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premierludwig
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![[*]](./images/xmbforum/default_icon.gif) posted on 19-7-05 at 02:09 PM |
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Trends Of The Mid-1960s workshop
Welcome to my VFG workshop the fashion trends of the mid 1960s. Please feel free to jump in with any questions, comments or knowledge that you wish to
share on the subjects I will be covering as I am hoping that this will work out as a friendly and fun exchange of information on this snapshot of
time, rather than me just throwing a lot of information at you all.
For those of you who have never encountered me before, I'm known as Senti (a nickname with a long history) and I am totally stuck in a 1960s
timewarp. I missed the 60s myself - being born in 1979 - but developed a love for this decade very early on, and now live in a 1960s house decorated
with the appropriate vintage wallpaper and furniture, wear mainly 1960s clothes, am a self confessed knee-high boot addict.
Not having lived through the fashions at the time, I've discovered them via films from the era and stacks of 1960s fashion magazines... so I can
usually pin down each look to a specific season and know what hairstyles and accessories would have been worn with it when it first came out.
My particular fashion idol of the era is Beatle girlfriend, model Pattie Boyd - so you'll be seeing quite a lot of her in this workshop - and I have
a love of the Dollyrockers range that Samuel Sherman created.
I've chosen to talk about the fashion trends that took place in the mid 1960s (focussing around 1965 and spilling over into 1966) as this is the era
that the most striking styles come from. The looks that film and television shows aim for when recreating the decade, the ideas that pop into
people's heads when setting up a swinging sixties fancy-dress party... and more importantly as far as I am concerned, the clothes that the mod crowd
of today are on the look-out for.
Senti (the blonde) and friend Gina (the Brunette) in their early mod days
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premierludwig
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| posted on 19-7-05 at 02:14 PM |
Reply #: 1 |
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THE BRITISH STYLE OF THE MODS
1965 was about the end of the mod scene in the UK. Mods were about style, sophistication, sharpness and individuality... and by 1965 the media had
caught up with them and everything they did was soon being copied by people across the country. Their look would soon be copied and adapted across the
Atlantic in America, and this large-scale reproduction of "mod style" more or less killed the movement off in England.
But the desire to be a mod, and to be considered sharp, stylish and individual never went away. So, four decades later, there is still a booming mod
scene throughout Europe, and a thriving 1960s scene basing itself on mod in the USA. The only difference is that these days mods don't create all the
newest trends, they emulate the look that was copied across the world in mod's heyday. It's as though the fashions, attitudes and music of 1965 and
1966 are frozen and preserved.
So if you're a wannabe mod, this is going to be your guide of the hottest fashions to get hold of, and if you're selling this kind of gear, you need
to know your mod audience... and mods are determined to have perfection.
The look is sharp, far out, often quite kooky, and most definitely British. And as much as we love our designer labels here at the VFG, those too are
out. Christian Dior is not going to create a stir among the mod crowd, and they were not the forerunners of mid-sixties style.
For the majority of the 1960s, the driving force behind fashion was no longer the big established houses of Parisian haute couture but small London
boutiques run by way out unknowns whose names and creations would soon go down in fashion, cultural and social history.
Among them there were Ossie Clarke's Quorum, Lee Bender's Bustop, Mary Quant's Bazaar, and Barbara Hulanicki's Biba which attracted 100,000
visitors a week in it's heyday.
So as they said in Vogue during 1965, "In New York it's the 'London Look', in Paris it's 'le style anglais',"
I'm now going to focus on a few of the major ideas that shaped mid-sixties fashion:
cut-outs
pop-art and op-art
geometric
black and white
vintage
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premierludwig
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| posted on 19-7-05 at 02:15 PM |
Reply #: 2 |
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CUT-OUTS
As British teen magazine Fabulous remarked in the Summer of 1965 when they asked Pattie Boyd to model the latest fashions for them, "this year it's
the Bit Of Dress That Isn't There that's making the greatest impact!"
