1960s Mens Casual 1966 Teenage Fashion

Costume and mode in the 1960s

Way of the 1960s featured a number of diverse trends. It was a decade that broke many fashion traditions, mirroring social movements during the fourth dimension. Around the middle of the decade, fashions arising from pocket-sized pockets of young people in a few urban centers received large amounts of media publicity, and began to heavily influence both the haute couture of elite designers and the mass-market manufacturers. Examples include the mini skirt, culottes, go-go boots, and more than experimental fashions, less often seen on the street, such as curved PVC dresses and other PVC clothes.

Mary Quant popularized the mini skirt, and Jackie Kennedy introduced the pillbox lid;^[one] both became extremely popular. Fake eyelashes were worn by women throughout the 1960s. Hairstyles were a variety of lengths and styles.^[2] Psychedelic prints, neon colors, and mismatched patterns were in style.^[iii]

In the early-to-mid 1960s, London "Modernists" known equally Mods influenced male fashion in Britain.^[4] Designers were producing habiliment more suitable for young adults, which led to an increase in interest and sales.^[5] In the late 1960s, the hippie movement also exerted a potent influence on women's wear styles, including bell-lesser jeans, tie-dye and batik fabrics, as well as paisley prints.

Women's fashion [edit]

Early 1960s (1960–1962) [edit]

Loftier fashion [edit]

American fashions in the early years of the decade reflected the elegance of the Outset Lady, Jacqueline Kennedy. In improver to tailored skirts, women wore stiletto heel shoes and suits with short boxy jackets, and oversized buttons. Simple, geometric dresses, known as shifts, were also in way. For evening wear, total-skirted evening gowns were worn; these ofttimes had depression necklines and shut-plumbing fixtures waists. For coincidental clothing, capri trousers were the fashion for women and girls.^{[ citation needed ]}

Bikini [edit]

The bikini, named after the nuclear exam site on Bikini Atoll, was invented in France in 1946 but struggled to proceeds credence in the mass-marketplace during the 1950s, especially in America. The breakthrough came in 1963, after rather large versions featured in the surprise hitting teen motion-picture show Beach Party, which launched the Beach party moving picture genre.

The rise of trousers for women [edit]

The 1960s were an historic period of fashion innovation for women. The early on 1960s gave birth to drainpipe jeans and capri pants, which were worn by Audrey Hepburn.^[6] Casual apparel became more than unisex and frequently consisted of plaid button down shirts worn with slim blue jeans, comfortable slacks, or skirts. Traditionally, trousers had been viewed by western society every bit masculine, but by the early 1960s, it had go acceptable for women to habiliment them every solar day. These included Levi Strauss jeans, which had previously been considered blue neckband habiliment, and "stretch" drainpipe jeans with elastane.^[7] Women's trousers came in a variety of styles: narrow, wide, below the human knee, in a higher place the talocrural joint, and eventually mid thigh. Mid-thigh cut trousers, also known equally shorts, evolved around 1969. By adapting men's style and wearing trousers, women voiced their equality to men.^[viii]

Mid 1960s (1963–1966) [edit]

Infinite Age fashions [edit]

Space age fashion first appeared in the belatedly 1950s, and developed farther in the 1960s. It was heavily influenced past the Infinite Race of the Common cold State of war, in addition to popular scientific discipline fiction paperbacks, films and television series such equally Star Trek: The Original Serial, Dan Dare, or Lost In Infinite. Designers often emphasized the energy and technology advancements of the Common cold War era in their work.^[9]

The space historic period look was defined by boxy shapes, thigh length hemlines and bold accessories. Synthetic material was also popular with space age manner designers. After the Second Earth War, fabrics like nylon, corfam, orlon, terylene, lurex and spandex were promoted every bit inexpensive, easy to dry, and wrinkle-complimentary. The synthetic fabrics of the 1960s allowed space age mode designers such as the tardily Pierre Cardin to design garments with bold shapes and a plastic texture.^[10] Non-fabric material, such equally polyester and PVC, became popular in clothing and accessories every bit well. For daytime outerwear, curt plastic raincoats, colourful swing coats, chimera dresses, helmet-similar hats, and dyed false-furs were popular for young women.^[xi] In 1966, the Nehru jacket arrived on the fashion scene, and was worn by both sexes. Suits were very diverse in color only were, for the beginning time e'er, fitted and very slim. Waistlines for women were left unmarked and hemlines were getting shorter and shorter.

