MEN’S FASHION 1930

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 The decade of the 1930s saw dramatic changes in men’s fashion.  It began with the great Wall Street Crash of October 24, 1929.  By 1931, eight million people were out of work in the United States.  Less or no work meant little or no money to spend on clothing.  The garment industry witnessed shrinking budgets, and going-out-of-business sales were prevalent.  The Edwardian tradition of successive clothing changes throughout the day finally died. Tailors responded to the change in consumer circumstances by offering more moderately priced styles.

In the early part of the decade, men’s suits were modified to create the image of a large torso.  Shoulders were squared using wadding or shoulder pads and sleeves were tapered to the wrist.  Peaked lapels framed the v-shaped chest and added additional breadth to the wide shoulders.

This period also was a rise in the popularity of the double-breasted suit, the precursor of the modern business suit.  Masculine elegance demanded jackets with long, broad lapels, two, four, six or even eight buttons, square shoulders and ventless tails.  Generous-cut, long trousers completed the look. These suits appeared in charcoal, steel or speckled gray, slate, navy and midnight blue.

Dark fabrics were enhanced by herringbone and stippled vertical and diagonal stripes.  In winter, brown cheviot was popular.  In spring, accents of white, red or blue silk fibers were woven into soft wool.  The striped suit became a standard element in a man’s wardrobe at this time.  Single, double, chalk, wide and narrow stripes were all in demand.

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Plaids of various kinds became popular around this time as well.  Glen plaid checks, originally known as Glen Urquhart checks from their Scottish origin, were one of the more stylish plaids.  Glen plaid designs are sometimes referred to as “Prince of Wales” checks.  Initially the design was woven in saxony wool and later was found in tweed, cheviot, plied and worsted cloth. (See glossary for definitions of these terms.)

In 1935, as a result of President Roosevelt’s New Deal, signs of prosperity returned.  The rebounding economy demanded a redesign of the business suit, to signal the successful status of the man who wore it.  This new look was designed by the London tailor, Frederick Scholte and was known as the “London cut”.  It featured sleeves tapering slightly from shoulder to wrist, high pockets and buttons, wide, pointed lapels flaring from the top rather than the middle buttons and roll, rather than flat lapels.  Shoulder pads brought the tip of the shoulder in line with the triceps and additional fabric filled out the armhole, creating drape in the shoulder area.  As a result of this last detail, the suit was also known as the “London drape” or “drape cut” suit.

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Other versions of the new suit included four instead of six buttons, lapels sloping down to the bottom buttons, and a longer hem.  This version was known as the Windsor double-breasted (D.B.) and the Kent double-breasted (D.B.), named after the Prince of Wales and the Duke of Kent respectively.  Clark Gable, Jimmy Stewart, Fred Astaire and Cary Grant were a few of the Hollywood stars who lent their endorsement to this style by wearing the suits in their movies.  From there it became popular in mainstream America.

The famous “Palm Beach” suit was designed during the 1930s.  It was styled with a Kent double or single-breasted jacket, and was made from cotton seersucker, silk shantung or linen.  (See glossary for definitions.) Gabardine was also used to make this suit.  It quickly became the American summer suit par excellence and was touted as the Wall Street businessman’s uniform for hot days.

During this time, blazers became popular for summer wear.  Blazers are descendants of the jackets worn by English university students on cricket, tennis and rowing teams during the late nineteenth century.  The name may derive from the “blazing” colors the original jackets were made in, which distinguished the different sports teams.  The American versions were popular in blue, bottle green, tobacco brown, cream and buff.  Metallic buttons traditionally adorned the center front of the jackets, and they were worn with cotton or linen slacks and shorts

A discussion of men’s fashion during the thirties would be incomplete without recognizing the gangster influence.  Gangsters, while despised as thieves, paradoxically projected an image of “businessman” because of the suits they wore.  However, they didn’t choose typical business colors and styles, but took every detail to the extreme.  Their suits featured  wider stripes, bolder glen plaids, more colorful ties, pronounced shoulders, narrower waists, and wider trouser bottoms.  In France, mobsters actually had their initials embroidered on the breast of their shirts, towards the waist.  They topped their extreme look with felt hats in a wide variety of colors:  almond green, dove, lilac, petrol blue, brown and dark gray.  High-fashion New York designers were mortified by demands to imitate the gangster style, but obliged by creating the “Broadway” suit.

In 1931, “Apparel Arts” was founded as a men’s fashion magazine for the trade. Its purpose was to bring an awareness of men’s fashion to middle-class male consumers by educating sales people in men’s stores, who in turn would make recommendations to the consumers.  It became the fashion bible for middle- class American men.

Over the next three decades, American garment makers rose to a new level of sophistication, successfully competing with the long-established English and French tailors.  However, the eruption of war at the end of the decade brought an abrupt halt to the development of fashion all over the world.