For those who are striving to achieve the perfect 1960s look these days, the hardest essential item to find for your swinging wardrobe is the perfect
little crochet dress... and even more difficult is the age old concern of what to wear under it!
Crochet dresses were one of those 60s styles you had to be brave to wear when the classic version was a white figure hugging mini dress with a
generous supply of holes which were sometimes just a little too large and a little too close together.
"Every girl had a little crochet number. It was the ultimate dolly-bird dress. The only problem was what to wear underneath it. Unless you really
wanted to let everything hang out, you had to get one of those new flesh coloured body stockings" remembers a teen of the 1960s.
white crochet cling sweater
For those of you who do manage to find a groovy little crochet number to sell in your stores, it's best to market it to the brave and sexy by
suggesting it be worn with skin-tone underwear or - if the holes are small enough that you can get away with it - underwear precisely the same colour
as the crochet yarn.
For the less brave who are still determined to have this sort of item in their collection *and* go out in it, it is now almost impossible to find the
bodystockings designed for this purpose in the 1960s... but a modern equivalent is to visit a dancewear shop and purchase the flesh-coloured
undergarments that ballerinas wear - like a flesh-coloured leotard but very low-cut at both the front and back, and with very thin spaghetti straps.
This way it looks like you're being reckless and wearing nothing underneath, but *you* are safe in the knowledge you're not going to show anything
you shouldn't.
More modern versions of the little 1960s crochet dresses are much easier to wear as the pattern of holes are thought out so as to conceal certain
areas. A perfect example of this is the one Heather Graham wore in Austin Powers, which although it's not an original 1960s dress, I'd definitely
not say no if it were offered to me.
Heather Graham as Felicity Shagwell in the second Austin Powers film
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premierludwig
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| posted on 19-7-05 at 02:16 PM |
Reply #: 3 |
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If you weren't brave enough to have crochet holes everywhere, 1965 came to the rescue when cutouts were the style. Holes big or small cut into mainly
black and white fabric because cutouts were part of the whole op art boom when everyone was nicking the black and white creations of artist Bridget
Riley (as I will come to discuss later on). Cutouts in your dress, cutouts on the toes of your shoes, cutouts making a pattern on the top of your
Courreges style boots.
the classic cut-out look by Biba - white drill dress with keyhole cut-out over the chest area and cutaway
armholes
For the "retro-style" clothes of the 1960s revival in the 1990s, cut-outs were entirely placed so that they would reveal your cleavage. This sort of
fashion is still wildly popular with those attending 1960s fancy-dress events, and for the newbies to the 1960s scene. But for those in the mod scene
who are prepared to spend cold hard cash on clothes with cut-outs, nothing but the stylish original discreet cut-outs will do.
Cut-outs in clothing from 1965 and 1966 are singular large cut-outs in the upper half of a dress whereas cut-outs later on in the decade tended to be
multiple cut-outs in a band across the chest waist or hemline of an outfit, often using a daisy pattern or some other such novelty shaped cut-out. The
early look is easily identified as discreet and stylish, while the later is fun, bright bold and very youthful.
Chosen and modelled by Pattie Boyd - a denim dress with a bold, kooky cut-out in the front, from Sambo's
Dollyrocker range and originally costing £3 and 19 shillings. (The denim doughboy with a daisy pinned to the brim is by Edward Mann and cost 39
shillings and 11 pence)
Pattie Boyd modelling a grass green linen weave dress by Saville Sports with a discreet high neckline in front and a neat square, like a TV
screen, cut out of the back. Originally costing four and a half guineas. (The Courreges look hat is a fine white straw edged with black, designed by
Edward Mann and originally costing 79 shillings and 11 pence
The absolute classic-look cut-out item of the era, sought after by wardrobe people in the film industry, those attending 60s fancy-dress events, and
also the mod crowd and 1960s fashion collectors is the black and white panelled dress with a central cut-out. Inferior copies of these were widespread
in the 1990s, but an original complete with a recognisable 1960s name such as Dollyrockers, Angela Cash, Blanes, Mary Quant, or Foale and Tuffin would
be a tremendous find.
