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Fashions of a

DecadeThe1960s

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Fashions of aDecade

The

1960sYvonne Connikie

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The 1960s_Text.p4-ok.pdf 2007-11-10 1:15:58

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Contents

Introduction 6

1 Cocktails and Beehives 28

2 The Beatnik Generation 32

3 The Beatles: Pop Goes Fashion 36

4 Motown, Mods and Minis 40

5 The Space Age 44

6 The Ethnic Look 48

7 Psychedelic Explosion 52

8 Flower Power Goes High Fashion 56

Chronology 60

Glossary 62

Further Reading 63

Acknowledgments 63

Index 64

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The 60sThe 1960s were a great time to be young. Youth culture and youth fashions,which had begun to take shape in the fifties, blossomed as never before. Youngpeople in the West were benefiting from the postwar industrial boom and hadbegun to refashion themselves accordingly. The existing fashion business wasn’talways able or willing to deal with this shift in demand, so the youth marketwould largely belong to a new generation of designers. Fashion split the agegroups.

Extra cash in young people’s pockets meant extra freedom—freedom forthe imagination, freedom for creative and provocative ideas. The world wasbecoming a smaller place as people began to take the idea of the global villagefor granted. The new freedom of youth made itself felt on both sides of theAtlantic, and it also began to make ripples farther afield—in Japan, Africa, andEastern Europe.

Pop StarsPop music also went through enormous changes—people even began to take itseriously as an art form. The charts were virtually taken over by young, eventeenage artists, who were making the music young listeners most wanted tohear. Biggest of all were the Beatles, four young men from Liverpool, England,who had begun by playing to packed nightclubs in England and Germany beforestorming the world stage in 1963. The Beatles’ clothes and hairstyles becamethe most familiar symbols of the new youth culture.

Although the Beatles were the most popular group, they were stronglychallenged as spokesmen for youth by two other figures: singer-songwriter BobDylan and Mick Jagger of the Rolling Stones. Both Dylan and the Stones optedfor a rebellious look, wearing outfits that recalled the outlaws of western organgster movies—and in fact, both Dylan and Jagger have acted in such films.They gave form to Yves Saint Laurent’s remark that “clothes were a form ofprotest,” and both acquired a host of imitators.

In the mid-sixties, Motown, a record company under African Americanownership, began to take a dominant share of the singles charts. Motownlaunched the careers of megastars like Diana Ross, Smokey Robinson, MichaelJackson, and Stevie Wonder. Instead of taking a rebellious stance, Motownpromoted a smart, stylish, and upwardly mobile image, insisting on extensivegrooming and styling for its artists before public appearances. The alliance offashion with pop music has never been closer.

All these artists created their own distinctive styles of dress. Dylandeveloped from beatnik to hippie to suede-jacketed country rocker. The Beatlesmoved from chic Pierre Cardin suits to the spaced-out military uniforms of theSgt. Pepper period. The Rolling Stones posed as threatening, deliberatelyunkempt delinquents. Motown girl groups like the Supremes dressed themselves

Rock StarsRock stars in the 1960s gained animportance that went well beyond theaudience for their music. Performers likeBob Dylan, Mick Jagger, Janis Joplin, andJimi Hendrix were seen as speaking onbehalf of the younger generation—bothby young people themselves and by themedia, who sought out their views on anyand every issue. Often the starsthemselves were annoyed by thepressures they felt were being placed onthem—"I’m not the leader of noorganization" commented an angry Dylan.Jagger and Hendrix, among others, spenttime behind bars on drug charges, andboth were considered to have receivedharsher treatment from the courtsbecause, as figures in the public eye, itwas thought to be worth making anexample of them.

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up in gloves, satins, and feather boas; male groups like the Temptations and theFour Tops went for color-coordinated suits. Everything these artists wereexpressing about their music and attitudes could be understood at a glancethrough their clothes. And the freedom that fashion allowed meant that everyonecould dress up. All young people, in fact, could think of themselves asperformers and “do their own thing.”

Out of the Fifties But the sixties had begun in a very different mood. The year 1960 seemed notso different from 1959, and the atmosphere of the late fifties lingered on untilthe explosion of new energy around 1963. To understand this period, we need tolook at what had gone before.

Fifties fashion had been dominated by two strands that completely failedto connect—the styles of the great haute couture fashion houses and thesudden emergence of the teenager and teenage fashions. The fifties were in

b Bob Dylan, the James Dean of hisgeneration, in fringed cowboy jacket and jeans,somewhere between hippie androck star.

mThe Supremes, immaculately dressed infurs, arrive at London airport in 1965. Onstage or off, they were never anything lessthan elegant.

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8many ways also the heyday of the great Paris fashion houses like Dior, Givenchy,Lanvin, and Balenciaga. They continued to dictate new styles of fashion seasonby season. Tailoring and finishing were carried out to the very highest standards,as was the case with their fashion rivals in New York, London, and Rome. Amore youthful approach was being taken by the young French designer YvesSaint Laurent, who began designing under his own label in 1962. Although SaintLaurent’s ideas might have been radical and new, he was seen at first as simplythe latest in a long line of Paris masters of cut and style. And in the fifties, highfashion remained largely the preserve of the wealthy, making relatively littleimpact on the dress of the average office worker.

mThe movie version of West Side Story,hitting the screen in 1961, was a timelyreminder that teenage street violence andracial tensions were still high on theagenda.

b Bare feet, “Sloppy Joe” sweater, tightpants, and outrageous behavior—in 1960, itcould only spell beatnik.

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Poles apart from all this were the youth cults that sprang up, oftenconsidered as dangerous breeding grounds for juvenile delinquency. Americanteenage style and its dangers were reflected in the hit movie West Side Story.Standing apart from this were the beatniks, who jumped to prominence in thelate fifties, particularly in California and New York. The beat culture was primarilya movement of writers, with Jack Kerouac, Allen Ginsberg, and LawrenceFerlinghetti some of its leading lights. Certain styles of dress (and a leaningtoward hard-bop jazz) were a fixed part of the beatnik attitude: handmadesandals, black turtleneck sweaters, black berets, and tight black pants. Thebeatniks’ “outsider” or bohemian attitudes, mixing up popular culture with “highart,” were a foretaste of what the sixties would offer. The beatniks themselvesspilled over into the new decade—in fact, the beatnik philosophy has neverreally gone away.

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m The Rolling Stones, looking cool butrebellious at the Mod Ball in 1964.

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The couture look for the start of thedecade can be seen in Dior’s wovenstraw hat, black stiletto heels, blackbeads, and gauntlet gloves. The formalityof the model’s pose matches therestrained elegance of the setting.

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cWas this the most exclusive suit of all? AsBuzz Aldrin takes his historic moonwalk onJuly 20 1969, Neil Armstrong and the lunarmodule can be seen reflected in his facemask.

cAnd this was how they did it in the movies.The Stanley Kubrick and Arthur C. Clarkesci-fi vision 2001: A Space Odyssey pre-dated Aldrin’s real-life adventure by a year.

Space RaceIn the early sixties, the Soviet Union seemed to be well ahead of the United States inthe race to space. In 1961, Soviet cosmonaut Yuri Gagarin completed one orbit ofthe earth in the spacecraft Vostok 1. President Kennedy declared publicly that theUnited States would catch up, and in 1962, John Glenn became the first USastronaut to orbit the earth, as part of the Mercury space program. The UnitedStates followed up the Mercury flights with the two-man Gemini spacecraft andfinally the three-man Apollo project. Apollo 8’s flight during Christmas 1968 placedmen for the first time in orbit around the moon—by far the most spectacularspaceflight to date. This feat was surpassed in July 1969, when Apollo 11 landedtwo of its crew on the surface of the moon, fulfilling Kennedy’s pledge of a mannedmoon landing before the end of the decade. By contrast, the Soviet space programseemed to have lost its way after its early successes, which had included the first"space walk," by Aleksei Leonov in 1965.

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Mod CultThe new decade had begun to show its true face by 1963. This was the year ofworldwide Beatlemania, and it was also the year that the mod cult—short for“moderns”—erupted in Britain. Mods personified the early years of the SwingingSixties—youth, mobility (mods lived by their motor scooters), fashion (theyspared no expense on their clothes), and an intense interest in soul and R & B,particularly Booker T. and Wilson Pickett. But by 1964 a series of pitched battlesat British seaside resorts between groups of mods and rival rockers—”greaser”motorcycle gangs—had given mods a bad name. By the mid-sixties, they hadbegun to fade out.

Science and TechnologyThe "affluent society" of the West meant that more and more technological gadgetsbecame commonplace during the sixties: color television, hi-fi record players, bettercars, and more sophisticated washing machines. Cheaper jet air travel led to anenormous boom in tourism. Giant strides were being made in computer technology,bringing the first desktop computers in sight, and also in medicine, with the firstheart transplant operations being performed. Scientific progress seemed to beunstoppable: anything seemed possible in the years ahead.

.The typical American family at home infront of the TV. Although color broadcastsbegan in 1954, there were far fewerchannels than we have today.

mIt was a weekend tradition that largegroups of mods, dressed in sharp suits,narrow ties, and "parka" anoraks, and ridingshiny chrome-trimmed scooters, wouldinvade the popular British seaside resort of Brighton.

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13Quant CultWhat didn’t fade away was the mod enthusiasm for young, stylish fashions. The boy on the motor scooter was replaced by the girl in her miniskirt—afashion breakthrough that was to maintain its importance until the end of thedecade. The term “youth-quake” was widely heard. One of the first designers totake advantage of this rapidly changing atmosphere was Mary Quant..Twiggy, undeniably the face of the sixties.

