1960s Fashion
By the mid 1960s the international fashionable pace was being
set not by Paris couturiers but by a talented group of fashion designers
in London. The clothing garment that symbolizes the fashion in 1960s is the thigh
high mini skirt, with skinny rib sweaters. But the very short mini dress did not
in fact start to take hold until 1965, and to the early 1960s mainstream fashion
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trends 1960s was still dominated by the elegant man and woman
apparel and conventional looks of mature men and women.
Paris couture remained at the hub of 1960s fashion, and established Paris
fashion houses continued to provide affluent clients with
superbly made clothes which maintained the high standards
of the grands couturier. Gradually, however, the business of
haute couture went into decline and haute couture houses
started to expand their
ready to wear operations.
Designer Balenciaga
continued to make ultra refined clothes and, for show stopping
evening wear, geometric shapes executed
in the stiff silk, gazar. In 1964 he astounded the fashion
world with a modern fashion collection shown in a tiny, all
white showroom to the insistent beat of drums. Central to his
output were, flared shift short mini dresses and skirts worn with
cropped jackets. He created numerous variations on the triangular
shift shape, introducing curved inlays or breaking stark lines
with pocket flaps and belts. Also many trouser suits making
an appearance on the haute couture Paris runways at this time. Depending on
precision cutting and construction, they had cigarette slim
trousers which were slit over the insteps and reached almost
to floor level the effect was to make the leg look very long.
Seductive hipsters were teamed with svelte tunics or double
breasted jackets and were available in wool for day wear and
in sequinned or embroidered silk for evening.
Inspired by sports wear, a passion for white and silver,
sugar almond pastels and few strong colours, especially
flame orange, were also typically used in fashion 1960s trends. Also
for all seasons plain fabrics, sometimes relieved by stripes,
checks and piping, and for summer daisy strewn fabrics
embroidered were one of 1960s fashion trends.
Their designs at this period are similar, particularly those
for precision made mini short dresses with simple, collarless necklines,
yoked bodices, half belts and chunky, self coloured buttons, but
Ungaro differed from Courreges in his use of organic pattern
and loud colour combinations. He collaborated with the textile
designer Sonia Knapp, who provided a succession of powerful
prints which almost overwhelmed the line of the clothes.
Fashion designer Cardin Pierre, hailed as the bright young star of Paris couture.
Pierre Cardin clothing signature features included asymmetrical necklines, scalloped
and rolled edges and enormous, face framing collars, all of which
were revamped to suit the mood of each season. Pierre Cardin logo also investigated
spherical shapes in 1958 clothing Pierre Cardin made a balloon coat dress whose shape
was achieved by the use of a drawstring threaded through the hem.
In 1960 he created tight sheath sexy mini dresses with puffball panniers which
sat over the hips.
In the same year Cardin showed undecorated. Trapezium
shaped coats topped by towering sugarloaf hats which extended the
line almost eighteen inches above the head.
The space race pervaded 1960s culture, and fashion was not immune.
This practical, unisex range consisted of a tunic or pinafore over
a body fitting ribbed sweater, and tights or trousers.
Whereas the work of Cardin Pierre clothing, Courreges and Ungaro is part of the
tailoring tradition, Paco Rabanne sparkling paillettes and metal
discs were joined by split metal rings for evening wear, while day
mini sexy dresses were composed of leather segments secured at the corners
with brass rivets.
Quant tool ideas from unusual sources and reworked them into a
series of fast moving looks. She enjoyed materials that were
new to fashion, making brightly coloured macs in PVC, and mini
skirted gytnslips which promoted the man made fibre Tricel.
She even explored the potential of Crimplene, and the humble
knitting pattern was given a boost when she created a series of
dresses short mini for Courtelle's new 4 ply yarn. Quant made fun,
easy to wear, classless clothes, rejecting all that was starchy,
hidebound and unnecessarily formal characteristics she
associated with the staid British establishment.
Simonetta used sumptuous and eye catching fabrics to
create unusual evening gowns incorporating bubble
and cocoon shapes. For town wear she devised chic
tailored suits and coats each design had a distinctive
feature. such as an extra large collar or fly away
back panel which made it stand out in the crowd.
Emilio Pucci, whose vibrantly coloured, swirling,
printed silks gained new validity in the psychedelic
1960s, also opened a Paris outlet. Pucci's comfortable,
light leisure wear was popular with Americans, including
the film stars Marilyn Monroe. Elizabeth Taylor and
Lauren Bacall, who relished its chic appeal and instantly
recognizable designer signature. Pucci blouses, scarves
and body skimming little tight dresses mini were constants to which
the designer returned with new ideas each season. In 1960
he launched capsulas skintight, stretch nylon and silk
one piece bodysuits. Pucci's pliant, printed silk jersey
fabric perfectly suited the long, flowing capes and
harem styles of his late 1960s collections.
An astute businessman, Stephen recognized the fact that
traditional tailors and multiple stores were not catering
for teenagers. Specifically for this market he introduced
adventurous, body conscious, boldly coloured clothing 1960s made
from tactile fabrics such as velvet, suede, leather, satin,
corduroy and mohair. The popularity of Stephen's clothes
was such that by the early 1960s he owned one third of Carnaby
Street's premises. A menswear outlet, Lord.Iohn. was paired
with a womenswear boutique, Lady.Tane, which opened in 1966
with a live window display consisting of two young women
dressing and undressing in the shop's stock.
Reference: “20th century Fashion”, written by Valerie Mendes and Amy De La Haye; 1999 Thames & Hudson Ltd, London.
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