A perfect example of this kind of item is shown below, complete with it's 1965 caption... please also note the cut-out boots with cut-out toes and
cut-outs around the top. These were made by the theatrical shoemakers Anello and Davide (who also made the famous Beatle Boots) and were probably the
most popular footwear worn by any of the female in-crowd of the 1960s:
Outside Buckingham Palace, Pattie's bare look for the beach is a razzle dazzle black and white towelling
shift with a cut-out wide enough to display a captivating square of sun-tanned midriff. (By Angela Cash, 4 guineas.)
Cut-outs on footwear were most definitely not just for go-go boots, in 1965 and 1966, cut-outs all over shoes were almost an absolute essential.
shoes from top to bottom: Luini, Clarks, Giusti, Christian Dior, Trevi and Holmes of Norwich. Dress from
Susan Small’s Trendsetters range
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premierludwig
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| posted on 19-7-05 at 02:20 PM |
Reply #: 4 |
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In 1965 fishnet also moved from your stockings to the midriff of your dress or top and made up the entirety of your sleeves too. This was a much more
easily wearable style which lasted for a relatively short period of time, and can instantly pin-down an outfit to this era when seen on more
conservative outfits such as knee-length dresses, ankle length dresses with a slit up the side, and casual trouser suits.
Pattie Boyd's "jump" suit, in white cotton, has a wide peekaboo fishnet midriff. The matching hat has a
mesh crown. (By Mary Quant's Ginger Group, 8gns.)
a swinging shift with a wide midriff filled in with holed-up fishnet. By Angela Cash, £7 19s. 6d. The gingham hat is by Edward Mann, (29s.
11d.) As a side note, the groovy sun-specs seen in the picture had a built in transistor
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premierludwig
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| posted on 19-7-05 at 02:39 PM |
Reply #: 5 |
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Some of the most fabulous - and also the least comfortable and wearable - outfits from the cut-out phase were created by Austrian designer Rudi
Gernreich.
Gernreich became particularly famous in 1964 when he designed a topless swimsuit... but the cutout designs tht came later were much more wearable and
showed a flair for drawing attention to "the Bit Of Dress That Isn't There".
Rudi's take on the cut-out was a little different to other designers. Sometimes there were so many cutouts that the item was made up entirely of the
thin bits imbetween the holes... and another fabulous and innovative idea used the new vinyl fabric that Mary Quant had perfected, placing see-through
plastic in place of the holes. The problem with those of course was that vinyl was rather hot and uncomfortable to wear in those early stages before
the fabric was perfected, and the see-through sections had a tendancy to steam up!
Here are a couple of my favourite cut-out outfits designed by Rudi, modelled of course by the fabulous Peggy Moffit who worked exclusively for
Gernreich in the 1960s and 1970s.
vinyl dress and boots using see-through plastic in place of an actual cut-out
a swim suit that only just manages to be more decent than Rudi's famous topless swim-suit, made up almosy
entirely of holes and very little strategically placed fabric
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Patentleathershoes
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| posted on 19-7-05 at 02:57 PM |
Reply #: 6 |
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I have so much been looking forward to this workshop!
Firstly, how much do you attribute the Beatles to the success of Dollyrockers. Obviously, it had appeal, but because all the sudden Pattie Boyd was
a major "It" girl dating George Harrison, do you think she was like the Sienna Miller of her day being the girlfriend of the big star and whatever
she wears becomes so much more high profile? Or do you not think it made much of a difference to folks?
And secondly, you need to show us pictures of your Mod pad sometime!
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Hattysattic
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| posted on 19-7-05 at 02:58 PM |
Reply #: 7 |
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i'm really enjoying this senti!! that's an excellent idea about dancewear shops for bodystockings - i may invest in one for myself!
so tell me more 60's stuff, it's so much fun!..... 