Footwear for women included low-heeled sandals and kitten-heeled pumps, as well as the trendy white go-go boots. Shoes, boots, and handbags were frequently fabricated of patent leather or vinyl.^{[ citation needed ]} The Beatles wore elastic-sided boots similar to Winkle-pickers with pointed toes and Cuban heels. These were known as "Beatle boots" and were widely copied by immature men in Britain.

The French designer André Courrèges was particularly influential in the evolution of space age fashion. The "space look" he introduced in the jump of 1964 included trouser suits, goggles, box-shaped dresses with loftier skirts, and become-go boots. Go-become boots eventually became a staple of go-go girl fashion in the 1960s.^[12] The boots were defined by their fluorescent colors, shiny fabric, and sequins.^[13]

Other influential infinite historic period designers included Pierre Cardin, Paco Rabanne, Rudi Gernreich,^[fourteen] Emanuel Ungaro, Jean-Marie Armand,^[15] and Diana Dew, though even designers like Yves Saint Laurent^{[16] [17] [eighteen] [19]} showed the expect during its pinnacle of influence from 1963-1967.^{[20] [21]} Italian-born Pierre Cardin^[22] was best known for his helmets, short tunics, and goggles.^[22] Paco Rabanne was known for his 1966 "12 Unwearable Dresses in Contemporary Materials" collection,^[9] which made utilise of chain mail service, aluminum, and plastic.^[23]

A timeless fashion piece: mini-skirt [edit]

German daughter wearing a miniskirt in Greece, 1962.

Although designer Mary Quant is credited with introducing the mini-skirt in 1964, André Courrèges also claimed credit for inventing the miniskirt. The miniskirt inverse way forever.

The definition of a miniskirt is a brim with a hemline that is generally between 6 and 7 inches above the knees. Early on references to the miniskirt from the Wyoming newspaper The Billings Gazette, described the mini-skirt equally a controversial item that was produced in Mexico City.^{[ citation needed ]} During the 1950s, the miniskirt began appearing in science fiction films similar Flight to Mars and Forbidden Planet ^[24]

Mary Quant and Andre Courreges both contributed to the invention of the mini-skirt during the 1960s. Mary Quant, A British designer, was one of the pioneers of the miniskirt during 1960. She named the brim after her favorite car, the Mini Cooper. Quant introduced her blueprint in the mid 1960s at her London boutique, Bazaar. She has said: " We wanted to increase the availability of fun for everyone. Nosotros felt that expensive things were almost immoral and the New Wait was totally irrelevant to us." Miniskirts became popular in London and Paris and the term "Chelsea Await" was coined.^[25]

Andre Courreges was a French fashion designer who also began experimenting with hemlines in the early 1960s. He started to bear witness space-historic period dresses that hit to a higher place the knee in late 1964. His designs were more structured and sophisticated than Quant'south pattern.^{[ citation needed ]} This fabricated the mini-skirt more than adequate to the French public. His clothes represented a couture version of the "Youthquake" street style and heralded the inflow of the "moon daughter" look.^[26]

Equally teen culture became stronger, the term "Youthquake" came to mean the power of young people. This was unprecedented before the 1960s. Before Globe State of war II, teenagers dressed and acted like their parents. Many settled downwards and began raising families when they were young, normally right afterward high school. They were frequently expected to work and assist their families financially. Therefore, youth civilization begins to develop only after World War Ii, when the advancement of many technologies and stricter child labor laws became mainstream. Teenagers during this catamenia had more fourth dimension to enjoy their youth, and the liberty to create their ain civilisation divide from their parents. Teens shortly began establishing their own identities and communities, with their own views and ideas, breaking away from the traditions of their parents.^[27] The fabulous "little girl" look was introduced to U.s.—styling with Bobbie Brooks, bows, patterned knee socks and mini skirts. The miniskirt and the "little girl" look that accompanied it reflect a revolutionary shift in the way people dress. Instead of younger generations dressing like adults, they became inspired by childlike dress.^[28]