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On September 3, 1939, England and France declared war on Germany for invading Poland, and refusing to withdraw troops.  Once again, men’s fashion would change as a result of historic events.

1930 GLOSSARY OF TERMS

 Cheviot:  A British breed of sheep known for its heavy fleece.  Cloth produced from this wool is a heavy twill weave.

Gabardine:  A firm, tightly woven fabric of worsted, cotton, wool or other fiber with a twill weave.

Glen plaid:  Vertical and horizontal stripes intersecting at regular intervals to form a houndstooth check.

Herringbone:  A pattern consisting of adjoining vertical rows of slanting lines suggesting a “V” or an inverted “V”.  Also known as chevron.

Houndstooth check:  A pattern of broken or jagged checks.

Saxony:  A fine three-ply yarn.  Cloth produced from the yarn is a soft-finish compact fabric.

Seersucker:  Originally from India and named after a Persian expression, “shirushakar”, meaning milk and sugar.  It is a rippled or puckered cloth resulting from the vertical alternation of two layers of yarn, one taut and one slack, which also creates the characteristic stripe.

Shantung:  A plain weave silk cloth made from yarns with irregular or uneven texture.

Tweed:  A coarse wool cloth in a variety of weaves and colors originally from Scotland.  (Many tweeds are multi-color and textured.)

Twill weave:  One of three basic weave structures in which the filling threads (woof threads) are woven over and under two or more warp yarns producing a characteristic diagonal pattern.

Worsted:  Firmly twisted yarn or thread spun from combed, stapled wool fibers of the same length.  Cloth produced from this yarn has a hard, smooth surface and no nap (like corduroy or velvet).

Written by  Carol Nolan-Edited by  Julie Williams

MEN’S FASHION 1920

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During World War I.

Men returning from the war faced closets full of clothes from the teens, which they wore into the early 1920s.

During this time, which had been popular since the mid eighteen-hundreds, constituted appropriate “day” dress for gentlemen. (Edwardian etiquette commanded successive changes of clothing for gentlemen during the day.)  With the suits, colored shirts of putty, peach, blue-gray and cedar were worn.  Shaped silk ties in small geometric patterns or diagonal stripes were secured with tie pins.

The tail coat was considered appropriate formal evening wear, accompanied by a top hat. Starched white shirts with pleated yokes were expected with the tail coat, although bow ties and shirts with white wing collars were also seen.

Black patent-leather shoes  often appeared with formal evening wear. Lace-up style shoes were most in demand. Gentleman’s shoes or boots were the appropriate footwear to coordinate with knickers.Casual clothing demanded two-tone shoes in white and tan, or white and black.

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Knickerbockers, later shortened to “knickers”, were popular casual wear for the well-dressed gentleman.  Variations of knickers included plus-fours, plus- sixes, plus-eights and plus-tens.  The “plus” in the term referred to how many inches below the knee they hung.  Norfolk coats as well as golf coats were worn with knickers.  The coats sported large patch pockets, a belt, usually one button and often a shoulder yoke.

In 1925 the era of the baggy pants dawned.  This fashion would influence men wear for three decades.  Oxford bags were first worn by Oxford undergraduates, eager to circumvent the University’s prohibition on knickers.  The style originated when knickers were banned in the classroom.  As the bags measured anywhere from twenty-two inches to forty inches around the bottoms, they could easily be slipped on over the forbidden knickers.

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John Wanamaker introduced Oxford bags to the American public in the spring of 1925, although Ivy League students visiting Oxford in 1924 had already adopted the style.  The trousers were originally made of flannel and appeared in shades of biscuit, silver gray, fawn, lo-vat, blue gray, and pearl gray.

Jazz clothing passed quickly in and out of fashion during the twenties.  These tightly-fitting suits were considered an expression of passion for jazz music. Jackets were long and tight with long back vents.  The buttons were placed close together whether the jackets were double or single breasted. Trousers were tight and stove-pipe skinny.

Tweed cloth became popular at this time.  The word “tweed” is an English variant of the Scottish word “tweel”, itself a variation of “twill”.  Tweel refers to hand-woven wool fabric from the Scottish highlands and islands. Historians differ on whether tweed originated in the highlands or the south of Scotland.  The name became associated with the Tweed River which forms part of the boundary between England and Scotland.  Tweed eventually became the general term for all carded “homespun” wool, whether it was Scotch tweed, Irish tweed, Donegal tweed, Cheviot tweed or Harris tweed.

Flannel was the other popular fabric of the era.  The word flannel may be derived from the Welsh word “gwalnen”, meaning woolen cloth.  Flannel was originally made as a heavy, comfortable, soft and slightly napped wool cloth. Gray was the most popular color, and thus gray flannel trousers became known as “grayers”.  Other popular colors were white, beige and stripes.  Flannel trousers were traditionally worn in warm weather.