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Hattysattic
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| posted on 19-7-05 at 02:59 PM |
Reply #: 8 |
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oh yes - what chris said! i need to see interior decor too!!
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premierludwig
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| posted on 19-7-05 at 03:06 PM |
Reply #: 9 |
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I think that when Pattie started dating George, anything she wore became the thing to wear. All of the Beatle girlfriends were followed diligently by
so many of the fans, and anything they did was instantly copied. Pattie was the easiest for anyone to emulate as her beauty tips were all over the
fashion magazines, and she was there modelling (mostly) affordable clothes in magazines which told you where you could get those clothes that very
week.
I think once people actually bought the Dollyrockers range and realised how lovely the fabric was, how nice the cut was and how fabulous the range was
that they didn't really need her anymore. It was always the Pattie Boyd design even when she'd long since stopped modelling their clothes.
On the other hand, Jane Asher was a Beatlegirl and modelled for some magazines, but the items she wore never took off as much as the things Pttie
wore. I think Pattie had a certain something that made her stand out. So to begin with it was 90% Beatle and 10% Pattie herself looking lovely...
and then after that - if they were anything like me - you were hooked.
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premierludwig
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| posted on 19-7-05 at 03:12 PM |
Reply #: 10 |
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I find the bodystockings from the dancewear shops *essential*, I'd hardly ever dare wearing my crochet dresses without them. I sometimes wear them
with matching underwear, but I always have to have a "minder" with me (ie a man) the whole time if I do that as you wouldn't believe the trouble
you get going out dressed in a crochet dress! If I'm wearing the bodystocking they usualy stare at me so long trying to work out if I'm wearing
anything underneath that I get the chance to escape before they come for a closer look! LOL!
... and when I'm sewing 60s patterns for myself and I'm making a mini-dress, I try and get enough fabric to make some matching underwear too... that
way I feel safe no matter how short my skirt! I've found the 60s magazines tips on how to walk and go up stairs in a mini skirt esential too. I
don't think most modern girls could cope if I stuck them in most of my clothes, they'd be showing their underwear left right and centre!
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Patentleathershoes
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| posted on 19-7-05 at 03:15 PM |
Reply #: 11 |
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It's also interesting that you mention the crocheted dress. Many people automatically think 60s crochet=late 60s hippie/bohemian and do not
associate it with "mod". I suppose one has to rely on cut.
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premierludwig
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| posted on 19-7-05 at 03:15 PM |
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Okay, interior of my house... I haven't got too many pictures to be honest, but I do have one with a picture of the mural that's on my bedroom
wall:
and here's an example of my scary wallpaper:
My pride and joy (well, one of them) is just creeping into the right hand side of that picture - my 1960s HMV stereo cabinet. It's a huge piece of
furniture, and the sound is still beautiful on it, much better than any of the modern CD players I've bought so far. The speakers are just fabulous
on it. I found it under a pile of old doors in a second hand furniture warehouse and bought it for about £20!
I really should take pictures of my fabulous kitchen and my bizarre furniture though as they're the most instantly recognisable as 60s.
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premierludwig
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| posted on 19-7-05 at 03:19 PM |
Reply #: 13 |
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crochet was *very* popular in the early 60s, mainly with people making their own clothes using patterns from fabulous publications like Vogue knitting
magazine. Crochet is very quick so you can make a whole mini-dress in no time.
Early crochet items are very neat and repeat the same pattern throughout, whereas the late 60s hippie dresses you are thinking of tended to have
flower-creating stitches added to the crochet here and there, and have built up areas where crochet has been done over the top of the original piece
of work.
I'll try and scan in some examples of the early crochet dresses before the end of the workshop so that you can see what I mean.
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premierludwig
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| posted on 19-7-05 at 03:23 PM |
Reply #: 14 |
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POP ART & OP ART
The Pop Art boom inspiration obviously came from comic book style art, but it's strong foundations in fashion and the whole reason it suddenly became
such a popular fashion statement was actually down to a pop musician.