Second-wave feminism made the miniskirt popular. Women had entered the professional workforce in larger numbers during Globe War Two and many women soon found they craved a career and life outside the home.^[29] They wanted the same choices, freedoms, and opportunities that were offered to men.^[thirty]

During the mid 1960s, Mod girls wore very short miniskirts, tall, brightly colored go-become boots, monochromatic geometric print patterns such as houndstooth, and tight fitted, sleeveless tunics. Flared trousers and bell bottoms appeared in 1964 as an alternative to capri pants, and led the way to the hippie menstruation introduced in the 1960s. Bell bottoms were normally worn with chiffon blouses, polo-necked ribbed sweaters or tops that bared the midriff. These were made in a multifariousness of materials including heavy denims, silks, and even elasticated fabrics.^[31] Variations of polyester were worn along with acrylics.^[4] A pop look for women was the suede mini-brim worn with a French polo-neck peak, foursquare-toed boots, and Newsboy cap or beret. This style was as well popular in the early on 2000s.

Women were inspired by the top models of the solar day which included Twiggy, Jean Shrimpton, Colleen Corby, Penelope Tree, and Veruschka. Velvet mini dresses with lace-collars and matching cuffs, wide tent dresses and culottes pushed aside the geometric shift. Imitation eyelashes were in vogue, as was stake lipstick. Hemlines kept rising, and by 1968 they had reached well above mid-thigh. These were known as "micro-minis". This was when the "angel dress" commencement made its appearance on the fashion scene. A micro-mini dress with a flared skirt and long, wide trumpet sleeves, it was usually worn with patterned tights, and was often made of crocheted lace, velvet, chiffon or sometimes cotton with a psychedelic print. The cowled-neck "monk dress" was another religion-inspired alternative; the cowl could exist pulled upwardly to exist worn over the head. For evening wearable, skimpy chiffon baby-doll dresses with spaghetti-straps were popular, every bit well as the "cocktail clothes", which was a close-fitting sheath, usually covered in lace with matching long sleeves.^[32] Plumage boas were occasionally worn. Famous celebrities associated with marketing the miniskirt included: Twiggy; model Jean Shrimpton, who attended an effect in the Melbourne Cup Carnival in Australia wearing a miniskirt in 1965; Goldie Hawn, who appeared on Rowan and Martin'due south Laugh-In with her mini skirt in 1967; and Jackie Kennedy, who wore a brusque white pleated Valentino dress when she married Aristotle Onassis in 1968.

The Unmarried Daughter [edit]

Writer, Helen Gurley Brown, wrote Sexual activity and the Single Girl in 1962. This book acted as a guide for women of any marital status to take command of their own lives financially as well as emotionally.^[33] This book was revolutionary since information technology encouraged sex earlier marriage; something that was historically looked down upon. With the high success of this book, a pathway was fix for media to also encourage this beliefs. Betty Friedan also wrote The Feminine Mystique the following year, giving insight into the suburban female experience, farther igniting women'due south push for a more than independent lifestyle.^[34] The 2d-moving ridge of feminism was getting its starting time during this period: pushing for a new feminine platonic to be capitalized on.

Fashion photography in the 1960s represented a new feminine ideal for women and young girls: the Single Girl. 1960s photography was in sharp contrast to the models of the 1920s, who were carefully posed for the camera and portrayed as immobile. The Single Girl represented 'movement'. She was young, unmarried, active, and economically self-sufficient. To represent this new Single Girl feminine ideal, many 1960s photographers photographed models outside—often having them walk or run in fashion shoots. Models in the 1960s besides promoted sports habiliment, which reflected the modern fascination with speed and the quickening pace of the 1960s urban life. Although the Single Girl was economically, socially and emotionally self-sufficient, the ideal body grade was difficult for many to achieve. Therefore, women were constrained by diet restrictions that seemed to contradict the prototype of the empowered 1960s Single Daughter.^[35]

Fashion photographers also photographed the Unmarried Girl wearing business wear, calling her the Working Daughter. The Working Girl motif represented another shift for the mod, fashionable adult female. Different earlier periods, characterized by formal evening gowns and the European look, the 1960s Working Girl popularized day wear and "working wearable". New ready to clothing lines replaced individualized formal couture fashion. The Working Girl created an paradigm of a new, independent woman who has control over her torso.^[35]

There was a new emphasis on ready-to-wear and personal fashion. As the 1960s was an era of exponential innovation, there was appreciation for something new rather than that of quality.^[10] Spending a lot of money on an expensive, designer wardrobe was no longer the ideal and women from various statuses would exist found shopping in the aforementioned stores.