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mDiana Rigg as hard-hitting agent EmmaPeel in the cult series The Avengers. Heroutrageous outfits—especially the high,“kinky” boots—quickly became mainstreetfashion spin-offs.

m PVC (polyvinyl chloride), in its soft form, was a favorite of the mid-sixties fashion industry.Raincoats in bright primary colors or bold checks, paired with sou’wester hats, were a jauntyresponse to the weather.

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Quant had been designing andmanufacturing her own clothes sincethe late fifties, but the young, funfashions she designed began to takeoff in the atmosphere of the earlysixties. Her high point wasundoubtedly the launch of theminiskirt—a fashionable skirt that roseeight or nine inches above the knee

and stayed there, at least until the arrival of maxi and midi lengths in 1969–70.Like Saint Laurent, Quant moved away from the traditional role of the fashiondesigner, producing her own collection of tights with open-mesh designs andoriginal lace effects and starting her own range of cosmetics. Tights (in place of

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mYoung fashions from Rive Gauche in 1967.

Changing Times forWomen?The postwar era of the late forties andfifties had seen most women in theWest still tied—or returning after warwork—to the roles of wife andmother, although the new availabilityof domestic gadgets did make theseroles less physically demanding thanbefore. But the turbulent socialatmosphere of the sixties led to abelief that anything was possible—even a complete revolution in therelationships between men andwomen. Easily available and reliablecontraception offered women fargreater control over their personalrelationships. By the end of thedecade, however, women had madeonly modest progress in terms ofrepresentation in politics, business, orthe professions. Indeed, many of thefashions and values of the sixtiestended to push young women into avulnerable or passive "dumb blonde"role. A pretty girl in a miniskirt wasn’texpected to say anything intelligent.

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stockings) were essential with the miniskirt and, along with the softer, wirelessbra, pointed the way for women’s underwear.

Mary Quant was also closely involved with the sixties revolution inshopping habits. From the mid-decade on, Europe and North America began tofill up with boutiques—small clothing shops aimed at the teenage customer anddepending on a rapid turnover of stock. Shopping for clothes became fun. MaryQuant’s Bazaar chain in the United Kingdom, which opened in the late fifties,was described by Quant herself as “a kind of permanently running cocktailparty.” Yves Saint Laurent was on the same wavelength: his boutique chain RiveGauche, which opened in 1966, quickly expanded to 160 branches worldwide.Other designers soon followed suit.

Beach Boys (and Girls Too)The Swinging Sixties/space-age mood caught on fast in the United States. BetseyJohnson attracted attention with her gangster-stripe pantsuits and clear-vinyldress with paste-on-yourself stars, while Rudi Gernreich covered all the basesfirst by producing the world’s first topless swimsuit and then by pairing a strappybathing suit with thigh-high boots and a space-visor. Few actually went topless,but swimwear and the bikini in particular became briefer than ever. Established

17cYves Saint Laurent’s new Rive Gaucheboutique on the Champs-Elysées.

b “It is given to a fortunate few to be bornat the right time, in the right place, with theright talents. In recent fashion there arethree: Chanel, Dior, and Mary Quant[pictured].” Ernestine Carter, in London’sSunday Times.

mMany of the new, young British designerswere fresh out of college and started outworking in surprisingly small quartersbefore their businesses took off. Here MaryQuant pins a new design on her model.

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designers Geoffrey Beene and Anne Fogarty also used the miniskirt to theiradvantage, Beene teaming up short skirts with long jackets and Fogartyintroducing her “mini-culottes.”

Mods were never much in evidence in the United States: Americanyouth had been enjoying the cult of the automobile since the fifties. The earlysixties music of the Beach Boys and others tended to put cars first and girlssecond, as suggested by the Beach Boys’ song “Little Deuce Coupe.” Surf musicfavored an easy, casual dressing style suitable for California sunshine, and short-sleeved, open-neck striped shirts were the favorite attire of the Beach Boysthemselves, along with carefully waved hair. The flavor of this period is perfectlycaptured by the costumes and sound track of the 1973 film American Graffiti,which reflects a teenager’s need to leave behind his comfortable small-town lifefor the bigger world outside.

b A polka-dot dress from Betsey Johnson,one of the first American designers toabsorb the Swinging Sixties style.

Violent SocietiesDespite all the talk of peace and love,the world of the sixties seemed to beas violent as ever. Full-scale warsraged in Southeast Asia, in the MiddleEast, and on the Indian subcontinent.Soviet tanks entered Czechoslovakiato crush Prime Minister Dubcek’sliberalizing government. British troopswere on the streets of Northern Irelandfrom August 1969. Riots flared up inLos Angeles, Chicago, Paris, andBerlin. Other people pointed toincreasing crime and lawlessness:Richard Nixon found the law-and-order ticket useful in gaining entry tothe White House. Assassinations alsomade the headlines. The mostprominent public figures to be gunneddown were John F. Kennedy, RobertKennedy, and Dr. Martin Luther King,Jr. Street crime began to be discussedas a serious problem in some of theworld’s major cities. The future mighthave arrived, but it didn’t seem to bea peaceful one.

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mAmerican Graffiti, directed by GeorgeLucas (1973), brilliantly re-created theatmosphere of 1960s small-town America.

cThe Beach Boys’ clean-cut, casual imageperfectly matched their bright, accessibleclose-harmony songs, focusing on sun,sand, and surfing.

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Peace and WarFor many small-town American youths, however, the bigger world outside foundthem—in the shape of the draft and a year of duty in Vietnam. The average ageof the American soldiers killed in Vietnam was just nineteen, a statistic that helpsexplain the increasingly political nature of American youth culture from the mid-sixties on. Musicians like folk singers Joan Baez and Pete Seeger spoke outpublicly against the war, and warned of even worse catastrophe should anythinglike the Cuban missile crisis—when the United States and the Soviet Union werein direct confrontation—be repeated in Southeast Asia. While students

Cold War?The Cold War between the US andUSSR. nearly became "hot" in 1962,when presidents Kennedy andKhrushchev clashed over theplacement of Soviet nuclear missilesin Cuba, just ninety miles off theFlorida coastline. With the twocountries sliding towards the brink ofwar, Khrushchev backed down andagreed to remove the missiles. TheCuban Crisis also marked the end ofKhrushchev’s political career. A new,more cautious regime in Moscow,headed by Prime Minister AlexseiKosygin and Party Chairman LeonidBrezhnev, seemed content to watchand wait as the US entangled itselfever more deeply in the Vietnam War.Both superpowers, however, watchedthe unfolding of China’s CulturalRevolution with alarm: a new andunpredictable superpower suitedneither of them. And while neither theUS nor USSR wanted war with eachother, both continued throughout thedecade to stockpile ever morepowerful nuclear weapons.

b Culottes for spring 1967, from the Relangcollection. Although they were much favoredby designers at this time, culottes neverrivaled the popularity of the miniskirt.

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m The Reverend Martin Luther King Jr.,assassinated in 1968, led the civil rightsmovement throughout the sixties. At hugeoutdoor gatherings, he held thousands ofAfrican-Americans spellbound by hisimpassioned rhetoric.

VietnamIn the fifties, fighting in Vietnam—then known as "French Indo-China"—hadinvolved French troops and the Vietcong nationalist forces. A cease-fire had dividedthe country in two. In the early sixties, the United States was drawn into renewedfighting on the side of the non-Communist south, with President Kennedy makingthe initial decision to send in troops. By the mid-sixties the United States founditself heavily committed to a costly war that was unpopular both at home andabroad. Indeed, Kennedy’s successor, Lyndon Johnson, lost so much support becauseof his commitment to the war that he elected not to run for office a second time in1968. The Vietnam War was the cause of sharp divisions and unrest in Americansociety, and it provided a strong political focus to many young people. The war wasa particularly bitter experience for many African-Americans, with leaders likeEldridge Cleaver and Huey Newton pointing to the contradiction of African-Americans being sent to defend democracy in Southeast Asia while their battle forcivil rights was not yet won at home.

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demonstrated against the war and the draft, other Americans were horrified bythe live images of fighting brought into their homes for the first time by television.By the end of the decade, US forces were beginning to pull out of Vietnam.

Hippie PowerThe hippie ideals of peace and love have often been ridiculed in the years sincethe sixties, but it is worth remembering that the movement grew up against abackdrop of compulsory military service, at least in the United States, where thehippie movement had its roots. Hippiedom was worldwide, and all you had to doto join was to let your hair grow. Although members of what was at bottom a

b Muhammad Ali, world heavyweight boxingchampion and perhaps the sixties’ mostfamous Black Muslim. Ali refused theVietnam draft and was later stripped of hisworld title.

m Joan Baez was one of the foremostprotest singers, appearing at studentmeetings all over the country as well asmaking records

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political and moral movement rejecting Western materialism and its moneyhungry “rat race,” hippies set the tone for much of the fashion of the late sixties.They set the seal on the “anything goes” attitude, which had been building inforce for some time, happily mixing up ethnic and psychedelic influences. Infact, the hippies had such a widespread impact that by the early seventies, longhair and ethnic wear had become just another way of dressing up, with little orno political significance attached.

Hippie dress fitted in with the new “peacock” attitude to male dress,considered suitable for a society moving toward greater equality between thesexes. Men either dressed up as a form of self-expression or to attract women,

mDemonstrations against the Vietnam Warspread throughout Europe. Many, like thisone held in London in 1968, beganpeacefully but ended in violence.