In 1965 a mod band called The Who become wildly popular. The were loud, forceful, brash and determined to stand out in every way possible. They'd
been groomed a few years previously by Mod Ace Face, Pete Meaden, who had turned them all onto the mod scene and it's stylish cutting-edge ways.
There were a few grumbles amongst some of the group as they were persuaded into the usual mod gear, but the songwriter and lead guitarist of the group
- Pete Townshend loved ever minute of it.
He was an art school student and while studying he had been trained in some radical new art ideas and also met his future wife Karen who was studying
fashion design. With mod, all the new ideas came together, and Pete soon stopped the band being a step behind the mods, copying their fashions and
started creating his own.
He got rid of the regular striped mod shirts and created a style for the band based on pop images - targets, flags, comic book images such as the
Superman logo and slogans such as "zap!" and "pow!" - which quickly caught on. As a very visual band as far as their stage show was concerned,
they were instantly popular with the media and their new fashions were soon splashed all over magazines and teenage TV shows such as Ready Steady Go
and A Whole Scene Going.
The Who in the early stages of Pete's pop art transformation
This bold new fashion fad - that was easy to manufacture at home with a few bits of brightly coloured material cut into bold shapes and stuck on
dresses, coats and sweaters - was soon adopted by the fashion designers of the day, and soon even the fabulous Mary Quant was using Pete's ideas.
Pattie Boyd in a Mary Quant creation using a target motif
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premierludwig
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| posted on 19-7-05 at 03:25 PM |
Reply #: 15 |
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Another art based fashion that became wildly popular around this time was Op Art, an art form popularised by artist Bridget Riley who created
amazingly fascinating pieces of work using a series of black and white shapes and patterns of different thicknesses and positions to create the
optical illusion that the flat art work was bulging, twisting or moving in front of your eyes.
Everyone was so enthralled with Riley's work that it started to appear on absolutely everything, from wallpaper to dress and upholstery fabric.
Bridget Riley's "Blaze"
Pop group The Who in more pop art mod gear such as jackets made out of flags... and drummer Keith Moon on
the left with a version of "Blaze" on his t-shirt
Bridget herself was not impressed with this widespread fashion appreciation of her work. "I've yet to see an Op Art fabric which is wearable."
Riley said in 1966 to Queen magazine, "I think they're ugly beyond belief."
Bridget Riley standing in front of her art work
An early Ossie Clark creation using quilted op-art fabric modelled by Chrissie Shrimpton in the presence of
the designer
June 1965 - Pattie Boyd in UK Vogue wearing an electric pattern zig-zag beach playsuit of navy and white cotton.
As op-art has again become quite widespread on fashion in the past few years, you will only really be able to identify 1960s op-art by the type of
fabric, label, and the style of the item. Modern versions do tend to be more conservative than the 1960s versions, so if you find something totally
over-the-top using masses of fine op-art print then you can almost be certain it's an item from 1965.
These examples of beach-wear issued during the op-art boom were from a selection designed by Rose Marie Reid and sold at Harvey Nichols and Kurt
Geiger:
A more dramatic use of op-art fabric can be seen here in a creation by Capucci that was featured in Vogue during Autumn 1965:
black and white threaded silk and fronded ostrich feathers, made into a short moulded jacket and sleeveless dress
with long drindl skirt. Fabric by Passementerie.
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dibs2002
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| posted on 19-7-05 at 03:26 PM |
Reply #: 16 |
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Great workshop Senti! I love the mod look, but wouldn't be caught dead in a miniskirt.
Deb
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vintageclothes-line
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| posted on 19-7-05 at 03:32 PM |
Reply #: 17 |
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Wow, Senti, this workshop is great. I happened to be there during this time so I can really relate! Will try to dig up some pictures.
Interesting about the hemline. Most of them are longer than I would expect. When did the hemline become shorter?
