PSYCH
1960
OLIVIA EGGINGTON 1908042 AD5603
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CONTENT
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Pages 4-5: Abstract Pages 6-11: Introduction Pages 12-15: Politics Pages 16-19: Technological advancements Pages 20-26: Mary Quant Pages 27-29: Androgynous Fashion Pages 30-33: Terence Conran Pages 34-37: Conclusion Pages 38-42: References
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ABSTRACT In this essay I will create a rigorous response to the question ‘What era in fashion do you think is the most influential and why?’. For my introduction I will give an overview of my chosen era, ‘The Swinging Sixties’. I will then explore key, influential aspects of this time such as the power of the youth, improvements in manufacturing processes, Mary Quant and Terence Conran. The purpose of my essay is to educate the reader on fashion during the mid to late 1960s and persuade them as to why this was the most influential period. There are many aspects of the 1960’s that have had, and continue to have a great influence on the fashion industry today. This module has allowed me to develop knowledge and understanding of the socio- economic, historical and cultural context of the 1960’s with regards to fashion..
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FIGURE 2: 1960’s Swinging London Fashion
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“Marked by sweeping social change, the 1960s is a decade that still holds a special significance, seeing traditional hierarchies begin to dissolve and make way for the birth of the modern age� (V&A, 2020).
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SWINGING SIXTIES
FIGURE 3: Scene from Carnaby Street, in London's West End, circa 1966
The mid to late 1960’s is a standout period that transformed the fashion industry, refuting previous traditions. This was because of key figures and technological advancements, for the first time, we saw a push for fashion inclusivity. It was a time that was connotated with excitement, bold colours, and freedom. It was a fashion forward era with numerous, diverse, stand out trends still prevalent in contemporary garments and collections. This includes bright coloured and abstract shaped clothing that mirrored the pop art movement. Also, psychedelic swirls associated with the hippie youth movement were worn by men and women. 7
INFLUENCE ON TODAY’S DESIGNER Raf Simmons is an example of a contemporary designer whose recent designs have been influenced by the late 1960s. From his Spring Summer 2021 collection, we can see inspiration taken from this era through his use of abstract patterns and swirls of colour creating a ‘mod’ feel (Hype Beast, 2020). The images also show us to see the use of bold colours, with orange also being a popular choice of colour in the 1960’s. The short cut styling of the hair creates a ‘mod’ feel and the loose fitting of the clothing replicates the androgynous, ‘gangly’ look of this time.
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FIGURE 4: Garments from Raf Simmons Spring Summer 2021 collection
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A key season that was influenced by and embraced the late to mid 1960s was Spring Summer 2019. This includes brands such as Prada and Michael Kors. As seen from the images, Prada chose a futuristic take on the traditional mod girl, featuring ‘Twiggy-esque’ lashes, puffy headbands, and baby bangs, paired with knee-length socks and mini dresses (Shift, 2019). Mods had a significant influence on the trends of the 1960s, and still have today. Looking at the images of Twiggy in the 1960’s and Prada’s contemporary collection it is clear to see the influence.
FIGURE 5: Prada SS19 collection.
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TWIGGY 1960
‘In the 1960s, the fashion world turned “topsy-turvy “topsy-turvy”’”’ (TIME, 2020). FIGURE 6 : 1960s jewelry advertising by Twiggy
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POLITICS ‘The mid to late 1960’s was a time that focused on moving away from the ‘norm’, led by radical innovation from the youth and this same mindset is still relevant today’ (Shift London, 2019). Like current times, there were many revolutionary events that marked vast social, political, and cultural changes post war. These included the Women's Liberation Movement, Space Race, Civil Rights Movement and changing technology in the creation and production of music. These events led to a divide in opinions that were increasingly based upon the generation you belonged to. Astonishingly, it was the first time in history that clothing was primarily targeted at the powerful youth market. It became a decade that refuted traditions from previous era’s where fashion was designed typically for prosperous, older generations who were perceived as ‘elite’.
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FIGURE 7 : “It’s the 60’s and we’re selling dresses, just look wistful!”