While Paris was unmistakably the world seat of women fashion, for men, it was London.  Tailors in France weren’t quick to admit the fact, however, all men fashion magazines featured styles and trends from London.  During the decade of the twenties, students at Oxford and Cambridge violated – for the first time ever – the Edwardian practice of different types of dress for different times of the day.  The students wore flannel trousers and soft collars all day.  When the English empire stood intact, it was easy for London to dictate men fashion.

The crash of the American stock market on October 24, 1929, marked a change in the worldwide economic situation that had a drastic effect on men clothing.

Written by Carol Nolan
Edited by Julie Williams

WOMEN’S FASHION 1920

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Various social trends were at work during the 1920s. Historians have characterized the decade as a time of frivolity, abundance and happy-go-lucky attitudes. In 1920, women got the right to vote, and a year earlier, alcohol had become illegal. World War I had just ended. The 1920’s would mark the first youth revolution, long before the 1960’s.

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Young people were very indignant after World War I, and felt the older generation had just murdered millions of young boys. So they stopped obeying conventional rules and invented their own liberated culture: driving their own cars, and drinking, and petting with people they weren’t married to. And, for the first time in history, older women started copying younger women. In the late 19th Century, younger women wanted to look like grownups. Now, for the first time, everyone wanted the thinness and relative bosomlessness of early adolescence. People felt free-spirited and wanted to have fun. As a result, fashions became less formal. The biggest phenomenom of the 1920’s was the worship of youth.

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The feminine liberation movement had a strong effect on women’s fashions. Most importantly, the corset was discarded! For the first time in centuries, women’s legs were seen. Women wanted to be “smarty” and/or freewheeling. Talking about Freud and sex were signs of hipness. Young men, “the flaming youth,” wore raccoon coats and drove around in old used Model Ts. Black-influenced jazz music and dance styles (ie. the Charleston and the Black Bottom) captivated white youth to the dismay of their parents. Dating, as we know it today, was invented in the 1920s. Previously, boys had to be courting a girl, they had to be committed, and girls had to be engaged to them in order to go out with them. The unchaperoned date was something new. Dating permitted people to see each other, and discover each other without having to proclaime an intent to marry. When flappers and flaming youth got together, the results was explosive. Petting was a popular and well received pastime for the youth. It allowed a girl to have erotic interaction without endangering herself with an unwanted or out of wedlock child. Petting could mean kisses or fondling, but it stopped just short of intercourse, and while parents equated petting with fornication, teenagers did not, and their peer group would still accept them and respect them. Intimacy and eroticism was explored. “Petting Parties,” where eager, youthful hands explored the nether regions of the opposite sex, was standard college entertainment. “Billing and cooing” (that is, to “bill and coo”) was to whisper sweet nothings while “making whoopee.”

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The flapper was the heroine of the Jazz Age. She was the culmination of all the trends of the 20’s. With short hair and a short skirt, rolled hose and powdered knees – the flapper must have seemed like a rebel to her mother (the gentle Gibson girl of an earlier generation). No longer confined to home and tradition, the typical flapper was a young women who was often thought of as a little fast and maybe even a little brazen. She defied conventions of acceptable feminine behavior. The flapper was “modern.” Traditionally, women’s hair had always been worn long. The flapper wore it short, or bobbed. She used make-up (which she might well apply in public). She wore baggy dresses which often exposed her arms as well as her legs from the knees down. Strings of pearls trail from her shoulder or are knotted at the neck and thrown over the right shoulder or under the arm. Silver bracelets are worn on her upper arm. Flappers did more than symbolize a revolution in fashion and mores  they embodied the modern spirit of the Jazz Age.louise_20brooks

1920s fashion, though, was about so much more than fringed flapper dresses and feathered headbands, the cliche that many people associate with the era. As with every decade, the ’20s had its fads as well as its classics, a few of which live on today. It was a romantic era for fashion, which is why people look back at this era with great fondness and still emulate its style. The era set the standard for the modern concept of beauty. The modern supermodel’s figure, is — itself  modeled after the 1920’s ideal of a woman’s figure (that of a thin pre-pubesent girl on the verge of puberty). The central phenomenom of the era was the worship of youth. For the first time in history, older women started copying younger women.1920

The pre-pubesent girl look became popular, including flattened breasts and hips, and bobbed hair. Fashions turn to the “little girl look” in “little girl frocks”: curled or shingled hair, saucer eyes, the turned-up nose, bee-stung mouth, and de-emphasized eyebrows, which emphasize facial beauty. Shirt dresses have huge Peter Pan collars or floppy bow ties and are worn with ankle-strap shoes with Cuban heels and an occasional buckle. Under wear is fashionable in both light colors and black, and is decorated with flowers and butterflies. With the cult of youth and the new spirit of equality come the camisole knickers; also fashionable is no underwear at all. Along with the rage for drastic slimming, women still strive to flatten their breasts and de-emphasize their hips. The cult of the tan begins; lotions to prevent burning and promote tanning appear on the market. Skin stains are also manufactured, as well as moisturizers, tonics, cream rouges, eye shadows, and more varied lipstick shades.