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just as women had always dressed upto attract men. The declining infantmortality rate meant that for the firsttime in history, there were more menthan women to go around. Menneeded to compete with one anotherto gain attention, while women weretaking advantage of the chance todress more simply, in practicalpantsuits—and especially jeans. “Youcan’t tell the boys from the girls thesedays” was a frequent complaint.“Unisex” dressing was the style:young hippie men and women woretheir hair long, with headbands, anddressed in worn-out jeans. Anything,in fact, that was not “neat.”

A Shrinking WorldAnother by-product of hippie culturewas the general acceptance of variedstyles of “ethnic” dress, although theprime movers in this area were blackmusicians and the Black Powerorganizations. African-American pop

b In 1968, rioting students tore Paris apart.The baton-swinging security police, seenhere clearing the Boulevard Saint Michel,showed little sympathy with their demands.

. Sly and the Family Stone’s afro hairstyleswere as startling as the unprecedentedfunkiness of their music, which pointed theway forward to the dance music of theseventies and eighties.

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c A vaguely oriental ethnic look combineswith the space-age influence in this 1967Vancetti pantsuit. Note the textured, quilted-look fabric and the wildly experimentalhairstyling.

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26stars in particular began to drop the carefully groomed Caucasian style and allowthemselves to project a much stronger black image: Sly and the Family Stoneand Isaac Hayes are good examples. Established artists like Martha and theVandellas altered their image, while hard-core soul artists like James Brownbegan to attract a mainstream following. As the black ethnic look became morepopular, “afro” hairstyles spread as far afield as Japan.

The ethnic mood was also fueled by cheaper and more ambitious travel,with exotic places like Bali and Nepal suddenly becoming realistic destinations.The focus of fashion was beginning to extend beyond Europe and NorthAmerica. The world might be getting smaller, but the fashion map was becomingmore diverse all the time.

A False ImpressionAs the decade ended, American, French, and Italian designers—especiallyPucci, Vancetti, and Saint Laurent—were at the forefront of those seeking totransform street fashions into designer collections. Bonnie Cashin’s work hadused ethnic garments like the poncho as early as the late fifties, followed byBetsey Johnson, with her cowhide minidresses. The Italian designer Fioruccibegan establishing his own personal niche halfway between boutique fashionand the designer label.

Nevertheless, by the end of the sixties, it was clear that fashion had notchanged as completely as many had believed. Some landmarks had gone,including Balenciaga, the last of the great “pure” couturiers, who retired in1968. But many of the old-guard fashion elite were still around, and big nameslike Chanel continued on their established course almost as if the SwingingSixties had never happened. The French had hardly taken a back-seat duringthe decade, with Courrèges and Cardin cashing in on both the space-age andOp Art fever and keeping only half a step behind the London designers inpromoting the miniskirt. Paris might have been eclipsed in the sixties, but thecity was set to make a big comeback in the seventies and eighties.

The Apollo 11 moon landing in 1969 gave a timely end-of-decade boostto all things space age, but the end of the sixties saw the first signs of a newconservatism, both in fashion and in society. Richard Nixon was electedpresident in 1968, promising to speak on behalf of the “silent majority.” Franceturned away from radical politics after the student uprisings of 1968, whileBritain elected a new Conservative government in 1970. And just as the 1960shad seen fashion reach forward into the future, rushing to embrace new orexotic ideas, the seventies were to be gripped by a very different mood: anostalgic yearning for the past.

WoodstockIt began as the 1969 Woodstock FreeFestival of Art and Music, and it ended asthe biggest event of its kind the worldhad ever seen, with crowds estimated athalf a million. A movie and two doublealbums attempted to package theatmosphere of an event in which JimiHendrix, Sly and the Family Stone, TheWho, Santana, Janis Joplin, and manyothers performed. The event becamebigger than the music and turned into asymbol of everything connected withhippies, flower children, and the "lovegeneration." An attempt to repeat thesuccess of Woodstock on the West Coastat Altamont later in 1969 ended indisaster when a spectator tried to fire ashot at Mick Jagger while the RollingStones were performing on stage. Theman was killed by members of a Hell’sAngels motorcycle gang, which the Stoneshad hired as a security force.

cAugust 1969. The Woodstock festival, inupstate New York, was the place to be thatsummer: camping out under the stars at thebiggest rock concert ever conceived. Whatthe festival planners hadn’t anticipated was500,000 people.

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Cocktails and BeehivesWe’ll Always Have ParisJohn F. Kennedy became president in January 1960, and his fashionable andglamorous wife, Jackie, became the new first lady. Much younger than theirpredecessors, the Kennedys were seen by many as signs of a new hope andoptimism for the new decade.

Jackie Kennedy became a prominent style-setter for the latest Frenchfashions. Yves Saint Laurent opened his own fashion house in 1962 and quicklyenhanced his reputation as the most innovative and brilliant of the youngerdesigners. Coco Chanel, fifty years into her career, maintained her reputation forshunning all extremes, although she did promote a shorter-length lacy cocktaildress and went along with the trend for leaner, narrower cuts.

Still going strong from the fifties was the “bouffant” look, with skirtssupported by underlayers of stiff petticoats. This style was developed into the“suspense-jupe,” with the ballooning fullness of the skirt constricted at the knee.

mAnother Christian Dior cocktail/eveninglook for 1962. There is a touch of the"suspense-jupe" in the cut of the skirt,which is gathered tightly at the waist andtapers to the hem.

b First lady Jackie Kennedy, wearing one ofher famous pillbox hats and a wool bouclésuit. Her charm and chic sophisticationconquered world leaders and charmeddiplomats wherever she and the presidentwent.

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For some years, it had beenfashionable to pull the hair back offthe face. Suddenly, hair came alivewith back combing (teasing) and thearrival of the “beehive,” a fuller shapekept in place with plenty of hair spray.Women enjoyed the new freedom,wearing their hair loose, or piled ontop of the head in a bun. Those withshort hair achieved the same effectwith hair pieces.

Move Over, DarlingMen’s styles at this time were stronglyinfluenced by Italian designers.Formality was still the keynote, evenfor leisure wear. Suits were singlebreasted, featuring short jackets withnarrow lapels, worn over narrow-collar

shirts and slim ties. Pants were narrower, especially for the young andfashionable, with the tapering effect finished off with pointed “winkle-picker”shoes. Longer hair for men was beginning to replace the short back and sides

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mThis 1960 cocktail dress, Italian style, looks like the last gasp of fifties fashion. Note alsothe overall formality, seen in the model, the setting, and the spectators alongside thecatwalk.

m Girl-next-door Doris Day maintained herown brand of sophistication offscreen.

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30but was still firmly slicked back with oil andgel. As facial hair became more acceptable,men of all ages grew lavish mustaches andbeards, and many let their sideburns growfuller and longer.

Many teenage girls, especially inEurope, were still wearing clothes almostidentical to their mothers’. The big revolutionin teenage fashion still lay in the future. Manycopied the look projected by Hollywood starDoris Day, a pretty, feminine image thatappealed to women of all ages. Doris Daycombined a girl-next-door appearance with aglamorous and stylish movie-star image, andin movies like The Thrill of It All and MoveOver, Darling, she became the biggest boxoffice draw of the period. The music and styleof these films is often used to re-create theatmosphere of the early sixties.

Let’s Twist Again!Elsewhere, music still rocked and rolled, andcouples jived and danced the latest crazeslike the Mashed Potato or the Twist. Youneeded to know the right steps, which were

mCustom-made tailoring for men remained a strong tradition, but styling wentthrough rapid change. This 1964 suit by Hector Powe would look good on sixtiesfictional heroes like James Bond or Napoleon Solo from The Man from U.N.C.L.E.Typical details include draped shoulders, wide lapels, button-down collar, andcrocodile zip boots.

mTop girl group the Ronettes pose in all-blue formaloutfits and carefully back-combed beehivehairstyles.

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31all mapped out in magazines, ready to be copied on Saturday night. And ifcouples weren’t twisting to Chubby Checker, they might well be smooching toballads by Gene Pitney, Helen Shapiro, or even former rocker Elvis Presley, whoreturned from army service with a new, clean-cut image and romantic songs like“It’s Now or Never,” a reworking of the Italian ballad “O sole mio.”

The sixties looked set to continue very much in the vein of the previousdecade: new faces, new fashions, but little change in the underlying mood. But no one writing in, say, 1960 could have foreseen the enormous changes and reversals that lay in the years ahead.

c A wool day wear suit by Dior, from 1963.Blouse and jacket feature a typically wide,rounded collar line, and the outfit iscompleted by the still-obligatory hat andgloves.

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The Beatnik GenerationLeft Bank ParisUnder their calm and conservative surface, the fifties had been a period ofenormous change for artists and designers. By the end of the decade, some ofthis energy was beginning to show itself in the changing moods of jazz, cinema,and fashion.

In the Saint Germain quarter of Paris, the Left Bank movement hademerged as long ago as the forties, led by a group of writers and artists who triedto live their daily lives according to their radical new ideas, challengingestablished values and conventions. Philosopher Jean-Paul Sartre and feministSimone de Beauvoir were at the center of a circle that attracted a wider group of“bohemians,” including film directors François Truffaut and Roger Vadim andjazz singer Juliette Greco.