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premierludwig
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| posted on 19-7-05 at 03:41 PM |
Reply #: 18 |
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LOL! I practically live in mini skirts... but my best feature is my legs, so you use what you've got don't you. I was going to do a bit on mini skirts in this workshop, but decided they were
probably too well documented already... but they are almost a revolution in themself if you think about it.
I think the mini skirt was the start of really outrageous clothing fashions of the sixties that left little to the imagination, and it was also the
most easy to try... you'd find it easier showing your legs than going around in a topless dress... well I would anyway!
I think Vogue commented at the time that "Brevity is the soul of fashion", and with the mini you don't have to be *that* brave, you just decide
how short you can manage and go with that.
I don't think the US took to the mini as easily as the UK though (which is strange as you'd think we'd freeze to death in it here - hence the
introduction around this time of the maxi coat). When the mini hit New York, Mayor John Lindsay felt he had to comment and said, "It will enable
girls to run faster, and because of it they may have to."
In England, authority figures got involved with the mini debate in a different way, loving the girls wandering around showing their legs off, but
worrying that the trend was going to mean they'd get less tax money!
Skirts under 24 inches long were originally classified by British law as children's clothing, and therefore exempt from tax regulation, but due to
rapidly shrinking hemlines, purchase tax regulations were changed. From the first of January 1966 women's clothing was classified for tax according
to bust sizes rather than length... and that's all because of the mini skirt, so ladies with an ample busom can blame the mini skirt that they have
to pay more tax on their clothing!
Thanks for the support everyone... it's a little nerve wracking doing this!
I've found some perfect examples to explain the difference between mid-60s mod crochet and late sixties hippie crochet so I'm going to try and scan
those in and add them on.
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premierludwig
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| posted on 19-7-05 at 03:47 PM |
Reply #: 19 |
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The hemline became super short just in time for the new British tax law in 1966. The reason for the pictures so far having hems that just reach the
knees is that in early 1965, we were still all trying to be quite conservative in the UK, and knee length was considered just about respectable...
plus it's cold and we hadn't invented the maxi coat yet! As soon as the maxi came out at the end of 66 we wore micro minis with matching
underwear!
If you're into the mod look Deb, but don't like minis, the trouser suit is probably going to be more your scene. There's a little evidence of them
coming later on, and I'll try and dig out a bit more on the unisex looks of mod too, lots of striking smart geometric clothing, and totally without
the frills and showing your legs off! :-)
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Bonnie
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| posted on 19-7-05 at 03:48 PM |
Reply #: 20 |
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I am thoroughly enjoying your workshop Senti!! A job well done. I was born in the early 60's, so remember a lot of these fashions worn by my very
cool Mom!!
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bartondoll
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| posted on 19-7-05 at 03:48 PM |
Reply #: 21 |
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Senti this is great! Being a teen in the 60s, I idolized Patti Boyd and
SO wish I still had my clothes from this period. I lived in miniskirts and like so many during that time, my passion was anything British.
I recently purchased a 60s crochet white mini dress off of ebay that I'm pretty sure is authentic to the era. It is homemade, cute as heck, but it
is lined - was this a trend with the homemade items do you think?
Sue
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premierludwig
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| posted on 19-7-05 at 03:56 PM |
Reply #: 22 |
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A lot of homemade crochet items do have linings in them as people couldn't ensure that the holes they created were going to end up in the right
places, and protect their modesty. The manufactured crochet items usually worked the panels so that the denser stitching was around the areas you
wanted to cover up such as the chest area.
To be honest though, in the early to mid 60s, the majority of crochet items were hand made. It really is very evry quick and easy to do once you get
the hang of it, and when I first managed to do crochet stitches (it's one of those things where you can't do it at all, and then all of a sudden
something clicks and you've got it) I made myself a whole crochet hat while watching a half hour TV show... so a whole hat in half an hour was my
first attempt.
When you buy modern crochet items it's all the other way around (even if you are buying the 1990s Biba range), homemade items are without linings,
and all the manufactured items have linings. Most people these days wouldn't know what to do if you created a "how do I wear this" problem, they
just wouldn't buy the item. So modern crochet dresses have linings.