In the 1920s, a lot of clothing was still made at home or by tailors and dressmakers. The brand-name, ready-to-wear industry didn’t really exist until the 1930s, however some ready-made clothing was available from department stores and mail-order catalogs. Several magazines devoted to sewing were sources for patterns, transfers and appliques by mail. However, improved production methods enabled manufacturers to easily produce clothing affordable to working families. Because of this, the average person’s fashion sense became more sophisticated.

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In 1923, the boyish bobbed hair transforms into the shingle cut, flat and close to the head, with a center or side part. A single curl at each ear is pulled forward onto the face. New felt cloche hats appear with little or no decoration in colors that match the day’s dress. Hats are pulled down to the eyes, and their brims are turned up in the front or back. In clothing, the straight line still emphasized the pre-pubesent look, but fabrics are now embroidered, striped, printed, and painted, influenced by Chinese, Russian, Japanese, and Egyptian art. Oriental fringed scarves, slave bangles, and long earrings were set off. Artificial silk stockings, later called rayon, are stronger and less expensive that real silk ones, although they are shiny. The new seamless stocking, despite its wrinkling, also makes the leg look naked. At bedtime, girls wear pajama bottoms, halter tops, and boudoir cape to protect their new hairdos.

By 1926, women were wearing skirts, shortest of the decade, stopping just below the knee with flouncing pleats; they are worn with horizontal-striped sweaters and long necklaces. Short and colorful evening dresses have elaborate embroidery, fringes, futuristic designs, beads, and appliques. The cocktail dress is born. The new sex appeal extends from the bee-stung mouth and tousled hair to a new focus on legs, with silk stocking rolled around garters at rouged knees. The “debutante slouch” emerges: hips thrown forward, as the woman grips a cigarette holder between her teeth. Mothers and daughters are flappers, many nearly nude beneath the new, lighter clothing.

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There were two important ethnic influences on the fabric and prints of the 1920s. One was a Chinese influence, with kimono-styling, embroidered silks, and the color red. The discovery of King Tut’s tomb brought a rash of Egyptian fashion and and accessories, including snake bracelets that encircled the upper arm. Small floral and geometric prints were prevalent throughout the decade, especially toward the latter half.

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Evening Wear
Contrary to popular belief, women didn’t always wear fringed flapper dresses with feathered bandeaux and a long strand of beads. There were many other styles of evening dresses.

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Evening clothes were made of luxurious fabrics — mostly silks — in velvets, taffetas and chiffon. In the mid-1920s, sleeveless silk chiffon dresses were were often embellished with elaborate beadwork. Dresses were designed to move while dancing. Some had long trailing sashes, trains or asymmetric hemlines. Typically, women did not wear hats for evening, but instead wore fancy combs, scarves and bandeaux.

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BOLDFACERS

Spring’s Stylemakers :April 2,2009

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Boston’s fashion glitterati road-tripped to the runway at Neiman Marcus Natick for Boldfacers.com’s first fashion show. The Spring Stylemakers Fashion Show, hosted by Neiman Marcus Natick and Boldfacers.com attracted some 350 guests, decked out in trendy one-shoulder frocks and purple velvet smoking jackets. The theme of the evening? The power of the individual — common ground for Boldfacers and Neiman Marcus — and how it is expressed through fashion. Twelve stylish Boldfacers were invited to create outfits at Neiman Marcus that reflected their fashion flair and fire; models from Maggie Inc. were then asked to be that Boldfacer. That’s what we call dressing the part — on the catwalk…and in life.  
  Photographs by Chris Sanchez & Randy Gross

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Boldfacer Stylemaker Participant and owner of MIZU Salon Elan Sassoon and his wife Adriana, Personal Stylist /Designer.

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ADRIANA SASSOON

The backstage of : Behind the Man of Style.We got there early in the morning and, meanwhile Elan and My daughter went out for a walk around the mall I was left with a nice gentleman. With his help I was able to find all the materials to create the 3 looks for the event.I was happy with my choices.My looks were a bit more edgy . I guess a little forward for Bostonians.At least this was what they told me.We had some changes added by Lydia Santangelo, who works for Neiman Marcus.So these are the final results shown ate the Runaway…………………I hope you enjoy.

 

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My FIRST LOOK: Wasn’t quite like that but…………. “A refined Jet Setter on the way to Saint-Tropez”. 

Black shorts, a White shirt with black stripes, a pair of  Black moccasins,GUCCI bag.(Accessorize your bag, with a small scarf , with the bright colors of summer, place the scarf on the handle of the bag).A pair of black shades is a must.

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My SECOND LOOK : ” Walking around town”. 

Wasn’t quite like that, but anyhow……….

Rock Republic jeans with some Swarovisk buttons, the lavender  Shirt with a floral pattern and the shoes a pair of  Black mocassins.Accessorize the look with a white scarf on the side of the waist line, an inner purple shirt . The shirt should be worn loose on the waist, and to finalize the look a lavender wool sweater.