One reason this shift was able to happen was because their childhood was spent under conditions that, for a larger part of the British population, were defined by growing prosperity and an improved social security a result of an economic boom in the development of an ‘affluent society’ (Heike Jenss, 2015). This was a significant, turning point for the fashion industry. The generation gap is still relevant today as there remains a clear divide through the choice of clothing worn by older and younger generations. Younger consumers are still very rebellious with their clothing, pushing boundaries by wearing clothing that would not be worn by older generations. There was also the newfound love for ‘ready to wear' fashion. It replaced couture, as it proved to be more inclusive, personal and affordable. ‘Ready to wear’ has had a considerable influence on today's market, making garments more easily accessible in terms of cost and availability via multiple outlets. This concept allows the fashion industry to quickly respond to the rapidly changing demands of the young modern consumer and follow the trends set by designers. Without the new emphasis on ready to wear, would we ever have arrived at the concept of fast fashion which is central of the market today? 13
TODAY Young people used their clothing to refute and oppose the negative mood of the times and openly disagree with their parents. Therefore, they wore clothing that reverted to the playfulness of being a child, adopting boxy shapes modelled on gangly ‘child-like’ models. This concept also resonates with today's climate of great political divide and uncertainty. We still use clothing to reflect mood and express opinions because of events happening around us. For example, following the recent victory for Joe Biden who defeated Donald Trump, Jeremy Scott (Creative Director of Moschino) thinks that the fashion industry is going to get more creative. We are expecting to see more creativity, connotations of optimism, and inclusivity on the catwalks. ‘It has bought a new sense of optimism for the US fashion industry, as he believes that creativity was not able to flourish under the presidency of Trump.
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However, what it did allow was a political awakening that has inspired so many more women, BIPOC, and the youth to get involved and even lead the conversation, as well as run for office and become change-makers’ (Vogue, 2020). Therefore, like the 1960’s, a lot of marketing by brands is heavily aimed at younger adults as they are using clothing to express their emotions. This is so important as like in the 1960’s, they are still the change makers pushing for further fashion inclusivity. In 2018, Scott created a collection that was a clear reference to disagreeing with the new immigration policies of Trump. Not only does it correlate with wearing clothing to make a statement, as in the 1960s, but it was also heavily influenced by the pillbox hats, Mary Janes, bright colours, mini skirts and wrist-length gloves of the era which is demonstrated in the images (Refinery 29, 2018).
FIGURE 8: MOSCHINO FW 2018 ‘Alienism’
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‘The rise of the middleclass younger consumer, economic factors implicit in the improved production systems, mass manufacturer and marketing techniques were influential in the evolving of ‘democratisation of fashion’ (Bonnie English, 2013).
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FIGURE 9: 1960’s Floral, Bold wallpaper
Changes in the fashion industry in the 1960s were heavily influenced by the introduction of new materials. ‘The 1960s fell in love with new, manufactured materials, with young designers keen to find new angles on established forms’ (V&A, 2020). It was the first time that we saw polyester and synthetic fibres being used on a regular basis to create eye catching clothing. It is estimated that 65% of all fibres used in the fashion industry are made from a synthetic material – polyester, but also nylon, acrylic, polypropylene, and elastane (Co Data, 2018). This is so influential as ‘pre-1960’s, clothes were constricted: fussy, fitted, buttoned, cuffed, boned. They demanded a lot of the wearers (Brigid Keenan, 2019). It was a key turning point for the fashion industry as it overturned the ‘status quo’ of fashion, making clothing more comfortable and enjoyable to wear. Could you imagine having to spend all this time at home in a lockdown wearing clothing that was restrictive and uncomfortable? The casualness and freedom that this movement popularised is a concept that has never gone away. Experimenting with new materials not only made our clothes more comfortable but also more innovative. Today, we are still seeing the exploration of new materials that allow designers to be innovative and sustainable. There are now sustainable materials such as pineapple leather and Tencel which is a manufactured fabric. 17
PAPER
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FIGURE 10: 1967 Paper dress
DRESS In the mid to late 1960’s, society was encouraging an increasingly ‘throw-away’ mindset. A material choice that was a popular choice was paper, encouraging a ‘throwaway’ fashion concept. It made fashion more exciting and affordable, allowing consumers to keep up to date with the latest trends. According to a report from Paleo future, the disposable clothes could be worn about six times and were sold for anywhere from £1 to £20 (Me TV, 2019). This is exactly what is happening today in relation to the fast fashion industry. PreCoronavirus pandemic, the fast fashion industry was thriving as a popular market level choice for younger consumers. Consumers would wear these items a few times before either throwing them away or forgetting them at the back of their wardrobe.
Fast fashion is also an affordable way to maintain a pace with the latest trends and prints. The only difference is that these modern popular garments are not made from paper. Paper dresses could be customised, allowing people to alter and amend the with ease in relation to the preferred length or fit of the individual consumer. During the pandemic young people have become increasingly interested in customising, upcycling, and reconstructing clothes. There has been a spike in upcycling, resale, and increased consumption of DIY clothing supplies (Vogue, 2020). Although the regular use of paper as a garment was short lived and only lasted a few years; using paper for clothing has been used by contemporary designers including Hussein Chalayan, James Rosenquist and Helmut Lang, during the 1990s and early 2000s (The Costume Society, 2015).
