinburgh. (Accessed 15 October 2016). Available from: http://www.nrscotland.gov.uk/files/statistics/ scotlands-population-2004-the-registergenerals-annual-review150stedition/j9085d05.htm Leaper, C. 2016. Marie Claire (online). 1960s fashion: The style icons and designers that shaped the swinging decade. (Accessed 19 October 2016). Available from: http://www.marieclaire.co.uk/fashion/1960sfashion-icons-designers-trends-34260) Marwick, A. 2003. British society since 1945. London: Penguin Books McCorquodale, S. 2015. BBC (online). Soup Cans That Changed Fashion. (Accessed 16 October 2016). Available from: http://www.bbc.com/culture/story/20150427 -soup-cans-that-changed-fashion

Reference list Mower, S. 2012. Louis Vuitton Spring 2013. Vogue UK (online). (Accessed 20 November 2016). Available from: http://www.vogue.com/fashion-weekreview/862445/louis-vuitton-spring-2013/ Muscato, C. no date. Study.com (online). 1960s Textiles. (Accessed 16 October 2016). Available from: http://study.com/academy/lesson/1960stextiles.html Reed, P. 2012. Fifty Fashion Looks that Changed the 1960's (Design Museum: Fifty Fashion Looks). London: Conran Richardson, S. no date. Leaf.tv (online). How the Music of the Sixties Influenced Fashion. (Accessed 19 October 2016). Available from: https://www.leaf.tv/articles/how-the-musicof-the-sixties-influenced-fashion/ Trueman C N. 2015. The History Learning Site (online). Protests against the Vietnam War. (Accessed 15 October 2016). Available from: http://www.historylearningsite.co.uk/vietna m-war/protests-against-the-vietnam-war/

V&A (online). no date. History of 1960s Fashion and Textiles. (Accessed 19 October 2016). Available from: http://www.vam.ac.uk/content/articles/h/hist ory-of-1960s-fashion-and-textiles/ Whiteley, N. 1987. Pop design: modernism to mod. London: Design Council Wilson, E. 1985. Adorned in Dreams. London: Virago

figures Figure 1: Original Image of Jean Shrimpton from the 1965 Harper's Bazaar Magazine adapted by author on Powerpoint Figure 2: Altman, R. 1969. Hippie in Golden Gate Park (online). (Accessed 22 November 2016). Available from: http://www.altmanphoto.com/cockettes.html Figure 3: Jacobs, G. 1967. Pattie Boyd and George Harrison in San Francisco (online). (Accessed 22 November 2016). Available from: http://www.beatlesbyday.com/photo/2015/8/25/i-dontwanna-leave-her-now Figure 4: McCabe, D. 1966. Tricolored discs by Paco Rabanne (online). (Accessed 22 November 2016). Available from: http://www.vogue.com/slideshow/12175429/trendsfall-2015-paco-rabanne-francois-hardy/ Figure 5: Knapp, P. 1965. André Courrèges Ensembles for Elle (online). (Accessed 22 November 2016). Available from: http://www.vintag.es/2015/07/space-age-futuristicfashion-designed.html Figure 6: Schutzer, P. Model in Chanel Suit (online). (Accessed 22 November 2016). Available from: http://time.com/3879003/flashback-chanel-style-by-paulschutzer-in-life/

Figure 12: French, J. 1965. Grace Coddington (online). (Accessed 22 November 2016). Available from: http://content.time.com/time/specials/packages/article/0,288 04,2110513_2110630_2110762,00.html Figure 13: Marie Claire. 2016. Paulene Stone (online). (Accessed 22 November 2016). Available from: http://www.marieclaire.co.uk/fashion/1960s-fashion-iconsdesigners-trends-34260 Figure 14: The Who Goodwin, H. no date. The Who (online). (Accessed 22 November 2016). Available from: http://www.telegraph.co.uk/culture/tvandradio/11002390/Th e-Who-in-talks-for-60s-TV-show.html Figure 15: Ochs, Michaels.1965. Ronnie Spector (online). (Accessed 22 November 2016). Available from: http://www.vogue.com/13494458/ronnie-spector-styleronettes-fashion-interview/ Figure 16: Fashion Gone Rogue. 1960. Audrey Hepburn in Givenchy dress the film Breakfast at Tiffany’s (online). (Accessed 22 November 2016). Available from: http://www.fashiongonerogue.com/audrey-hepburn-hubertgivenchy-dresses/ Figure 17: Popperfoto. 1966. Twiggy in Mary Quant Designs (online). (Accessed 22 November 2016). Available from: http://www.dailymail.co.uk/debate/article3381621/The-glorious-year-Brit-Twiggy-best-Beatlesalbum-World-Cup-win-nation-bathed-optimism-50-yearsRAY-CONNOLLY-celebrates-joy-alive-1966.html

Figure 7: thescooterist.com. 2012. Youth Culture - Mods & Rockers 1960s - 1970s (online). (Accessed 22 November 2016). Available from: http://www.thescooterist.com/2012/08/youth-culture-modsrockers-1960s-1970s.html

Figure 18: The Sunday Times. 1965. Jean Shrimpton in Minidress (online). (Accessed 22 November 2016). Available from: http://www.thecarousel.com/fashion/50years-on-jean-shrimptons-dress-that-stopped-a-nation/

Figure 8: Benini, B. 1966. Jan Stewart models a Sportsgirl dress. (Accessed 22 November 2016). Available from: https://maas.museum/event/creating-the-look-benini-andfashion-photography/#&gid=2&pid=9

Figure 19: Sellerio, E. 1965. Edie Sedgwick (online). (Accessed 22 November 2016). Available from: http://www.vogue.com/13255482/remembering-ediesedgwick-actress-model/

Figure 9: Klein, W. 1965. Chic for winter ski sports - a design of Emilio Pucci (online). (Accessed 22 November 2016). Available from: http://fashionlifestyle.net/designers_en_broi25

Figure 20: Vogue.it. 1965. Chelsea fashion designer and make-up manufacturer Mary Quant (online). (Accessed 22 November 2016). Available from: http://www.vogue.it/en/news/encyclo/designers/q/maryquant-

Figure 10: Townsend, P. 1964. Cilla Black and Cathy McGowan on Ready Steady Go (online). Accessed 22 November 2016). Available from: http://www.watergatestreetgallery.co.uk/art/473801/cillablack-and-cathy-mcgowan-on-ready-steady-go-small

Figure 21: Gundlach, F. 1965. André Courrèges Ensemble. (Accessed 22 November 2016). Available from: http://www.vintag.es/2015/07/space-age-futuristic-fashiondesigned.html

Figure 11:beatlespeacockrevolution.com. No date. Peacock style by Tommy Nutter (online). (Accessed 22 November 2016). Available from: http://beatlespeacockrevolution.weebly.com/the-peacockrevolution.html

Figure 22: Fincher, T. 1964. Mods ride their scooters along the seafront at Hastings (online). . (Accessed 22 November 2016). Available from: http://www.bbcamerica.com/anglophenia/2015/07/1960smod-slang-we-should-use-today