The Single Girl was the true depiction of the societal and commercial obsession with the adolescent wait.^[10] Particular to the mid-sixties, icons such as Twiggy popularized the shapeless shift dresses emphasizing an epitome of innocence as they did non fit to whatever contours of the human body. The female body has forever been a sign of culturally synthetic ideals.^[36] The long-limbed and pre-pubescent manner of the time depicts how women were able to be more than contained, yet paradoxically, also were put into a box of conceived ideals.

Dolly Girl [edit]

The "Dolly Daughter" was another classic for immature females in the 1960s. She emerged in the mid 1960s, and her defining characteristic is the iconic miniskirt. "Dolly Girls" also sported long hair, slightly teased, of course, and childish-looking habiliment. Clothes were worn tight plumbing fixtures, sometimes even purchased from a children's section. Dresses were frequently embellished with lace, ribbons, and other frills; the look was topped off with light colored tights. Crocheted clothing likewise took off within this specific style.^[37]

Corsets, seamed tights, and skirts covering the knees were no longer stylish. The idea of ownership urbanized vesture that could be worn with separate pieces was intriguing to women of this era. In the past, one would only purchase specific outfits for certain occasions.^[38]

Tardily 1960s (1967–1969) [edit]

The hippie subculture [edit]

Starting in 1967, youth culture began to change musically and Mod culture shifted to a more than laid back hippie or Bohemian manner. Hosiery manufacturers of the time like Mary Quant (who founded Pamela Mann Legwear) combined the "Blossom Power" style of dress and the Pop Fine art school of blueprint to create manner tights that would appeal to a female person audience that enjoyed psychedelia.^[39] Ponchos, moccasins, love chaplet, peace signs, medallion necklaces, chain belts, polka dot-printed fabrics, and long, puffed "bubble" sleeves were popular fashions in the late 1960s. Both men and women wore frayed bell-bottomed jeans, necktie-dyed shirts, piece of work shirts, Jesus sandals, and headbands. Women would often become barefoot and some went braless. The thought of multiculturalism also became very pop; a lot of style inspiration was drawn from traditional habiliment in Nepal, India, Bali, Morocco and African countries. Because inspiration was beingness drawn from all over the world, there was increasing separation of mode; clothing pieces often had similar elements and created similar silhouettes, but in that location was no existent "uniform".^[forty]

Fringed buck-pare vests, flowing caftans, the "lounging" or "hostess" pajamas were as well popular. "Hostess" pajamas consisted of a tunic acme over floor-length culottes, normally made of polyester or chiffon. Long maxi coats, oft belted and lined in sheepskin, appeared at the shut of the decade. Creature prints were pop for women in the autumn and winter of 1969. Women'south shirts often had transparent sleeves. Psychedelic prints, hemp and the wait of "Woodstock" emerged during this era.^{[ commendation needed ]}

Indian way [edit]

Centre class Indian menswear followed postwar European trends, but nigh women continued to wear traditional dress such equally the sari.

In general, urban Indian men imitated Western fashions such as the business suit. This was adapted to India's hot tropical climate as the Nehru arrange, a garment often made from khadi that typically had a mandarin collar and patch pockets. From the early on 1950s until the mid 1960s, nigh Indian women maintained traditional dress such every bit the gagra choli, sari, and churidar. At the same fourth dimension as the hippies of the late 1960s were imitating Indian fashions, still, some style conscious Indian and Ceylonese women began to contain modernist Western trends.^[41] One especially infamous fad combined the mini-skirt with the traditional sari, prompting a moral panic where conservatives denounced the so-called "hipster sari"^[42] as indecent.