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My Third look:  Wasn’t quite like that but…………

“A night out in Sao Paulo”.

Beautiful, off-white vest with an off white pair of paints, an off white belt, a black velvet pair of shoes for some contrast .accessorize, no shirt, only a vest with a black Sequim tie, with a beautiful pair of  blacelets.Lots of glitter!

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60’S FASHION ICONS

The Mods and Rockers were two conflicting British youth subcultures of the early-mid 1960s.

Gangs of mods and rockers fighting in 1964 sparked a moral panic about British youths, and the two groups were seen as folk devils. The rockers adopted a macho biker gang image, wearing clothes such as black leather jackets. The mods adopted a pose of scooter-driving sophistication, wearing suits and other cleancut outfits. By late 1966, the two subcultures had faded from public view and media attention turned to two new emerging youth subcultures – the hippies and the skinheads

Rockers, who wore leather jackets and rode heavy motorcycles, poured scorn on the mods, who often wore suits and rode scooters. The rockers considered mods to be weedy, effeminate snobs, and mods saw rockers as out of touch, oafish and grubby.[citation needed] Musically, there was not much common ground. Rockers listened to 1950s rock and roll, mostly by white American artists such as Elvis Presley, Gene Vincent and Eddie Cochran. Mods generally favoured 1960s rhythm and blues, soul and ska by black American and Jamaican musicians, although many of them also liked British R&B/beat groups such as The Who, The Small Faces and The Yardbirds.

John Covach’s Introduction to Rock and its History claims that in the UK, rockers were often engaged in brawls with mods.BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south coast of England, such as Margate, Brighton, Bournemouth and Clacton.The mods and rockers conflict led sociologist Stanley Cohen to coin the term moral panic in his study Folk Devils and Moral Panics, which examined media coverage of the mod and rocker riots in the 1960s. Although Cohen admits that mods and rockers had some fights in the mid-1960s, he argues that they were no different than the evening brawls that occurred between youths throughout the 1950s and early 1960s, both at seaside resorts and after football games. He claims that the UK media turned the mod subculture into a negative symbol of delinquent and deviant status.

Fights occurred where territories overlapped or rival factions happened upon each other. As noted above, there was an urban/rural split, meaning that the groups could only fight if brought together for some reason – most often the seaside during summer. The film Quadrophenia, on the other hand, depicts some violence within London. Mods sometimes sewed fish hooks into the backs of their lapels to shred the fingers of assailants. Weapons were often in evidence; coshes and flick knives being favoured. The conflict came to a head at Clacton during the Easter weekend of 1964.

Round two took place on the south coast of England, where Londoners head for seaside resorts on Bank Holidays. Over the Whitsun weekend (May 18 and 19, 1964), thousands of mods descended upon Margate, Broadstairs and Brighton to find that an inordinately large number of rockers had made the same holiday plans. Within a short time, marauding gangs of mods and rockers were openly fighting, often using pieces of deckchairs. The worst violence was at Brighton, where fights lasted two days and moved along the coast to Hastings and back; hence the Second Battle of Hastings tag. A small number of rockers were isolated on Brighton beach where they – despite being protected by police – were overwhelmed and assaulted by mods. Eventually calm was restored and a judge levied heavy fines, describing those arrested as Sawdust Caesars.

Newspapers described the mod and rocker clashes as being of “disastrous proportions”, and labelled mods and rockers as “sawdust Caesars”, “vermin” and “louts”. Newspaper editorials fanned the flames of hysteria, such as a Birmingham Post editorial in May 1964, which warned that mods and rockers were “internal enemies” in the UK who would “bring about disintegration of a nation’s character”. The magazine Police Review argued that the mods and rockers’ purported lack of respect for law and order could cause violence to “surge and flame like a forest fire”.

Cohen argues that as media hysteria about knife-wielding, violent mods increased, the image of a fur-collared anorak and scooter would “stimulate hostile and punitive reactions” amongst readers.As a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers argued that mods and rockers were youths with no serious views, who lacked respect for law and order. Cohen says the media used possibly faked interviews with supposed rockers such as “Mick the Wild One”.As well, the media would try to get mileage from accidents that were unrelated to mod-rocker violence, such as an accidental drowning of a youth, which got the headline “Mod Dead in SeA”

Eventually, when the media ran out of real fights to report, they would publish deceptive headlines, such as using a subheading “Violence”, even when the article reported that there was no violence at all.  Newspaper writers also began to use “free association” to link mods and rockers with various social issues, such as teen pregnancy, contraceptives, amphetamines, and violence

 

More Than Just a Pretty Swingin’ Sixties Face

Hers is the face that launched a thousand ripples through the fashion world when she wore the world’s first topless bathing suit. “Designer of the future” Rudi Gernreich considered Peggy Moffitt to be his muse and model of choice for his controversial designs. With her Kabuki-inspired face painting, Peggy created her own unique look in the Sixties. Gernreich collaborated with super hair stylist Vidal Sassoon to create Peggy’s trademark hairstyle. He gave her a short helmet haircut, with precise geometric bangs cut right to her eyebrows. She also created her own makeup style with heavy black and white eyeliner and long false eyelashes to exaggerate her huge dark eyes. She took the term “strike a pose” very seriously in front of the camera. She made Gernreich’s clothes all the more extreme with her striking presence.

