Fashion in the 1960s

By Daniel Milford-Cottam

Perhaps more so than any other decade, the sixties had the broadest impact on the twentieth-century Western world. Across society, culture and the arts, youth voices rose to prominence and had a significant influence on new trends. Mature polished elegance was replaced by young liveliness as the fashionable ideal. Although only the most daring young followers of fashion wore the tiny miniskirts and borderline-unwearable plastic and metal outfits publicised in the press, stylish and smart fashion was increasingly available to all, with an emphasis on self-expression. New style icons such as Twiggy combined girl-next-door looks with trendy, aspirational and accessible outfits, and popular culture heavily influenced mainstream fashion. This beautifully illustrated book offers a concise guide to changing styles across the decade.

• Language: English
• Publisher: Bloomsbury Publishing
• Release date: Jul 23, 2020
• ISBN: 9781784424091

Book preview

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CONTENTS

INTRODUCTION

INNOVATION

UNDERWEAR

REALITY

POPULAR CULTURE

MENSWEAR

FURTHER READING

PLACES TO VISIT

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This neatly dressed young woman knitting in a smart, modern mid-Sixties interior captures the decade’s sense of fresh modernity.

INTRODUCTION

THE SIXTIES BEGAN quietly, barely distinguishable from the previous decade. Women’s hemlines stayed at the knee. Men’s wardrobes mostly avoided colour and pattern. Seeds planted in the previous decade were slowly but steadily growing. At first, all seemed stable until suddenly, the baby boom of the post-war years exploded. 1950s teenagers became independent adults. While this generation of young people was not yet in charge of world affairs, they were numerous enough to be heard. Their collective voice gave popularity to the bands they decreed ‘smashing’, the fashions that were ‘fab’, and visibility to the issues they chose to highlight. In addition to this, they were more likely to listen to each other, or to people they felt were on their level, rather than to older authority figures – firmly defining the generation gap.

The driving force behind 1960s fashion was youth and innovation, which the miniskirt epitomised. Young women’s hemlines had gradually been rising above the knee since 1961, offering increased freedom of movement. For many young designers, such as Mary Quant, John Bates, and André Courrèges, the miniskirt became one of their signature designs. By 1966, ‘short-short skirts’ might only cover the upper thigh, and by 1969, the shortest miniskirts barely covered the crotch. Coco Chanel, who famously encouraged the original shortening of skirts in the 1920s, was particularly outspoken in her criticism, declaring miniskirts ‘disgusting’, This was a common attitude from many long-established designers, who saw young fashion as faddish, ephemeral, and easily dismissed. One notable exception was Pierre Cardin, who had enthusiastically advocated new materials, inspirations, and design concepts since opening his Paris couture house in 1950.

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Early Sixties men and women often wore sensible, tailored clothing in neutral colours. Hats were less popular, but gloves and handbags remained essential for conservative elegance. One young man has a beard, usually reserved for artistic or bohemian types.

The decade saw a new generation of innovative designers bringing youth and talent into the Paris fashion industry. André Courrèges opened in 1961, swiftly becoming famous for his futuristic designs. A former designer for the famously austere and refined Cristóbal Balenciaga, Courrèges’s crisp trouser-suits and minidresses showed the influence of his former mentor while also being ultra-modern and unique. In January 1962, 25-year-old Yves Saint Laurent opened his eagerly anticipated couture house. Formerly head designer for Dior, Saint Laurent was sacked in 1960 after presenting a controversial ‘Beat’ collection inspired by Parisian art students. Black sweaters, leather jackets and knee boots, no matter how luxurious, were not considered haute couture enough for Dior’s clientele. Saint Laurent successfully sued for breach of contract, and many Dior clients, models and workers followed him to his new house. Also from Balenciaga came Emanuel Ungaro, who opened his house in 1965 in collaboration with the Swiss artist Sonia Knapp, and Emmanuelle Khanh, a former model who, with Christiane Bailly, launched her first label in 1962. Khanh was a créateur (a prêt-à-porter, or ready-to-wear-focused designer) rather than a couturier. Her international success meant that by 1964, she was credited with bringing status to French ready-to-wear, and was seen as Paris’s answer to Mary Quant. When he opened his first Rive Gauche boutique in September 1966, Saint Laurent