Juliette Greco was a Left Bank fashion symbol, whether dressed in slacksand black beret or her black Balmain evening dress. The bohemians of SaintGermain gathered together to see Greco and visiting American jazz stars atnotorious nightclubs like Le Tabou and Le Rose Rouge—notorious, that is, tonon-bohemians. Another Left Bank style model was Brigitte Bardot, dressed in atight-fitting black-and-white T-shirt or pouting from behind a tangle of curls.

mThe jacket for Donald Byrd’s Byrd in Handalbum, released in 1959 but selling well intothe next decade, shows the trumpeter intypical jazz-man’s casual turtleneck.

cJuliette Greco, jazz heroine of the ParisLeft Bank, caught in a self-reflective pose.

.A typical beatnik house in Liverpool in1960: perhaps not that different from theaverage student room.

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34San Francisco, Heart of the BeatsFar away in California, something similar had been going on, taking its cue fromyoung, experimental writers like Jack Kerouac and Allen Ginsberg. Their style ofwriting was fast and spontaneous. Kerouac described his books On the Road(1957) and The Subterraneans (1958) as having been “written on the run,”while beat poet Ginsberg believed in live performances to “capture anaudience.”

Beatniks were “hip,” “cool,” and “groovy” and considered themselves inrebellion against the “square” world of the establishment. “Hip” could beanything from be-bop jazz to Buddhism to just walking in a particular way,defined as “a catlike walk from the hips.” “Hip” also meant turning away fromthe dress and even the speech of the white middle class toward the music andculture of black America.

Paris and San Francisco remained the twin centers of the beatnikuniverse, but groups of beatniks or beatnik imitators sprang up in towns acrossthe world. The beat style included black berets, black slacks, and dark glasses.Flat shoes for women and sandals for men were the popular footwear. Beatnikgirls were recognizable by their all-black outfits and lavish use of elaborate eyemakeup. Black skirts, black leotard tops, and black tights were the beat girl’sfashion choice, although wearing the clothes was as close as some would get tothe beatnik way of life.

Playing It CoolThe beatnik message was, “Be cool.”This meant a completely newapproach to fashion, and the “right”thing to wear definitely wasn’tsomething from an expensive fashionhouse. “Being cool” meant being inthe know—a very attractive idea forthose with limited money to spend.The beatniks’ biggest impact onfashion was in this new way ofthinking about clothes. As the sixtiesunfolded, some beatnik attitudesworked their way into the heart of thefashion industry through the boutiqueand flower power or psychedelicrevolutions. These later and muchmore startling styles of dress were tomake the once outrageous beatniksseem almost respectable.

cA meeting of giants: Bob Dylan with beatpoets Michael McLure and Allen Ginsberg.

mBrigitte Bardot: with her smolderingteenage sexuality she was, for Americans inparticular, the romance of the Paris LeftBank personified.

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35cA slightly more refined beatnik look forthe uptown girl, with tapered pants andoversized shirt.

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36The Beatles: Pop GoesFashionThe Mersey SoundLike all port cities, the Beatles’ home town of Liverpool, at the mouth of theMersey River, had its fair share of visitors, including American seamen, whobrought the latest soul and R & B records from the United States. Theseinfluences combined with the home-grown “Mersey” sound to produce a musicsensation that swept the world in 1963 and lasted for the rest of the decade. Atone point, the Beatles held the top four positions in the U.S. singles charts. Thiswas the beginning of the “British Invasion,” as groups like the Rolling Stones,the Kinks, Manfred Mann, Herman’s Hermits, and The Who quickly followed theBeatles’ breakthrough. Successful though these bands were, they couldn’tmatch the popularity of the Beatles, whose concerts could barely be heardabove the screams and cries of hysterical girls.

.The Beatles in their Pierre Cardin suits.This was the look that inspired arevolution—a single-breasted collarlessjacket with flapless pockets and pants cutlean, short, and without cuffs. Zip ankleboots and—for 1963—dangerously longhair complete the effect.

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Pop Goes Fashion: Fashion Goes PopThe Beatles took care to keep themselves in the forefront of men’s fashion. Aswith their music, they knew how to move on, changing their style and appealwith each successive record release. Initially, they dressed like typical youngmen of the sixties, in narrow black trousers and narrow-lapel jackets, and theyhad cropped hair. But by the time of their breakthrough in 1963, they hadadopted the distinctive collarless Cardin suits and collar-length hair that servedto make them so instantly recognizable. As the sixties progressed, the Beatlesmoved on to the psychedelic outfits seen on the jacket of the Sgt. Pepper album(1967), ending the decade in the casual hippie look seen on the jacket of AbbeyRoad (1969).

The Beatles also began to attract attention from “serious” music critics.Other musicians who received similar attention included Bob Dylan, Joan Baezand the Rolling Stones. The narrowing of the gap between classical (“serious”)

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mThe effect of this mid-sixties Op Art outfit,with its huge hat and hood, must have beendazzling. Black and white were the simplestand most popular combination of thedecade.

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music and pop was mirrored by some of the changes hitting the world offashion. As artists like Peter Blake, Richard Hamilton, and Andy Warhol weredesigning record jackets, Paris designers began to concentrate on their lesscostly ready-to-wear collections. Images from modern art began to appear oneverything from dresses to grocery packaging. Fashion was part of an excitingrevolution embracing all the arts.

Pop, Op and BeyondOp Art and Pop Art were quite different, although equally popular. The Pop Artmovement had begun in the fifties, spearheaded by artists like RobertRauschenberg, Andy Warhol, and Peter Blake. The key was the use of mass-produced, commercial images—from cartoon strips or Warhol’s famous soupcan—often repeated or enlarged to focus attention on their “deeper” meaning.Pop Art became part and parcel of fashion, its influence continuing oneverything from T-shirts to Fiorucci dresses.

Op Art was a separate movement. Painters like Victor Vasarely and BridgetRiley set out to explore and exploit the dramatic, trick-optic effects of line and

m One of Helmut Newton’s Pop Art/Op Artfashion shots for Queen magazine, Spring1966. A new generation of fashionphotographers was reshaping the ways inwhich fashion was presented to the public.

m A group put together especially for theirown TV series, The Monkees were theAmerican answer to the Beatles. Here theyare shown wearing their "uniform" ofdouble-breasted, wine-red shirts, grayslacks, and wide black leather belts.

b Emanuel Ungaro, a relative newcomer toParis fashion, proved himself the master ofbright, conflicting colors, as this day dressand jacket in striped wool gabardine show.

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contrasting areas of color. Designerslike Courrèges and Ungaro producedgarments heavily influenced by Op Art,while chain stores cashed in on thebold “black-and-white” theme withboots, coats and hats, usually made invinyl or other artificial fabrics. BridgetRiley’s Op Art paintings were used as abasis for a series of textile designs byJulian Tomchin.

The public, however, cheerfullymixed up Op and Pop—to theconsiderable annoyance of those whohad started the movements. Bothbecame just one more set of ideas tobe used in the “anything goes”atmosphere of the mid-sixties.

39bThis 1965 suit by Paris designerCourrèges is heavily influenced by Op Art inits dramatic use of checks. The trademarkwhite boots not only complete the look buteasily identify the designer.

m This 1966 Young Jaeger outfit of black-and-white mini dress, clear PVC coat, andboots typifies the mid to late 1960s,combining the influence of Op and Pop artwith a hint of space age travel. The visoredhelmet was a little extreme for daily wear,however, even in the sixties.

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Motown, Mods and MinisMotown CallingThe early sixties saw the Western world enjoying the benefits of the postwarindustrial boom. Teenagers had few problems finding well-paid work. Theteenage revolution had been a subject of conversation in the fifties, but now itgathered pace. Young people had become big spenders and were a force to bereckoned with in the fashion business.

In Detroit, Smokey Robinson was spearheading the Motown recordcompany and the new Detroit soul sound. Motown artists were slicker, both inmusic and in fashion, than the rhythm-and-blues background from which theyhad emerged. Smokey Robinson and the Miracles, Marvin Gaye, the Supremes,Martha and the Vandellas—all the top Motown acts had an individual style tomatch their fresh musical approach. Motown became known as “the home ofthe hits.” It stood for a new, sophisticated black style that turned its back on themore rough-and-ready image of the city blues performers like Howling Wolf orMuddy Waters.

. Smokey Robinson and the Miracles in1964, looking elegant in ruffled shirtsand pearls. Motown management decreedthat all their performers had to beimmaculately dressed, whether inperformance or off stage.

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The March of the ModsThe Motown sound caught on fast in Britain, where the Beatles were its mostfamous fans, and a new group of teenagers emerged in Britain with a style alltheir own. The mods took their inspiration from the beatniks and also studiedAmerican college fashion for fresh ideas. The results were turtlenecks andbrightly colored shirts and ties or, for a more relaxed look, boxy blazers andnarrow pants. Mods also favored mohair suits (as worn by the Motown artists)and liked to cover these with a green parka or anorak when out on their Vespaor Lambretta motor scooters, on which they rode around in packs. The Beatleslooked a little like mods but always denied any connection with the movement.They wanted to appeal to everyone.

By the mid-sixties, youth culture was enjoying a heyday. Fashion wasbeing made by the young for the young. Small high-fashion shops known asboutiques popped up all over North America and Europe, constantly filled withfresh ideas and new styles. The sales assistants were often teenagers as well,happy to help their contemporaries put together a new look.

Mary Quant understood these trends. She and her husband, AlexanderPlunkett-Greene, had been building their design-and-boutique empire since thelate fifties, despite having no formal training in business. Quant thrived in the“do-it-yourself” atmosphere of the time. Her clothes were highly original butinexpensive. Although her fabrics weren’t always the most practical and thestitching was not the best, young girls could afford to buy one of her outfitsalmost every week, and the next week they could move on to something new.