FIDM was recently treated to a visit from Peggy when she came to sign copies of The Rudi Gernreich Book, a chronicle of the fashion designer’s life and work. Peggy and her photographer husband, William Claxton, produced and wrote the colorful homage to Gernreich. Both Peggy and her husband discussed the book and their experiences with sixties swingin’ fashion. She has not abandoned her famous look to time!

Peggy Moffitt is an icon and innovator of fashion who didn’t just wear designs, she inspired them. Even super sixties model Twiggy said, “She taught me how much more a model puts in her work than just a pretty face.”

 

                          

MARY QUANT

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Mary Quant was born on 11 February 1934 in London.

She was educated at Goldsmiths’ College of Art. In 1957 she married Alexander Plunket Greene, whom she had met at art school. Together, the two of them with another friend started a shop in the King’s Road, Chelsea, called “Bazaar”. Underneath, they had a restaurant called “Alexander’s”.

In the 1960s she won a number of design awards and in 1966 Mary Quant was awarded the OBE. Her designs proved particularly popular in the sixties, most notably Mary Quant designed the mini-skirt which became emblematic of the decade. In 1966 she branched out by founding Mary Quant Cosmetics.

Mary Quant won the Hall of Fame Award, British Fashion Council in 1990.

In 1999 Mary Quant told the BBC World Service:

“I grew up wanting to design clothes. The whole thing hit me at a very early age. In fact, I’m still in disgrace for cutting up a bedspread when I was ill with measles, aged something like six or seven. I think it started for me in that I inherited my clothes, as a child, from a cousin. And I must have been a very self-conscious child. Because I thought they weren’t me.”

Mary Quant, estilista inglesa, começou sua carreira abrindo uma pequena boutique em Londres no ano de 1955, chamada Bazaar. Como não encontrava o tipo de vestuário que pretendia vender, ela começou a criar as suas próprias peças.

Nos anos 60 a loja converteu-se num império internacional para o qual Mary Quant criou roupas, acessórios e produtos de cosméticos, tudo jovem e pouco complicado.

A mini-saia que Mary Quant apresentara em meados dos anos 60, teve um êxito estrondoso. Ela compartilhava com André Courrèges a invenção da mini-saia, muito embora ela própria atribuía sua origem as ruas.

As primeiras bolsas desenvolvidas por Mary Quant, foram feitas nas cores preto e branco em PVC, decoradas com grandes manchas ou com seus famosos motivos em margaridas.

A flor de plástico com a qual Mary Quant enfeitou a sua moda Lolita, tornou-se no final da década, uma verdadeiro símbolo do direito à paz. Muitos jovens e adultos se sentiam atraídos pelo movimento Flower Power promovido pelos hippies.

“ Eu quero criar novas maneiras de fazer roupas com novos materiais juntamente com acessórios modernos que mudam conforme o estilo de vida das pessoas”.

Pernas, pernas e pernas. Foram elas o símbolo da revolução feminina nos anos 60 seja na minissaia, lançada pela inglesa Mary Quant e por Courrèges, ou na calça comprida do terninho criado em 1968 por Yves Saint Laurent.

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Galeria de fotos: saiba como usar os looks de 68 nos dias de hoje

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De pernas de fora ou cobertas pela pantalona, as moças ganharam o mundo e começaram a acreditar que poderiam um dia ser livres, transar sem engravidar graças à pílula anticoncepcional, trabalhar sem depender do marido e viver felizes para sempre fora das grades do lar.

 

Entenda a importância dos acontecimentos de maio de 1968

Não foi por acaso que as revistas da época fotografavam as modelos pulando sem parar. Com as pernas da manequim Verushka, os olhos atentos da inglesa Twiggy e o espírito livre de Leila Diniz, a mulher de 68 foi guerrilheira, intelectual e ultra sofisticada.

O espírito inglês dos Swingin London dominava a cena internacional e quem amava os Beatles vestia terninho no estilo mod, usado pelos dândis da classe média londrina. Em Paris, revolucionada pelas manifestações, os mestres da moda Courrèges, Pierre Cardin e Paco Rabanne davam sua própria virada, restrita aos ateliês de alta costura, já articulando outra revolução, a do prêt-à-porter.