Feminist influences [edit]

During the late 1960s, at that place was a backlash past radical feminists in America against accouterments of what they perceived to be enforced femininity within the fashion industry. Instead, these activists wore androgynous and masculine clothing such as jeans, piece of work boots or berets. Black feminists ofttimes wore afros in reaction to the hair straighteners associated with middle form white women. At the 1968 feminist Miss America protest, protestors symbolically threw a number of feminine fashion-related products into a "Freedom Trash Tin," including false eyelashes, high-heeled shoes, curlers, hairspray, makeup, girdles, corsets, and bras^[43] which they termed "instruments of female torture".^[44]

Men's fashion [edit]

Early 1960s (1960–1962) [edit]

Business concern wear [edit]

During the early on 1960s, slim fitting single breasted continental way suits and skinny ties were stylish in the UK and America. These suits, as worn by Sean Connery as James Bail, the Rat Pack's Frank Sinatra,^[45] and the cast of Mad Men, were frequently made from grey flannel, mohair or sharkskin.^[46] Tuxedos were cut in a similar form plumbing fixtures fashion, with shawl collars and a single button, and were bachelor either in the traditional black, or in bright colors such as cherry-red or sky blue popularized past Frankie Valli of The Four Seasons. Men'southward hats, including the pork pie hat and Irish lid, had narrower brims than the homburgs and fedoras worn in the 1950s and before. During the mid 1960s, hats began to decline^[47] afterwards presidents John F. Kennedy and Lyndon B. Johnson appeared in public without one.^[48]

Ivy League [edit]

Ivy League fashion, the precursor to the modern preppy look, was desirable casual article of clothing for middle course adults in America during the early to mid 1960s. Typical outfits included polo shirts, harrington jackets, khaki chino pants, striped T-shirts, Argyle socks, seersucker or houndstooth sportcoats, sweater vests, cardigan sweaters, Nantucket Reds, basketweave loafers, Madras plaid shirts, and narrow brimmed Trilbys sometimes made from straw.^{[49] [l]} The way remained stylish for men over 21 until it was supplanted by more casual everyday clothing influenced by the hippie counterculture during the late 1960s and early on 1970s.^[51]

Mid 1960s (1963–1966) [edit]

Surf manner [edit]

In America and Commonwealth of australia, surf rock went mainstream from 1962 to 1966, resulting in many teenage baby boomers imitating the outfits of groups like The Embankment Boys. Pendleton jackets were mutual due to their cheapness, warmth and durability. Design wise the surf jacket suited popularly with nonchalance, warmth for littoral Californian climate, and utility pockets for surf wax and VW car keys, ii surf essentials (Pendleton Woolen Mills).^[52]

The Pendleton Surf Jacket expanded upon Fifties pop-cultural fashions, however new in its relaxed, intangibly cool vibe. The surf jacket split from the tough guy stone 'n' roll teen, and mellowing leather's stone attitudes to woolen plaids. Following Rock n Roll'southward pass up were rebels without causes, "Greasers" and "Beats"; dressed down in inappropriate daywear to denounce conformity, Sixties youth, inventors of Surf Way, expressed more nomadic and hedonically in this "dress down" style. Surf styles mainstreamed into manner when Soul Surfers wanted to brand livings in surfing-associated careers. They opened businesses that expanded selling surf products into selling surf clothing. These surfer entrepreneurs proliferate surf style by mixing their lifestyles into coincidental wearable.^[53] As Rock n Curlicue Beats, and Greaser car clubs used jackets to identify, and as 1950 varsity sports wore lettered cardigans, 1960s Surfies wore surf jackets to identify with surf clubs and as surfers (Retro 1960s Swimwear).^[54] Jackets worn as group status identifiers connected in the Sixties, merely with focus around beach music and lifestyle.