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MARY QUANT
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"Mary Quant is probably the most famous fashion designer that has come out of this country," according to V&A fashion curator Jenny Lister (Fashion United, 2020).
FIGURE 12: Mary Quant 1963 ‘Wet Collection’.
‘Modern fashion owes a great deal to the trailblazing 1960s designer Mary Quant’ (Revival Vintage, 2020). She became a highly recognisable designer at this time, winning the Sunday Times International Fashion Award in 1963 for ‘jolting England out of its conventional attitude towards clothing’ (Fashion United, 2019). She was a key designer that capitalized on the era’s revolution by experimenting with new materials. She was the first designer to use PVC, creating 'wet look' clothes, which is a choice of material that is still popular today. Before this, PVC was not being used in the construction of clothing. 21
‘Fashion, as we knew it, is over; people wear now exactly what they feel like wearing’ Mary Quant When growing up Mary Quant was not satisfied with the clothing that was available from stores. As a result of her dissatisfaction, she opened her first Bazaar shop in 1955, but it was in the 1960s that the popularity of the store grew by appealing to young women. She was a key figure associated with leading the “youthquake” which was an ‘earthshattering’ moment in history. This was because it really capitalised on the changing demands of the young consumer, which is something that still applies to brands today. Her boutiques were selling, original clothing that defined the ‘London Look’. Her collections from the early to mid-sixties featured breeches, knickerbockers (men’s baggy-kneed trousers popular in the early 20th century), dungarees and fashionable trousers which were worn with midriff-bearing tops or oversized sweaters (V&A, 2020). She engaged people from their first impression of her store through her constantly changing, engaging and innovative window displays. Brands today understand the importance of engaging young consumers by understanding their values and producing displays that attract them. 22
FIGURE 13 : 1960’s ‘Youthquake’ Mary Quant
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Mini Skirts Mary Quant was the designer that popularised miniskirts and mini dresses. This led to women's clothing becoming ‘riskier’ in relation to the values of their parents with hemlines rising to 6 or 7 inches above the knee. This was a huge turning point in relation to female fashion. ‘Miniskirts delivered maximum impact despite their mini proportions’ (Vogue, 2017). There were clear signals to be taken from the way people were dressed. “The miniskirt was an extraordinary phenomenon and had a substantial impact because it was part of the emerging youth culture of the 1960s and was very much an expression of that youth culture and also of the beginnings of the sexual liberation movement due to the invention of the birth control pill” (BBC, 2014). The miniskirt and mini dress are still a popular choice of clothing. They are worn on many occasions for all women. The photos demonstrate it has influenced our fashion more than we may think. Also, the concept behind the wearing of the miniskirt is still the same. For example, the use of the mini skirt in the film ‘Sex and the City’ connotates sexiness, power and women that will not be controlled. Without the popularisation of the miniskirt and dresses there would be no school skirts or hot pants. 24
25 FIGURES 14 & 15: The miniskirt revolution
At a time where fashion was heavily focused on Paris, Quant shifted the focus to ‘Swinging London’ making it a ‘fashion capital’. It was a time that put London on the map which has allowed the fashion industry in the United Kingdom to become the revolution it is today. Christian Lacroix’s (French Designer) direct experience of the city was founded on social visits made from the late 1960’s onwards due to a rise of innovations (Christopher Breward, 2003). Without this shift, would the creative industry in the United Kingdom be what it is today, or would it still be led by French designers such as Chanel and Dior? Quant can also be considered a key figure as she created fashion items that were widely accessible and affordable. This was a huge revolution for the fashion industry, and the impact of this can still be seen today in high street fashion outlets. In 1963, she launched her high-end fashion label, alongside a cheaper diffusion line which allowed designer labels to be more affordable to a broader audience. She clearly knew what the market was missing and filled those gaps. Today, diffusion lines substantially increase sales volumes, with the designer at the same time leveraging the desirability of their premium ranges (Wikipedia, 2020).
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FIGURE 16: Carnarby Street 1960’s
ANDROGYNOUS
FIGURE 17 : The ‘60s became a time for women to express themselves through clothing, which meant wearing pants more regularly, an item once taboo for women.