In the United States, Betsey Johnson’s designs were making a similarimpact. Wilder than Quant in some ways, her mid-sixties innovations includedclinging T-shirt dresses, silvery motorcycle suits, and a “noise” dress made ofjersey with loose grommets attached to the hem for built-in sound effects.

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mThe military look was everywhere: a whole generation of young men who had never beenthreatened by the draft were suddenly buying up second-hand uniforms.

mIn 1966, Carnaby Street was at the heartof swinging London, and Lord John’s was oneof its hippest stores.

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42The Mini Makes It BigMary Quant played a key role in launching the miniskirt. As a fashion, the miniwas worn most effectively by the very young. Teamed up with geometric black-and-white Op Art patterns, the mini became an essential part of the developingmod girl image and quickly spread around the world. While some were shockedby skirts cut eight or nine inches above the knee, others saw the mini as a signof greater freedom and relaxation in dress.

Models like Twiggy, Jean Shrimpton, and Penelope Tree became

mThree outfits from 1967 that manage tocombine the rebellious schoolgirl look withthe essential boyishness of the decade.

b The image of the sixties: Twiggy’s boyishlooks and stick-thin figure made her thenumber-one model for the miniskirt.

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mJean Shrimpton, the other face of thesixties, graduated from the famous LucyClayton modeling school in 1960, aged justseventeen. She was nicknamed “TheShrimp.”

personifications of the new look. Wafer thin, with hair hanging loose or croppedshort in the newest Vidal Sassoon cut and youthful, even boyish features, theywere very different from most older models, but they fit in perfectly with the newmood. Mary Quant used “Twiggy” mannequins in her chain of boutiques. Younggirls tried to copy the “Twiggy look,” with huge, heavily made-up eyes, or the“Shrimp look,” copying Jean Shrimpton’s bangs. Everywhere, old ideas aboutfashion were being turned upside down. Youth seemed to be taking overcompletely.

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The Space AgeSpace RaceSpace and space travel had an enormous impact on people’sthinking throughout the sixties. Unmanned space missions toVenus and Mars were expanding our knowledge of the solarsystem, and the USSR and USA were engaged in a race toland the first man on the moon—a race to which theAmerican Apollo 11 mission put a conclusive end on July20, 1969. In the meantime, space travel had become amajor source of inspiration for both the fashion andentertainment industries.

Space StyleBarbarella (1967), starring Jane Fonda, was perhaps the mostfashion conscious of space fantasies. Based on a futuristic comicstrip, the movie featured bizarre and minimalist outfits inplastic and vinyl, particularly for the women—see-through garments, high boots, and catsuits, with orwithout leggings. A watered-down form of this lookremained high fashion for several years after themovie’s release.

TV’s Star Trek and Stanley Kubrick’s film 2001took a more sober view of the future, a moodreflected by the wardrobe department. The outfitsworn by the crews of both the starship Enterpriseand 2001’s Discovery were actually based onsketches and ideas supplied by NASAscientists, but this didn’t stop fansfrom writing in to ask where theycould buy copies of the outfitsfor themselves.

Space-AgeHeroes

Space-age fever caught onat ground level too, with

heroes like Batman andJames Bond fitting the high-

tech mood well. Batman andRobin drove their futuristic Batmobile and dressed infashionable bodysuits, while arch-villain Catwoman (Eartha Kitt)sported a catsuit—which was only natural. Items like Batman’s

b Rudi Gernreich’s collection of see-through blouses from 1965 onwardswas considered very daring. Moremodest variations simply had see-through, chiffon sleeves.

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mPierre Cardin dresses from 1967, withtypically eccentric headgear loosely basedon space helmets.

mThe unruffled and ultra-charismatic James Bond: proof that “cool” was not the monopoly ofthe twenty-somethings.

mSpace-age minis from Courrèges, complete with bobby sox and wigs.

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46cape and utility belt also seemed morefashion accessories than serious crime-fighting equipment.

Classic James Bond films of thesixties included Dr. No, Goldfinger, andYou Only Live Twice, all starring SeanConnery and all placing a strongemphasis on gadgetry, style and humor.Goldfinger, for example, opens with twominutes of organized mayhem, fromwhich James Bond emerges unscathed,with a clean tuxedo beneath his rubberwet suit. Bond’s stylish adoption oftraditional men’s garments—dinnerjacket, tuxedo, bow tie—created animage for the slightly older man thatwas both modern and dashing, yetsuitable for formal occasions.

Space-Age Haute CoutureHowever, it was in Europe rather thanthe USA that the space race made thebiggest high-fashion impact. PacoRabanne, a Spanish-trained architectturned fashion designer, createdstartling new styles that were widelyseen as being “space age” in theirapproach. Instead of using traditionalfabrics, Rabanne used disks cut frommetal or plastic, linked by wire. Metallicor neon colors were another keyelement in his collections.

French designer Pierre Cardinwas one of several others to go thespace-age route in 1967. Cardin’s newstyles were much more comfortable andwearable than Rabanne’s, even if his catsuits worn with helmets and visors didlook like something straight out of the twenty-first century.

Other designers picked up on the “transparent” aspect of the space-agelook, made possible by new synthetic fabrics. Rudi Gernreich, originally knownas a swimwear designer, produced collections of see-through blouses anddresses in 1968, while in the same year, Courrèges showed plastic dresses withpunched holes and Yves Saint Laurent a see-through blouse under a maxi-length coat. The fashion space race was pushing back the boundaries of whatwas considered acceptable to wear on the street.

mBarbarella, starring Jane Fonda (1967),was a hit on a galactic scale. Her spacesuitis considerably more comfortable and moreappealing than astronaut Buzz Aldrin’s, andunlike Aldrin, she’s carrying a weapon. Notethe Buddhist "yin-yang" symbol on her belt.

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c Space-age suits for him and her inCardin’s 1968 autumn/winter show. Gilles’sblack leather coverall with zips and silverstrips closely resembles motorcycling gear,while Therese wears a black felt tunic overa white turtleneck pullover, with long bootsand a black leather helmet.

.X-Men, one of Marvel Comics’ mostpopular titles, was proof that superheroeshad been wearing space-age bodysuits sinceSuperman burst on the scene in 1938.

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The Ethnic LookGo EastBy the later years of the sixties, many young people in the West had begun totake a serious interest in what was happening in the developing world. Chinahad been going through its Cultural Revolution, and many French and Britishcolonies had gained their independence. The “winds of change” were blowingeverywhere. The Vietnam War received worldwide media coverage, and it wasseen by many young people as senseless killing. There were mass demonstrationsagainst the American government, both within the United States and elsewhere.

The culture of the East impressed the young to the extent that manybegan to adopt its religions, particularly Buddhism and the beliefs of the HareKrishna sect—anti-materialist philosophies personified by monks draped inlinen. As travel became cheaper, many young people took time out of study forthe first time to discover India, Afghanistan, or Indonesia first hand, embarkingon the “hippie trail” to the East.

New and Old RootsYoung African Americans were caught up in this mood and began to develop astronger identity for themselves, with the help of black leaders Dr. MartinLuther King, Jr., Malcolm X, and Huey P. Newton. The political leadership ofthese men encouraged African Americans to take more pride in their Africanheritage and to seek to attain a better social standing in a predominantly whitesociety.

.The black berets, shades, and leatherjackets of the Black Panthers, here seenprotesting against the murder trial of theirleader Huey Newton, were much imitated byyoung African Americans.

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Fashionable clothing reflected all these movements, and manydesigns had a heavy ethnic influence. Afghans led to caftans. AfricanAmericans favored the unisex “dashiki,” based on the loose-fitting, vividlycolored and printed African tunic. Transparent silks in bold prints weredraped freely around the body, flaunting their contrast to traditionalWestern cut and shape.

Beaded accessories were on sale in even the most elegant stores.Fringe and tassel dresses, worn with a headband and reminiscent ofnative American dress, were shown at fashion shows and sold inexclusive stores. Youngsters carried brightly colored woven bags importedfrom Morocco and Turkey and wore flat leather sandals, also imported.Ethnic fashion was fanciful and unselfconscious: it left plenty of room forindividual interpretation and did not bother too much about which part ofthe world each piece of exotica might have come from.

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mCardin chose the Far East as his inspiration for this sequined ankle-length silk dress.

cThe ethnic origins of this bead dress are finely complemented by themodel’s "cornrowed" hair, tightly braided into long strips.

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50Fashion for PharaohsCourrèges devised an ethnic look that took its ideas from the ancient Egyptians.Outfits made from heavily sequined bands held together by transparent silksuggested the wrappings of mummified pharaohs, and to finish off the look,Courrèges gave his models squared-off bobbed wigs in metallic colors.

The phrase “black is beautiful” was first coined in 1968, when youngAfrican Americans were developing their own style of revolutionary fashion. Theystopped using chemicals to straighten their natural curls, resulting in the “afro”hairstyle—traditional African hair grown to its maximum length and shaped

b Yves Saint Laurent was certainly underthe influence of Africa when he designedthis collection, as the jewelry and thehairstyles confirm.

. The ever-changing face of Diana Ross: in1968, she was sporting a fashionable afro.

.New Mexico hippies in 1968, wrapped inblankets or ponchos that suggest an originsouth of the border.