As surfers banded over localism, plaid and striped surf jackets gained relevancy. Teens wore them to proclaim surf clubs; what beach they were from, and where they surfed. For a surfer though, it is curious why a woolen plaid jacket paired with UGG boots, and non the board-brusk or aloha shirt identified the surfer. The Pendleton plaid, originally worn past loggers, hunters and fishermen, was a mutual detail of casual wear for American men of all classes before the British invasion. For the youth of the 60s, however, the plaid Pendleton signified counterculture, and tribal seamen style translated from Welsh folklore, rebellious Scots Highlanders, and rugged American frontiersmen (Bowe).^[55]

The Sixties invented the Californian Cool style, past relaxing style to escape Common cold War meltdowns with Polynesian fascinations, bridging the macho 1950s teen towards 1960s Hippie fashion. The Cold War's tense political context conceived Surf Fashion as a way to relax and escape established violence. California, the birthplace of American Surfing, likewise produced much of the technology experimentations used in the nuclear infinite race. Caltech designers in Pasadena were designing nuclear artillery for day jobs and were surfing at night. The mod surfboard blueprint itself originates from the military-industrial circuitous's production evolution, where the Manhattan Project's Hugh Bradner also designed the modern neoprene wetsuit (Inside the Curl).^[56]

Californian engineers for the Common cold War were also surfing and equally engineering that manner. Just as the Bikini'due south proper noun comes from a nuclear test site, Surf fashion in this era consistently references the Cold War context. Surfing became an attractive fashion identity in this era because it perpetuates adolescence, and the pursuit of pleasure in times of feet and paranoia. In a teenage-driven culture, which aimed to ignore establishment conflicts, surfers mused Hawaii and its associated tiki culture as a identify of escape with tropical paradises as the antithesis to mod order. This sustained Hawaiian flora and fauna patterns' in fashion its attraction. The Sixties Surfer was not the first to escape violence or revolutionize the pursuit of happiness through Polynesian fascination. Accounts of Thomas Jefferson theorize that his exposure to the surfer prototype in Due south Pacific travel journals influenced his imagined Pursuit of Happiness (Martin D. Henry).^[57] Similarly, Hawaii's surfer epitome and Californian translation responds to the decade's violence and further inspired total-on nonviolent revolutionary Hippie fashions.

Additionally, as Californian water inspired lifestyles influenced fashion, many guys improvised their own faded jeans using chlorine from backyard pond pools.^[58] Sneakers such as Converse All Stars made the transition from sportswear to streetwear, and guys in California and Hawaii began to grow out their pilus.^[59]

Mod and British Invasion influences [edit]

The Mods were a British way miracle in the mid-1960s with their parkas, tailored Italian suits, and scooters.

The leaders of mid-1960s style were the British. The Mods (brusk for Modernists) adopted new fads that would be imitated by many immature people. Mods formed their ain way of life creating television shows and magazines that focused directly on the lifestyles of Mods.^[1] British rock bands such as The Who, The Pocket-sized Faces, the Beatles, and The Kinks emerged from the Modern subculture. It was not until 1964, when the Modernists were truly recognized by the public, that women really were accepted in the group. Women had short, make clean haircuts and frequently dressed in similar styles to the male Mods.^[4]

The Mods' lifestyle and musical tastes were the exact opposite of their rival group, known as the Rockers. The rockers liked 1950s rock-and curl, wore black leather jackets, greased, pompadour hairstyles, and rode motorbikes. The look of the Mods was swish. They mimicked the clothing and hairstyles of loftier fashion designers in France and Italia, opting for tailored suits that were topped past anoraks. They rode on scooters, usually Vespas or Lambrettas. Modernistic style was often described every bit the City Gent look. The young men^[60] incorporated striped boating blazers and bold prints into their wardrobe.^[61] Shirts were slim, with a necessary push down collar accompanied past slim fitted pants.^[4] Levi'southward were the but type of jeans worn by Modernists.