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Thanks to people like Quant, there was an increase in new fashion possibilities. She was a trend setter for androgynous fashion. ‘A slim, youthful body, androgynous and childlike in appearance, became the ideal body image of the mid 1960s’ (Heike Jenss, 2015). Not only was it popular for women to have short hairstyles, they also wore full pant suits. Quant was regularly photographed in ‘masculine clothing’, pushing for a progressively androgynous look, playfully challenging established gender ‘norms’. She sold trousers in her boutiques and they were regularly bought by young female students who wanted to push boundaries. Before this time, trousers were more commonly worn by men and were not used by women as a choice of mainstream fashion. Today, the pantsuit continues to be a popular choice for women and appears on the catwalk in feminine styles that enhance the figure and embrace current trends. In the image we can see the powerful figure, Twiggy, wearing a full pant suit with her short hair encouraging a ‘boyish’ style. Even looking at her pose it connotates a masculine manner and power as she is sitting with her legs open. It was a time when androgynous fashion really took off with the introduction of the ill, loose fitting hippy style. The hippie culture led to an increase in fluidity and rule breaking. Genderless fashion is currently a huge talking point within the fashion industry. We are seeing an increase in designers making androgynous collections, due to the younger generations pushing boundaries and shifting the conversation. Again, we can see the correlation between younger consumers in the 1960s and those today driving change.
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TWIGGY
29 FIGURE 18: Twiggy 1960’s Fashion Shoot
TERENCE CONRAN 30
‘The designer’s job is to imagine the world not how it is, but how it should be’ Terence Conran Terence Conran was the great panjandrum of British design. His influence was immense and enduring, spanning seven decades (The Financial Times, 2020). “No one has done more to create modern Britain than Terence Conran. He spent his whole career looking for ways to make life better for everyone” Deyan Sudjic, Director Emeritus, Design Museum. A close friend of Mary Quant, he was also a key figure in engaging and understanding the growing desire amongst the young demanding a reconstruction of the industry. The target demographic, like Quant, was the switched-on, aspirational young, who could acquire and validate new identities and lifestyles through consumption (Peter Jones, 2020).
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INFLUENCE He opened his first ‘Habitat’ on Fulham Road in May 1964, with the a mbition to modernize British furniture by offering contemporary design at affordable prices (Habitat, 2020). It was a store that offered household furnishings that had never been seen before such as flat pack furniture and bean bags. Fashionconscious Londoners flocked to his first shop, with customers such as John Lennon, Mary Quant, George Harrison and Julie Christie all buying their furniture there (Buffalo rising, 2011). Conran designed the interior for Quants’ Bizarre store and in return Quant designed the staff uniform for Conran’s store. As we can see in the image there is the use of the bold orange which was prevalent in the 1960’s. It remains a popular choice in the design of contemporary furniture, due to its minimalist timelessness. His legacy is one that will never be forgotten and will continue to influence generations of designs. Together, the work of Quant and Conran revolutionised the fashion choices that were available in the 1960’s. They were both instrumental in reconstructing the design and creations of post-War Britain, which has had a significant impact on design today. Their innovation and creativeness have gone on to inspire many. 32
FIGURES 20 & 21: Habitat store then and now.
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CONCLUSION
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FIGURE 22: 1960’S London ‘the best place in the world’.
It is clear to see that the 1960s was a turning point for the fashion industry and has been hugely influential on contemporary fashion. ‘From the 1960s onwards, fashion changes have accelerated at a more rapid pace than ever before’ because of the changes that took place at this time (Bonnie English, 2013). With key figures, including Mary Quant and Terrance Conran fashion became forward thinking, affordable and more accessible. The concept of innovation and the politics and cultural factors behind people's choice of clothing is still relevant to the fashion industry today. The concept of ‘fast fashion’ has its roots from this period. It was the era where ‘man-made’ materials came to be used in mainstream clothing items. This impacted manufacturing processes and encouraged designers to be more creative and innovative in their fabric choices. It was a time where the fashion industry realised the growing importance of youth as a distinct and lucrative market. It started to understand how marketing clothes by associating them to cultural trends and political opinion was key to identity and sales. It was also the time of the first ‘super-models’.
The concept of the androgynous body in marketing and selling items of clothing is still evident on the catwalks of the 21st century. Designers like Quant, Kiki Byrne and Conran have remained key influences and inspiration to independent British designers. It is possible that without them we may not have seen the likes of Westwood, Rhodes, McQueen, and Paul Smith, who in turn have influenced the designers of today. It was also the era that placed London as a city that has now become synonymously linked with fashion alongside Paris and New York. This has led to thousands of jobs being created in the capital now seen as a hub of innovation and creativity for designers from around the world to design, sell and market their clothing. It was the first time that people were able to wear what they felt comfortable in and what they wanted to without price or status getting in the way which is still a key message today. Taking all factors throughout the essay into consideration, it demonstrates why the mid to late 1960s has been the most influential era for the modern fashion industry.