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evenly. This was to catch on far andwide, with white contemporariesfrizzing their locks in imitation. Evenyoung Japanese raced to hairdressersto acquire an afro. Some even woreafro wigs in bright colors to join in withthis new, exotic image. The leaders ofthe trend had been African Americanpop and soul stars, with some—likeSylvester Stewart, "Sly" of Sly and theFamily Stone—sporting the mostspectacular hairstyles of all.

Olympic ProtestChe Guevara, the Argentine-bornCuban revolutionary hero, became amodel for thousands of radicalstudents, while many young African-Americans were influenced by themilitary-style clothing and trademarkblack berets of the Black Panthers.When winning athletes stood on thepodium at the 1968 Mexico Olympicsand gave the Panthers’ clenched fistsalute instead of saluting the Starsand Stripes, the popularity of themovement was given a further boost.

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b The photograph of Che Guevara byAlberto Korda became the most famousimage in the world. An international symbolof the struggle for freedom, it appeared onposters and on T-shirts worn by students allover the world.

mAthletes give the Black Power salute in ademonstration at the 1968 Olympic Games.

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Psychedelic ExplosionThe "Underground"Music was the main force behind the psychedelic explosion of the late sixties, aburst of activity in music, fashion, art—and other events and “happenings”—never seen before.

Many of the ideas underlying this movement had first surfaced in SanFrancisco, but the mood of the times was international, and ideas seemed to sweepalong an invisible grapevine—the “underground.” Underground magazines, groupsand festivals sprang up all over America and Europe during 1966 and 1967.

mCream’s Disraeli Gears from 1968 was theultimate in psychedelia.

b Striped pants, waistcoat, T-shirt,“granny” glasses, love-beads, droopymustache, and long hair–almost a uniformfor musicians and their hangers-on in thelate sixties.

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A number ofyoung talents diedtragically at thepinnacle of theircareers,including JanisJoplin, OtisRedding, Jimi Hendrix, andBrian Jones. For the first time,marijuana and hallucinogens like LSD, previouslylimited to a small circle of artists and musicians, were beingmore widely used. It was a time of boundless experimentation in the arts,lifestyle, and fashion—epitomized by Bob Dylan’s album Blonde on Blonde.

cFabric designed by Emilio Pucci in thelate sixties. Sharp, brilliantly glowing "acid"colors became a trademark of Italy’s noteddesigner.

.Jimi Hendrix, psychedelic standard-bearerand probably the best electric guitarist inthe world, died at the height of his fame in 1970.

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Bold as LovePsychedelic music took its inspiration from everywhere—the blues, jazz, rock,electronic music, Indian music and even the classical tradition. One of the era’siconic figures was guitarist and singer Jimi Hendrix.

Hendrix had begun his career as a backup musician for rhythm and bluessingers like Little Richard. He found stardom after he moved to London in 1966,capturing the hearts and minds of London’s underground club circuit. He laterreturned to the United States, causing a sensation at the Monterey Pop Festivalwith his onstage guitar-burning routine.

mOz was one of the most famous of theunderground magazines of the late sixties,featuring psychedelic graphics coupled withthe early writings of Germaine Greer, CliveJames, and others.

b Janis Joplin, one of the troubledcasualties of 1960s free-wheelingpermissiveness, at the Woodstock festivalin 1969.

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Also a trendsetter in his dress, Hendrix’s colorful andexotic shirts and vests, boots, wide-brimmed hats andelaborate jewelry were frequently photographed by fashionmagazines. But many saw Hendrix as a “wild man” and adangerous Pied Piper, whose appearance alone was enoughto start teenagers on a rampage of drugs, long hair, and loudmusic. Hendrix was to die under mysterious circumstancesin 1970.

Janis Joplin, with her own brand of raw energy and astrong, gutsy voice influenced by early blues singers, was thefemale personification of the psychedelic period. Just asoutrageous as Jimi Hendrix in her lifestyle, she seemed on theverge of international stardom at the time of her death in 1970.

Graphic artists like Peter Max also acquired a taste for psychedelia. Therewas a broad turning away from self-conscious minimalism and Op Art towardfantasies that used vivid “acid” colors and cartoon imagery. Posters and, aboveall, album covers reflected this trend.

Sgt. PepperMale dress was becoming increasingly fancy and feminine, with flouncy shirts influorescent colors, brightly printed neck scarves, and beaded belts. The Beatles’costumes on the Sgt. Pepper album jacket (1967) are a classic example ofpsychedelic dress for men—brightly colored old-style military uniforms, in whichthe band posed like flower-power Napoleons. In making even these kinds ofclothes into a psychedelic statement, the Beatles undercut a stronghold ofmasculine conformity. Appearing at the height of the Vietnam War, thesignificance of these freaked-out uniforms would not have been lost on fans.

Fashion designers responded to the psychedelic mood by strengtheningtheir colors. Bright and bold purpleand orange flower prints on velvetfabrics were made into tight-fittingtrousers for men. The trend wascompletely international. Italiandesigner Emilio Pucci gave his clothesboth a richness of color and brilliantpatterns, making use of newly devisedstretch fabrics in his tight-fittingdresses and trousers.

Fiorucci developed an equallyyouthful approach to fashion, usingpop styles to create his own particularbrand of chic. Bright colors andanimal prints on dresses and skirtsremained his hallmark even in theeighties. Psychedelia lives on.

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.Four bright young things of the late sixtieson a country weekend, all printed velvet,embroidery, and floppy scarves.

mThe Beatles meet their cardboard alteregos in a publicity shot for the movie YellowSubmarine (1968), which cleverly packagedthe psychedelic mood for the mass market.Although they began their flower powerphase in these designer outfits, by thefollowing year the Beatles were dressingmore like the average hippie next door.

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56Flower Power Goes HighFashionThe Hippie DreamThe original hippies living in San Francisco in the mid-sixties could not haveimagined that by the end of the decade, their crazy style of dressing would havebecome high fashion. Theirs was an “anti-style,” which rejected the whole workethic of Western society along with its conformist clothing. Hippies had shockedand intrigued with their communal lifestyles, belief in free love, and experimentswith drugs. Tourists flocked to San Francisco’s Haight-Ashbury neighborhood tosee these strange beings in sandals and caftans, handing out flowers as symbolsof peace and love. Others talked of an alternative society and of establishing self-supporting rural communities of like-minded people.

In complete contrast to the clean, geometric lines of the “space-age” look,hippies decorated everything, even painting their bodies. The psychedelic, theethnic, and a romanticized view of the past all jostled together. The hippie

m A happy hippie wedding, 1968.

. Members of Hog Farm Commune, El Rito,New Mexico taking part in the Fourthof July Parade in 1969.

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woman would not wear a teasing miniskirt, but a floor-length skirt accessorizedwith love beads and bells. The hippie man, with flowing robe and long, loosehair, presented much the same outline, challenging society’s ideas aboutmasculinity. “You can’t tell the boys from the girls!” was the outraged response.

But it wasn’t necessary to be a full-time hippie. By 1967—the “Summerof Love”—the fashionable youth of America and Europe had taken up the hippielook, although not always the hippie way of life. In an era of increasing affluence,they could afford to show contempt for money while continuing to work. Hair, the“tribal love-rock musical,” opened on Broadway in April 1968 and then went onto London, proving a smash hit everywhere.

Hair and HemlinesEveryone started to grow their hair long. By 1969, even the well-groomed Twiggywanted hers to her waist. Long hair on boys, however, was often discouraged orbanned in schools. The Beatles continued to grow their hair still longer, and theyadopted not only hippie fashions but much of the hippie philosophy. In January1968, they set up Apple Corps Ltd., an attempt to organize business on terms ofcomplete trust. The Apple boutique in London opened to great fanfare and thefashions were featured in Vogue, but it closed before the end of the year withhuge losses.

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mShopping at the Apple boutique in early1969 was a new experience, but it proved tobe a fleeting retail revolution.

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58The long maxi-skirt, a hippie spin-off, aroused much the same anger as

the mini. Many girls cashed in on this by flaunting both fashions, wearing theshortest of skirts under the longest of coats.

The Designer HippieParis designers flung themselves into the new mood withenthusiasm. The hippies’ cheap, flamboyant clothes weretransformed into expensive designer wear embraced by theestablishment. The ready-to-wear collections of January1967 were full of oriental touches—striped djellabas, haremdresses, tent dresses, rajah coats, and Nehru jackets, all infine wools and exotic silks.

Jewelry collections for men were launched for wearover loose, billowing shirts and wide-bottomed velvettrousers. The look was soft and feminine. For women, YvesSaint Laurent produced long highwayman coats. Everyonecould dress up in the style of another country, another age,another sex. Anti-fashion had become the biggest fashion of all.

By 1969, hard-and-fast rules no longer seemed to exist. Some designers,notably Courrèges, persevered with the short, sharp mini, and the “space-age”look was given a new lease on life when Apollo 11 landed men on the moon. Butmost people began to subscribe to the hippie ideal of “doing your own thing.”“The length of your skirt is how you feel this moment,” reported Vogue. The

designers agreed, and the finalcollections of the sixties embraced themicro-skirt and the maxi, along with thecompromise midi. Anti-fashion hadtriumphed in a roundabout way, andnothing would ever be quite the sameagain.

b The inspiration for this caftan, designedby Vancetti for spring 1969, may have beenTurkey, but the hairstyle is undeniablyAfrican.

mNew York’s Velvet Underground gainedpop culture’s ultimate seal of approval withthis album cover by artist and style guruAndy Warhol.

m Those who couldn’t afford a Bentley likeJohn Lennon’s just repainted their VWBeetle.

c To enjoy the best of both worlds, a girlwent for the shortest of minis under one ofthe new-length maxi-coats.