In the USSR during the mid to late 1960s, Mods and Hippies were nicknamed Hairies for their mop top pilus.^[62] Every bit with the earlier Stilyagi in the 1950s, young Russian men who dressed this way were ridiculed in the media, and sometimes forced to become their hair cut in police stations.^[63]

Late 1960s (1967–1969) [edit]

Folk and counterculture influences [edit]

The late 1960s to early 1970s witnessed the emergence of the hippie counterculture and freak scene in Britain, Australia, New Zealand and America. Middle class youths of both sexes favored a unisex look with long hair, tie dye and blossom power motifs, Bob Dylan caps, kurtas, hemp waistcoats, baja jackets, bong bottoms, sheepskin vests, western shirts and ponchos inspired by acid Westerns, sandals, digger hats, and patches featuring flowers or peace symbols.^[64] Jimi Hendrix popularized the wearing of erstwhile military dress uniforms as a statement that war was obsolete.^[65] Early hippies, derisively referred to as freaks past the older generation, also used elements of roleplay such as headbands, cloaks, frock coats, kaftans, corduroy pants, cowboy boots, and vintage clothing from charity shops, suggesting a romantic historical era, a afar region, or a gathering of characters from a fantasy or scientific discipline fiction novel.^[66]

Peacock Revolution [edit]

By 1968, the infinite age mod fashions had been gradually replaced past Victorian, Edwardian and Belle Époque influenced manner, with men wearing double-breasted suits of crushed velvet or striped patterns, brocade waistcoats and shirts with frilled collars. Their hair worn below the collar bone. Rolling Stones guitarist Brian Jones epitomised this "dandified" look. Due to the colorful nature of menswear, the time period was described as the Peacock Revolution, and male trendsetters in Britain and America were called "Dandies," "Dudes," or "Peacocks."^[67] From the tardily 60s until the mid 70s Carnaby Street and Chelsea's Kings Road were virtual fashion parades, as mainstream menswear took on psychedelic influences. Business suits were replaced by Bohemian Carnaby Street creations that included corduroy, velvet or brocade double breasted suits, frilly shirts, cravats, wide ties and trouser straps, leather boots, and even collarless Nehru jackets. The slim neckties of the early 60s were replaced with Kipper ties exceeding v inches in width, and featuring crazy prints, stripes and patterns.^[68]

Hairstyles of the 1960s [edit]

Women's hairstyles [edit]

Women'southward hair styles ranged from beehive hairdos in the early office of the decade to the very brusk styles popularized by Twiggy and Mia Farrow just 5 years later to a very long direct way as popularized by the hippies in the late 1960s. Between these extremes, the mentum-length contour cut and the pageboy were also popular. The pillbox chapeau was fashionable, due almost entirely to the influence of Jacqueline Kennedy, who was a fashion-setter throughout the decade. Her bouffant hairstyle, described equally a "grown-upward exaggeration of piffling girls' hair", was created by Kenneth.^{[69] [seventy]}

During the mid and late 1960s, women's pilus styles became very big and used a large quantity of hair spray, as worn in real life by Ronnie Spector and parodied in the musical Hairspray. Wigs became fashionable and were often worn to add style and acme. The most important modify in hairstyles at this time was that men and women wore androgynous styles that resembled each other. In the UK, it was the new style for modernistic women to cut their hair short and close to their heads.^[71] Meanwhile, hippie girls favored long, straight natural pilus, kept in place with a bandana.

Men'southward hairstyles [edit]

For professional person men born before 1940, the side parted short back and sides was the norm in the UK, Europe and America from the early 60s until the terminate of the decade. Blackness men ordinarily buzzed their pilus short or wore styles like the conk, artificially straightened with chemicals. Blue neckband white men, especially erstwhile armed services personnel, oft wore buzzcuts and apartment tops during the summer. During the early to mid 60s, rebellious Irish-American, Italian-American and Hispanic teens influenced by the greaser subculture often wore ducktails, pompadours and quiffs.^{[ citation needed ]}

Due to the influence of mod bands similar the Beatles or the Rolling Stones, mop-top hairstyles were most popular for white and Hispanic men during the mid 60s.^{[ citation needed ]} The mod haircut began every bit a short version around 1963 through 1964, developed into a longer fashion worn during 1965–66, and eventually evolved into an unkempt hippie version worn during the 1967–1969 period and into the early 1970s. Facial pilus, evolving in its extremity from just having longer sideburns, to mustaches and goatees, to total-grown beards became popular with young men from 1966 onwards.