Mauricinhos Rive Droite contra revolucionários Rive Gauche

A jornalista Christiane Fleury, filha do correspondente do grupo France Soir, Jean-Gérard Fleury, no Brasil, acompanhou os acontecimentos de maio de 1968. Em Paris, além dos confrontos estudantis e operários, havia, segundo ela, a oposição entre a juventude Rive Droite (o lado chique e rico da cidade) em relação a da Rive Gauche (a universidade da Sorbonne e arredores, coração das manifestações).

“Na época eu estudava no Liceu Francês no Rio e costumava passar três meses na cidade. Quando os conflitos aconteceram eu era Rive Droite e andava com os rapazes bonitinhos, que usavam pulôveres e coletes de Shetland (fina lã extraída de ovelhas criadas nas ilhas Shetland, na Escócia), um estilo college de fazer inveja a Ralph Lauren”, diz.

Mais tarde, quando foi estudar na Sorbonne virou Rive Gauche. Na Rive Droite nasceu o Bon Chic Bon Genre (BCBG), elegância mais tradicional, influenciada pela alfaiataria inglesa. Dos líderes de maio de 1968, Christiane gostava de Jacques Sauvageot, de paletó de veludo cotelê e camisa social, “o mais bonitão e charmoso”, lembra Christiane.

Nas ruas, segundo a jornalista, a Rive Gauche não usava nem Courrèges nem Cardin mas já aderia ao estilo hippie. “Quando fui enviada para cobrir uma exposição no Grand Palais pela revista Manchete, descobri que além dos ingleses, os franceses também estavam criando coisas interessantes com Courrèges, Cardin e Paco Rabanne, este último mostrando suas criações no Grand Palais e já fazendo seu merchandising com as modelos se apresentando dentro de carros”, conta.

  Rhodia, tergal e Bibba no Brasil

No Brasil a moda dos anos 60 entrou na era industrial com as fibras sintéticas (náilon, banlon e tergal) fazendo com que os revolucionários não perdessem o vinco. A produção em larga escala exigiu um marketing à altura, bancado pela Rhodia e idealizado pelo publicitário Livio Rangan, que promoveu os primeiros desfiles-espetáculo na Fenit (Feira Nacional da Indústria Têxtil) envolvendo artistas como Volpi e Aldemir Martins na criação das estampas, em verdadeiros shows com roteiro de Carlos Drummond de Andrade, Millor Fernandes e Torquato Neto.

Muito antes da loja Bibba de Barbara Hulanick em Londres, já tínhamos a nossa, inaugurada no dia 15 de novembro de 1960, em Ipanema, por José Luiz Itajahy. “Voltei da Inglaterra e passei a comprar modelagens nas principais lojas de lá adaptando-as para o Brasil”, conta José Luiz, hoje dono do restaurante Sushi Jardin, em Búzios.

Inimigo ferrenho do sutiã, José Luiz se orgulha de ter colaborado para liberar várias mulheres: “Eu vivia com uma tesoura no bolso de trás da calça. Quando via que podia cortar o sutiã da cliente, eu cortava”. Itajahy vestiu a atriz Dina Sfat (outra musa da época) para o prêmio Molière. “Ela estava esperando bebê, com um barrigão e preocupada com o sapato pois o pé inchara. Vesti a Dina num tecido de gase pintado e a convenci a ir descalça”.

Para entrar no clima sixty 68

Em ritmo de “vale a pena usar de novo”, as meninas voltaram a garimpar nos brechós clássicos como a boina para dar um ar francês. Se você usa óculos o look fica perfeito e intelectual mesmo que não tenha lido uma linha do “Segundo sexo”, de Simone de Beauvoir. A seguir um roteiro de estilo:

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Terninho: a estilista Nica Kessler apostou no look mas recomenda: “quebrar o combinadinho com sapatos e acessórios coloridos.

Minissaia: Quando a estilista Mary Quant criou a peça fez também meias coloridas para que não chocassem demais. As minis de hoje fazem boa parceria com meias coloridas sem esquecer que as brancas dão o ar futurista lançado por Courrèges e Cardin na época.

Gola Rulê: Um clássico dos anos 60 tanto para homens como para as mulheres. Fica super revolucionário retrô sob vestes e vestidos, completados por botas baixas e mais largas.

Acessórios: Lenços, óculos enormes, anéis e brincões no gênero Verushka farão você botar um pé nos 70, quando no Brasil os sonhos revolucionários foram destruídos pela ditadura e a moda, hippie, colorida e desbundada, virou uma válvula de escape.

http://www.maryquant.co.uk/home.htm

AS BAD GIRLS ESTAO  DE VOLTA

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Depois das bonitinhas de plantão, o estilo atrevido e descolado das rebeldes sem causa faz sucesso novamente entre as celebs. O único probleminha é que, vez ou outra, elas perdem o rumo e exageram na dose.Elas não param de causar. Escândalo, sensação, rebeldia. Para o bem e para o mal. Abusam das mordomias, beijam mulheres na boca, se enchem de remédios, caem bêbadas em seus carros luxuosos, mas não saem das primeiras páginas de jornais, revistas e sites de celebridades. Agora atire o primeiro piercing quem não adora uma personalidade ousada, interessante, desafiadora e ainda por cima estilosa.