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60ChronologyNewsAmerican U2 spy plane shot down over USSR.John F. Kennedy elected US President.Rome Olympics held.

Berlin Wall goes up.Stalin’s body removed from Red Square in Moscow.Yuri Gagarin first man in space.

Arrest of ANC leader Nelson Mandela in South Africa.John Glenn achieves first US orbital space flight.Cuba missile crisis.

Profumo scandal in Britain.Alec Douglas Home becomes British Prime Minister.President Kennedy assassinated: Lyndon Johnson becomes US President.

Trial of Nelson Mandela.Labour Party wins elections in Britain: Harold Wilson becomes Prime Minister.

Watts riots in Los Angeles.Lyndon Johnson takes Kennedy’s Civil Rights Bill through Congress.

France leaves NATO.Cultural Revolution officially begins in China.

Six Day War in the Middle East.

Tet Offensive in Vietnam: US involvement reaches its peak.Assassination of Robert Kennedy and Martin Luther King Jr.

Border clashes between USSR and China.The "Troubles" begin in Northern Ireland.US Apollo 11 astronauts land on moon.

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Fellini’s La Dolce Vita and Hitchcock’s Psycho among the newmovies released.Marc Bolan becomes artistic director for Dior.

Plans made to save Egypt’s Abu Simbel temples, threatened byrising waters from the Aswan dam.

"Love Me Do," the first Beatles single.Dr No, the first James Bond movie, released

Beatlemania erupts as the group tops charts around the world.Peak of folk music scene in US: Bob Dylan and Joan Baez areleading exponents.

Beatles achieve top four positions in US singles charts."British Invasion" of brands follows in the Beatles’ wake.

Antonioni’s The Red Desert and Richard Lester’s The Knack aretwo of the year’s most talked-about movies.Bob Dylan "goes electric," infuriating many folk music fans.

Psychedelic movement in music and fashion gathers pace.

Beatles release Sgt. Pepper, a psychedelic record inside apsychedelic pop art cover.Sci fi movie Barbarella and gangster movie Bonnie and Clyde areboth hugely successful.

Beatles’ movie Yellow Submarine opens; Beatles’ Apple boutiqueopens and closes.Black Power demonstrations by medal-winning US athletes at theMexico Olympics.2001: A Space Odyssey released.

Peace and love triumphant at Woodstock festival.

Courrèges opens his own house.Emmanuelle Khanh achieves prominence in France, with designsfeatured in Elle magazine.

Saint Laurent opens his own business.Dorothée Bis chain opens.

Cardin designs “Beatle suits.”Mary Quant starts Ginger Group label.Geoffrey Beene forms his own company.

Rudi Gernreich Inc. formed.Cardin’s "Space Age" collection.

Mini-skirts climb far above the knee.Plastic dress from Paco Rabanne.Betsey Johnson makes impact as designer while working aseditor for Madamoiselle magazine.

Saint Laurent opens Rive Gauche ready-to-wear chain. Hiscouture collection features a "smoking" jacket for women.Paco Rabanne forms his own label.Twiggy emerges as the decade’s most famous model.

Fiorucci begins expanding his family business.Psychedelic and ethnic fashions begin to appear in the designercollections.

Balenciaga retires.Saint Laurent shows see-through blouse and safari jacket.

Afro hairstyles begin to catch on universally.Maxi and midi lengths begin to gain ground.Saint Laurent introduces pantsuits.

Events Fashion

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GlossaryAfro Naturally grown, long, bushy hairstylewidely adopted by African-Americans in the1960s. Artificially created, it also becamepopular among whites during the latesixties and early seventies.

Apple Corps Ltd. Organization set up by theBeatles in 1968 to control their own recordlabel as well as other business and artisticventures, including two Apple boutiques inLondon. Apple Corps and the boutiquesfolded after less than a year, though therecord label survived.

Barbarella Film directed by Roger Vadim.Released in 1967, it features Jane Fondaas an interplanetary adventurer, andfeatures fantastic and innovative space-agecostumes designed by Jaques Fonteray.

Bates, John (b. 1935) British designer.Worked as a fashion illustrator in the fiftiesbefore forming the Varnon company in1964, producing an exciting range ofyouthful designs, including pantsuits,catsuits and string-vest dresses. Bates alsodesigned costumes for the Emma Peelcharacter in TV series The Avengers.

Beene, Geoffrey (1927-2004) Americandesigner. Worked in New York. In 1963 setup his own company, gaining a reputationfor his simple, youthful shifts and T-shirtdresses. Other influential work in the latesixties included designs with sequinedfabrics, chiffon, jersey and taffeta.

Cardin, Pierre (b. 1922) French designer.Worked with Paquin, Schiaparelli and Diorbefore producing his first collection in1957. His career blossomed in the sixties,with cut-out dresses, space-age catsuits,tight leather pants, bodystockings andother concepts that became inseparablefrom "space-age" sixties fashion.

Cashin, Bonnie (1915-2000) US designer,born in Oakland, California. Worked incostume design for Hollywood beforeopening her own fashion business in NewYork in 1949. A great mixer of fabrics,especially leather, canvas and suede, and aclever adapter of ethnic influences,Cashin’s work was an important influenceon the direction of sixties fashion, and onthe fashions of later years.

Chanel, Gabrielle “Coco” (1883-1971)French designer. Designed under her own

label from 1914. Extremely influential andinnovative in the twenties, thirties and laterthrough her introduction of the "Chanelsuit." By the sixties, the Chanel suit had re-emerged to gain the classic status it stillenjoys today.

Clark, Ossie (1942-1996) British designer.Working for the Quorum boutique from theearly sixties, Clark was an influential figureon the Kings Road fashion scenethroughout the decade, producing gypsydresses, motorcycle jackets and innovativework in leather and snakeskin.

Courrèges, André (b. 1923) Frenchdesigner. Worked for Balenciaga beforeopening his own house in 1961. A leadingfigure in the introduction of the mini-skirtand pants suit, Courrèges also becameknown as a space-age designer for hiscatsuits, see-through dresses and futuristicgoggles and boots. A key figure in sixtiesfashion.

Dior, Christian (1905-1957) Frenchdesigner. Revolutionized postwar fashionwith his New Look of 1947. After Dior’sdeath, the House of Dior was led by Frenchdesigner Marc Bohan (b.1926), whosuccessfully carried Dior’s reputation forelegance into the decade of pop fashions.

Djellabah Moroccan hooded cloak withlong, wide sleeves, worn open at the neckand reaching to the knee.

Dorothée Bis Chain of stores opened byElie and Jaqueline Jacobson in Paris andlater in the USA. From 1962 the chainspecialized in adult versions of young girls’clothes, including knee socks, peaked capsand ribbed knitwear.

Fiorucci, Elio (b. 1935) Italian designerand entrepreneur, born in Milan. Fiorucciinherited a shoe store from his father, andsoon expanded the shop’s stock to includemini-skirts. Opened a larger store in 1967and from this base built up his world-famous chain of boutiques for the youngconsumer.

Fogarty, Anne (1919-1981) Americandesigner. Worked for many clients,including Saks Fifth Avenue, for whom shedesigned from 1957. A significantinfluence in the fifties, Fogarty respondedcreatively to the challenge of the sixtieswith culottes, mini-skirts and other simple,wearable designs.

Gernreich, Rudi (1922-1985) Austrian-borndesigner. Worked in the USA from 1938,designing under his own name from 1951.In 1964 formed Rudi Gernreich Inc. Bestremembered today for swimwear andunderwear, including bodystockings andradically engineered bras for low-neck andplunge-back evening wear, but also aninfluential designer of sportswear, separatesand shirtwaists.

Givenchy, Hubert (b. 1927) Frenchdesigner. Worked for Schiaparelli beforeopening his own business in 1952. Animportant influence on the elegant cocktailand evening dress look of the late fiftiesand early sixties, Givenchy’s designs were afavorite with (amongst others) first ladyJackie Kennedy.

Johnson, Betsey (b. 1942) Americandesigner, born in Hartford, Connecticut. In1964, became an editor at Mademoisellemagazine, while designing clothes in herspare time, and by 1965 was widely hailedas a radical and exciting new designer.Continued to innovate through the sixties,with pantsuits, mini-skirts, T-shirt dresses,and many other novelties. Opened her ownNew York boutique called "Betsey, Bunkyand Mini" in 1969, and turned to designingdisco and sportswear.

Khanh, Emmanuelle (b. 1937) Frenchdesigner. Worked for Dorothée Bis andCacharel in the sixties, establishing herown label in 1970. Sixties designs includedlong, droopy collars on jackets, dressesand blouses, frilly mini-skirts, and linedoutfits with lace trimming. Associated withthe French "Ye Ye" fashions of the sixties,which took their nickname from theBeatles’ song "She Loves You, Yeah YeahYeah."

Nehru Jacket Straight, slim, hip-lengthjacket, buttoned in front to a straight,standing collar. Based on the design of ajacket popularized by Jawaharlal Nehru,Indian prime minister 1947-1964.

Op Art Art movement prominent in the1960s, and extremely influential on fashionand textile design. Op Art exploits thedramatic "trick optic" effects of contrastingareas of color and black-and-white.

Parka Hooded garment similar to ananorak, but usually longer and moreloosely-cut. Popular outerwear for mods.

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Further Reading A great deal has been written and published about the 1960s, and this readinglist is only a very small selection. Magazines and movies of the period areanother excellent source of information.