Head coverings changed dramatically towards the end of the decade equally men'due south hats went out of style, replaced by the bandanna, digger lid, Stetson, or Bob Dylan cap if anything at all. Every bit men let their hair grow long, the Afro became the hairstyle of choice for African Americans.^{[ commendation needed ]} This afro was not just a fashion statement only as well an keepsake of racial pride. They started to believe that by allowing their hair to grow in its nature state without chemical treatments, they would be accepting their racial identities.^[72]

Prototype gallery [edit]

A selection of images representing the fashion trends of the 1960s:

• 

  First Lady Jacqueline Kennedy wearing a scarlet wool dress with matching jacket. She was a mode icon in the early 1960s.

• 

  Singer and actress Barbra Streisand in 1962 wearing a top with a crew-neck. Her pilus is teased at the crown.

• 

• 

  A velvet minidress from 1965.

• 

  American daughter wearing a mini skirt and patterned tights, 1966.

• 

  Fashion model from Leipzig, Gdr wearing a wool arrange trimmed with fur and a matching fur chapeau, 1966.

• 

  Immature woman wears her hair in a headband with flipped ends, 1967.

• 

  Woman at a Singapore zoo, 1967. Note her Pucci-mode print dress.

• 

  The popular "dandified" male fashion in 1968.

• 

  In the belatedly 1960s, brides often wore white mini wedding dresses.

See also [edit]

Fashion designers [edit]

• Barbara Hulanicki
• Rudi Gernreich
• Bill Gibb
• Guy Laroche
• Emilio Pucci
• Jean Muir
• Mary Quant
• Paco Rabanne
• Oscar de la Renta
• Yves Saint-Laurent (designer)
• Mila Schön

Way icons [edit]

• Marella Agnelli
• Anouk Aimée
• Brigitte Bardot
• Jane Birkin
• Amanda Brunt
• Pattie Boyd
• Claudia Cardinale
• Cher
• Consuelo Crespi
• Julie Christie
• Catherine Deneuve
• Farah Diba
• Faye Dunaway
• Jane Fonda
• Dolores Guinness
• Gloria Guinness
• Audrey Hepburn
• Jacqueline Kennedy
• Sophia Loren
• Babe Paley
• Lee Radziwill
• Vanessa Redgrave
• Jacqueline de Ribes
• Diana Ross
• Diana Rigg
• Edie Sedgwick
• Nancy Sinatra
• Queen Sirikit
• Sharon Tate
• Raquel Welch
• Steve Winwood
• Natalie Forest
• Stevie Wright
• Jayne Wrightsman
• Harry Vanda
• Gloria Vanderbilt

Supermodels [edit]

• Marisa Berenson
• Pattie Boyd
• Capucine
• Colleen Corby
• Cathee Dahmen
• Celia Hammond
• Lauren Hutton
• Donyale Luna
• Nico
• Jean Shrimpton
• Penelope Tree
• Twiggy
• Veruschka
• Agneta Frieberg

Fashion photographers [edit]

• Richard Avedon
• David Bailey
• Cecil Beaton
• Hiro (photographer)
• William Klein
• Patrick Lichfield
• Terry O'Neill
• Norman Parkinson
• Lord Snowdon
• Bert Stern

Teenage subcultures [edit]

• Greaser subculture
  • Rocker subculture
  • Raggare
  • Bodgies
• Mod subculture
• Soc subculture
• Youthquake
• Surfer
• Beatnik
• Hippie
• Rude Male child
• Skinhead
• Blackness Panthers

Other [edit]

• Carnaby Street
• Miniskirt
• Swinging London
• Twiggy
• Vogue
• Diana Vreeland

References [edit]

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External links [edit]

• "1960s Style and Textiles drove". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Retrieved 2007-06-08 .
• "60s Fashion in the Round". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Archived from the original on 2007-11-26. Retrieved 2007-12-09 .
• "1960s - 20th Century Fashion Cartoon and Illustration". Mode, Jewellery & Accessories. Victoria and Albert Museum. Archived from the original on 2011-07-14. Retrieved 2011-04-03 .
• "Swing Fashion – Coats and Jackets". Swing Fashion. Way Ode. Archived from the original on 2015-01-12. Retrieved 2014-12-23 .
• Everyday Life in the 1960's - Expired Knowledge

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