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THEN
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NOW
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Carlton, H. (2015). Dare to Tear: Paper fashions in the 1960s. The Costume Society. http://costumesociety.org.uk/blog/post/dare-to-tear-paper-fashions-in-the-1960s Common Objective. (2018). What Are Our Clothes Made From? Common Objective; Common Objective. https://www.commonobjective.co/article/what-are-our-clothes-made-from (2020). 60s Vintage Fashion Guide Swinging Sixties, Quant, Carnaby Street & The Beatles. Revival Vintage UK. https://www.revivalvintage.co.uk/blog/post/guide-to-vintage-1960s/ Madsen, A. (2020). “Fashion Wears Its Heart on Its Sleeve”: What the Election Result Means for American Designers. Vogue. https://www.vogue.co.uk/fashion/article/us-election-designers-reaction BBC. (2020). The 1960s fashion revolution. BBC. https://www.bbc.co.uk/bitesize/clips/zh72tfr Queenseyes (2011). The Fashion That Was: The Sixties and How it influenced the Fashion World. Buffalo Rising. https://www.buffalorising.com/2011/10/the-fashion-that-was-the-sixties-and-how-it-influenced-the-fashion-world/ Books: Conekin, B E. (2013). Eugene Vernier and Vogue Models in Early "Swinging London": Creating the Fashionable Look of the 1960s. Creating the fashionable look of the 1960s. http://dx.doi. org/10.1353/wsq.2013.0058 Jones, P. (2020). A class act: Mary Quant and Terence Conran in the long sixties. https://doi.org /10.1080/17541328.2020.1749460 Keenan, B. (2019). There is something about Mary: Veteran fashion editor Brigid Keenan remembers Mary Quant's key role in the Youthquake that shook 1960s England. The Spectator Ltd. (UK) Jenss, H. (2015). Fashioning memory: vintage style and youth culture. English, B. (2013). A Cultural History of Fashion in the 20th and 21st Centuries. Bloomsbury. Breward, C. (2003) Fashion. Oxford History of Art. Oxford University Press. Videos: You Tube. (2019). How 1960s fashion icon Mary Quant’s revolutionary clothes liberated women | ITV News. ITV NEWS. You Tube. (2017). Sarah Jessica Parker Narrates the 1960s in Vogue | Vogue by the Decade. Vogue.
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IMAGES Figure 1: https://www.vogue.com/article/jean-shrimpton-supermodel-sixties-beauty-tbt Figure 2: https://www.vanityfair.com/london/2020/07/the-colourful-life-of-charlotte-simone Figure 3: https://en.wikipedia.org/wiki/Swinging_Sixties Figure 4: https://www.dazeddigital.com/fashion/article/41456/1/miuccia-prada-ss19-sexycollection-milan-fashion-week-spring-summer-2019 Figure 5: https://www.dnamag.co/home/prada-ss19 Figure 6: https://nasvete.com/1960s-iconic-face-twiggy/ Figure 7: https://twitter.com/wendyOrourke/status/999409797547024384 Figure 8: https://models.com/work/moschino-moschino-fw-2018 Figure 9: https://wallpapersafari.com/w/5F0Q3v Figure 10: https://collections.vam.ac.uk/item/O134725/paper-dress-meyersohn-diane/ Figure 11: https://www.messynessychic.com/2019/02/06/paper-dresses-pvc/ Figure 12: https://flashbak.com/mary-quant-kings-road-mini-skirt-6463/ Figure 13: https://reprobatepress.com/2019/04/21/youthquake-mary-quant-at-the-va/ Figure 14: https://groovyhistory.com/how-the-invention-of-the-mini-skirt-shook-up-the1960s Figure 15: https://www.pinterest.co.uk/pin/414823815647272093/ Figure 16: https://www.standard.co.uk/lifestyle/london-life/26-amazing-photos-of-carnabystreet-in-the-swinging-sixties-and-seventies-a3263291.html Figure 17: https://www.elle.com/fashion/g32602452/60s-fashion-trends/?slide=5 Figure 18: https://www.listal.com/viewimage/2704550
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Figure 19: https://www.dailymail.co.uk/news/article-8725419/Designer-restaurateur-Sir-TerenceConran-dies-peacefully-home-aged-88.html Figure 20: https://www.indesignlive.com/the-peeps/convo-sir-terence-conran Figure 21: http://www.voicesofeastanglia.com/2012/07/the-home-book-by-terence-conran-1982. html Figure 22: https://byronsmuse.wordpress.com/2014/01/10/1960s-swinging-london-fashion/ Figure 23: https://www.vintag.es/2019/04/1960s-female-fashion.html Figure 24: https://www.motelrocks.com/products/kinnie-skirt-white-daisy-embro
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