O motivo mais provável dessa atração é que, em parte, acabamos nos reconhecendo nessas bad girls. Isso porque não existe alguém que num dia difícil da vida não tenha desejado chutar o pau da barraca. Bernardo Jablonski, psicólogo e professor da PUC do Rio de Janeiro, explica que só não botamos isso sempre em prática porque pensamos no que os outros – o que inclui mãe, namorado, polícia, amigos, vizinhos – vão pensar. “Então, refreamos nossos desejos e nos satisfazemos assistindo ao desempenho dos outsiders, admirando e invejando quem ousa nadar contra a corrente”, diz.Amadas a distância e geralmente odiadas por quem está por perto, as bad girls que mais nos fascinam são as que têm algum talento para mostrar. Correm riscos, se expõem, mas acreditam no que fazem. E dão o seu recado. A seguir, algumas rebeldes de hoje e outras que já fizeram história.  Regina Valadares

1930 MARQUESA LUISA CASATI
A aristocrata italiana ficou conhecida na belle époque por andar nua sob seu casaco de pele. Acompanhada por um par de lulus com coleiras de diamantes, frequentou a nata da sociedade europeia. Seus empregados a serviam nus, com uma folha de ouro tapando as partes íntimas. Foi musa de artistas e designers e ainda hoje inspira a marca Marchesa.

1970 VIVIENNE WESTWOOD
A estilista inglesa não inventou o rock, mas foi quem melhor o vestiu. Seu estilo inteligente, anarquista e nada convencional é revolucionário. Aos 67 anos, ela é a avó de todos os movimentos que propõem mais e mais liberdade. Não existe nada mais inspirador do que uma mulher que se recusa a sucumbir, não importa a idade. E continua a inovar.

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1980 MADONNA
Quanto é marketing e quanto é verdade, não importa. O fato é que ela é um símbolo sexy há 20 anos. Fez fotos eróticas, filme sexy, filme sério, teve filhos, casou, descasou e criou um estilo. Crucifixo, sutiã em forma de cone, chapéu de caubói, ela reinventa a moda e se reinventa. E, aos 50 anos, continua inteirona!

 

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Headband

A headband is a clothing accessory worn in the hair or around the forehead, usually to hold hair away from the face or eyes. Headbands generally consist of a loop of elastic material or a horseshoe-shaped piece of flexible plastic or metal. They come in assorted shapes and sizes and are used for both practical and fashion purposes.

Horseshoe-shaped headbands are sometimes called Alice bands after the headbands that Alice is often depicted wearing in Through the Looking Glass.

Tiara

 Traditionally the Tiara is a form of headgear that is similar to a crown. The Tiara is usually worn by female members of a royal family. The literal translation of the world tiara means high crown. However unlike a crown the tiara is not a completely circular. Although circular in shape it does not meet at the back of the head. In ye olden times they were made out of leather or other fabric and were decorated with fine jewels and made to look beautiful. They were worn by the most dignified and prestigious members of the society such as the kings or emperors.

There were a wide variety of different variations on the theme and many different societies found innovative ways of decorating the tiara to show how prestigious it was. It is noted that the Assyrian people around the 15th to 20th century BC used bull horns as a symbol of authority and these were also decorated with feathers. The tiara was also popular in Persian times but differed slightly in that they featured more jewels and less feathers. The Persian version was also a little more like a crown as it had a tall cone like peak at the top and was more like a closed hat than the more modern open version.

Another common place where you might see a Tiara is in the Roman Catholic Church. The Papal tiara is a hat that is worn by the Pope. It is a ceremonial piece of headwear that comprises of three crowns that bear a globe and it is seen as an indicator of authority. This has not been worn for a while and it has been removed from the Pope’s Holy See coat of arms but it still plays a large symbolic role.

The modern tiara is a semi circle design that sits on the top of the head. It is usually a metal band that is more often than not decorated with jewels. Nowadays it is not used as much as a mark of rank or authority but more so as a form of adornment. Women usually wear them at very formal occasions to supplement a beautiful dress. They are often seen in events such as beauty pageants and are used to show which of the contestants have won and it is seen as a regal symbol. It is synonymous with head wear that would be worn by a princess and is as a result a very feminine item. Many women choose to wear them at their wedding. It is an extremely prestigious adornment.

The queen owns the most valuable collection of them in the world and people travel for miles to see her collection. They are property of the royal family and the queen is regularly seen wearing them at large occasions. It is said that the tiaras that she owns personally are priceless. She received the majority of these priceless items as heir looms but she has also received a number as gifts from foreign dignitaries. She was given a beautiful aquamarine tiara as a present from Brazil and Queen Alexandra has given her many of these gifts.

 http://www.umdecada.com.br/