Adult General Reference SourcesCalasibetta, Charlotte. Essential Terms of Fashion: A Collection of Definitions(Fairchild, 1985)Calasibetta, Charlotte. Fairchild’s Dictionary of Fashion (Fairchild, 2nd ed, 1988)Cumming, Valerie. Understanding Fashion History (Chrysalis, 2004)Ewing, Elizabeth. History of Twentieth Century Fashion, revised by Alice Mackrell(Batsford, 4th ed, 2001)Gold, Annalee. 90 Years of Fashion (Fairchild, 1990)O’Hara, Georgina. The Encyclopedia of Fashion (Harry N. Abrams, 1986)Olian, JoAnne. Everyday Fashions of the Sixties (Dover, 1999)Peacock, John. Fashion Sourcebooks: The 1960s (Thames & Hudson, 1998)Peacock, John. Men’s Fashion: The Complete Sourcebook (Emerald, 1997)Peacock, John. Fashion Accessories: The Complete 20th Century Sourcebook(Thames & Hudson, 2000)Skinner, Tina. Fashionable Clothing from the Sears Catalogs (Schiffer, 2004)Steele, Valerie. Fifty Years of Fashion: New Look to Now (Yale, 2000)Stegemeyer, Anne. Who's Who in Fashion, (Fairchild, 4th ed, 2003)Trahey, Jane (ed.) Harper’s Bazaar: 100 Years of the American Female (RandomHouse, 1967)Watson, Linda. Twentieth-century Fashion (Firefly, 2004)

Young Adult SourcesPowe-Temperley, Kitty. Twentieth Century Fashion: the 60s (Heinemann Library,1999)Ruby, Jennifer. The Nineteen Sixties & Nineteen Seventies, Costume in Contextseries (David & Charles, 1989)Wilcox, R. Turner. Five Centuries of American Costume (Scribner’s, 1963)

AcknowledgmentsThe Publishers would like to thank the following for permission to reproduceillustrations: B.T. Batsford 11r, 20, 30r, 31, 32t, 35, 39l, 45b, 46, 47l, 49l, 51r,52, 53t, 54r, 58b; Camera Press 10, 25, 28r, 29l, 38tr, 42b, 49r, 55t, 57, 58tl;David Redfern 27, 54l; Kobal Collection 8r; Museum of Costumes in Bath 39;NASA 11l; Popperfoto 8l, 9, 14l, 16, 23, 36, 42t; Rex Features 12t, 13, 14r, 15,17, 18, 24b, 30l, 33, 34t, 37, 38br, 39r, 40, 41, 45tr, 53b, 58tr; Topfoto 6, 7,12b, 19, 21, 22, 24t, 28l, 29r, 32b, 34b, 44, 45tl, 47r, 48, 50, 51l, 55b, 56, 59;Victoria & Albert Museum 38l, 43

Key: b=bottom, t=top, l=left, r=right

Pop Art Art movement having its origins inthe fifties, but very widely influential onfashion and much else in the sixties. PopArt makes use of ready-made images fromconsumer society, concentrating theviewer’s attention by enlarging them oroffering them in a startling new context.

Pucci, Emilio (b. 1914) Italian designer. Adoctor of political science and member ofthe Italian Olympic skiing team, Puccientered the fashion world by designingsportswear. His boldly patterned fabricsfor skirts, dresses and pantsuits brilliantlycaptured the psychedelic mood of the latesixties.

Quant, Mary (b. 1934) British designer.Opened her first shop in 1955, andfounded the Ginger Group label in 1963.Quant’s bright, simple and well-coordinated designs were perfectly in tunewith the mood of the 1960s. Innovationsincluded the mini-skirt, colored tights,skinny-rib sweaters and a range of wet-look vinyl fashions.

Rabanne, Paco (b. 1934) Spanishdesigner. Studied architecture in Paris,1952-1964, and architectural backgroundled to dresses made from plastic, metaldiscs and chains instead of conventionalfabrics. Opened his own house in 1966,and continued to be a key influence onthe space age styles of the decade.

Ready-to-Wear Clothes carrying adesigner label that can be bought ready-made from the hanger.

Saint Laurent, Yves (b. 1936) Frenchdesigner. Worked successfully forChristian Dior before opening his ownhouse in 1962. His inventive genius wasideally matched to the mood of the sixties,producing a seemingly endless parade ofstartling but much-imitated designs: peajackets, smocks in jersey and silk,knickerbockers, see-through blouses,pantsuits, and safari suits. Opened hisown ready-to-wear chain, Rive Gauche, in1966. Remains a key figure in thedevelopment of modern fashion.

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Figures in italics refer toillustrations.

Abbey Road 37Africa 6, 21, 24, 48, 49, 50,

51afro hairstyle 24, 26, 50, 50,

51Ali, Muhammad 22Apollo missions 11, 26, 44,

58Apple boutique 57. 57Apple Corps Ltd. 57Avengers, The 14

Baez, Joan 20, 22, 37Balenciaga, Cristobal 8, 26Balmain, Pierre 32Barbarella 44, 46Bardot, Brigitte 32, 34Batman 44Beach Boys 18, 19Beatlemania 12Beatles, The 6, 36, 36, 37,

38, 41, 55, 55beatniks 8, 9, 32, 34, 35beehives 29, 30Beene, Geoffrey 18Black Power 24, 51Blake, Peter 38Blonde on Blonde 53Bond, James 30, 44, 45, 46Brown, James 26Buddhism 48Byrd, Donald 32

caftans 49, 56, 58California 9, 18, 22, 24Cardin, Pierre 6, 26, 36, 37,

45, 46, 47, 49, 51Carnaby Street 41Cashin, Bonnie 26Chanel, Coco 17, 26, 28China 20, 48Courrèges, André 26, 39,

45, 46, 58Cream 52

dashikis 49

Day, Doris 29, 30Dior, Christian 8, 10, 17, 28,

31Disraeli Gears 52djellabas 58Dylan, Bob 6, 6, 7, 34, 37,

53

Egyptian style 50

Ferlinghetti, Lawrence 9Fiorucci, Elio 26, 38, 53Fogarty, Anne 18Fonda, Jane 44, 46

Gaye, Marvin 40Gernreich, Rudi 17, 44, 46Ginsberg, Allen 9, 34, 34Givenchy, Hubert 8Greco, Juliette 32, 33Guevara, Che 51

Haight-Ashbury 56Hair 52, 57Hamilton, Richard 38Hare Krishna 48haute couture 7, 10Hayes, Isaac 26Hendrix, Jimi 6, 26, 28, 53,

54, 55hippies 26, 50, 56, 56, 57,

58Howling Wolf 40

India 18, 48, 54

Jackson, Michael 6Jagger, Mick 6, 26Japan 6, 26, 51Johnson, Betsey 17, 18, 26,

41Jones, Brian 53Joplin, Janis 6, 26, 53, 54,

55

Kennedy, Jackie 28, 28Kennedy, John F. 11, 18,

20, 21, 28Kerouac, Jack 9, 34King, Dr. Martin Luther 18,

21, 48Kinks 36Kitt, Eartha 44

Kubrick, Stanley 11, 44

Lanvin, Jeanne 8Little Richard 54Liverpool 6, 36London 8, 26, 41, 54, 57LSD 53

Malcom X 48Manfred Mann 36Marvel Comics 47Mashed Potato 30Martha and the Vandellas

26, 40Max, Peter 55maxi-skirts 58micro-skirts 58miniskirts 15, 20, 42, 42,

58, 59mods 12, 12, 18, 40, 41Monkees, The 38Monterey Pop Festival 54Morocco 49Motown 6, 40, 41Muddy Waters 40

Nehru jackets 58New York 9, 26, 58Newton, Helmut 38Newton, Huey 21, 48Nixon, Richard 18, 26

On the Road 34Op Art 26, 37, 38, 39, 42,

55Oz 54

Paris 9, 18, 24, 26, 28, 32, 33

parkas 12Plunkett-Greene, Alexander

41Pop Art 38Powe, Hector 30Presley, Elvis 31Pucci, Emilio 26, 53, 55

Quant, Mary 13, 15, 16, 17, 17, 41, 42, 43

Rabanne, Paco 46Rauschenberg, Robert 38Redding, Otis 53

Riley, Bridget 38Rive Gauche 15, 17, 17Robinson, Smokey 6, 40Rolling Stones, The 6, 9, 26,

36, 37Ronettes, The 30Ross, Diana 6, 50

Saint Laurent, Yves 6, 8, 15,17, 17, 26, 28, 46, 50, 58

San Francisco 34, 52, 56Santana 26Sassoon, Vidal 43Sgt. Pepper 6, 37, 43, 55Sly and the Family Stone

24, 26, 51Star Trek 44Superman 47Supremes, The 6, 7, 40, 40suspense jupe 28, 28

Truffaut, François 32Turkey 49, 58Twiggy 13, 42, 43, 57Twist 302001 11, 44

“underground”, the 52, 54Ungaro, Emanuel 38unisex dressing 24USA 11, 17, 19, 20, 21,

22, 23, 36, 41, 48, 54USSR 11, 20, 44

Vadim, Roger 32Vancetti 25, 26, 58Vasarely, Victor 38Velvet Underground 58Vietnam 20, 21, 22, 23, 48,

55Vogue 16, 57, 58

Warhol, Andy 38, 58West Side Story 8, 9Who, The 26Wonder, Stevie 6Woodstock 26, 27

X-Men 47

Yellow Submarine 55

Index