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premierludwig
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| posted on 19-7-05 at 04:01 PM |
Reply #: 23 |
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My mother had some very cool 60s clothes (which I have now permanently "borrowed") but her style was less mod style and mini skirts, and more like
Alexandra Bastedo in The Champions.
I'd never have discovered the more up-market 60s styles if it weren't for rummaging through my mother's clothes and her mother's clothes from that
era. I'd have just been stuck wanting Mary Quant and buying vintage clothes made for Marks and Spencers. ..I'm afraid she has now given me a bit
of a taste for the posh stuff though. I think that's another reason why Dollyrocker appeals to me - I have the fun of Mary Quant but with the silks
and satins of Dior. It's fabulous!
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premierludwig
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| posted on 19-7-05 at 04:11 PM |
Reply #: 24 |
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crochet dress from 1966 - basic repeated pattern used throughout to create a very smart suit dress
crochet trouser-suit / playsuit from the late 60s using a plain repeated pattern again, but adding masses of crocket flowers at the hems
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premierludwig
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| posted on 19-7-05 at 04:14 PM |
Reply #: 25 |
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I'm going to move to the next bit, but please feel free to continue with any questions or comments on things mentioned earlier, or bring in any
different styles you wish to discuss:
GEOMETRIC
A particular favourite fashion style of mine is geometric fashion. Made up of bold coloured fabrics cut into sharp lines that do not cling to the
wearer or follow their shape, but create entirely their own shape and look. The aim of geometric fashion was - for once - to draw attention away from
the wearer and onto the fashion itself. When you wear a geometric dress you almost become the dress, adopting it's shape, it's boldness.
Geometric outfits did not come in patterned material, they were usually made up of panels of vividly coloured fabric, and the motifs found on them
were as sharp and bold as the shape of the outfits themselves. This style of clothing was soon adopted for use by the airline companies, dressing
each stewardess in a sharp, smart and bold outfit that would instantly stand out among any airport crowd - and that bizarrely could exactly match the
logo and decoration of the aeroplane itself.
wool crepe playsuit by Alice at Quorum
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premierludwig
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| posted on 19-7-05 at 04:16 PM |
Reply #: 26 |
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The British geometric style of 1965 was dramatically introduced to the US during the YouthQuake tour when the hottest young designers Mary Quant,
Marion Foale and Sally Tuffin grouped together and took their fashions on tour almost like a pop group. To add to the pop-group vibe, their star
models of the tour included Beatle George Harrison's girlfriend Pattie Boyd and her sister Jenny who worked alongside Sandra Moss and Sarah
Dawson.
two dresses by Mary Quant - Sarah Dawson in Regimental Tie shift, and Sandra Moss in Edwardian bather
three dresses by Foale and Tuffin
Pattie Boyd in sleeveless dress with "funburst" radiating from the low scoop neck to the hipline.
Jenny Boyd in Crossword Puzzle shift
Sandra Moss in Blazing Bands of Gold
The Youthquake label was launched in the US as part of Puritan Fashions and was still going strong by the end of the decade. The bright and bold
geometric clothing of the Youthquake tour was popular enough that a selection of Mary Quant's spring 1966 fashion range along the same lines was
launched on the Youthquake label and again promoted by Beatlegirl Pattie Boyd.
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premierludwig
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| posted on 19-7-05 at 04:18 PM |
Reply #: 27 |
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I am going to indulge myself now by showing you a full fashion spread from this range that was promoted in the March 1966 issue of Seventeen Magazine
OUR GIRL IN LONDON
(This title was a take on the "Letter From London" series that Pattie Boyd wrote for 16 Magazine in 1965, explaining the latest fashion and pop
music trends going on in the city, as well as sharing beauty and modelling tips)
PATTIE BOYD, top London model, is best known stateside for one of her hobbies: Beatle George Harrison. They met on the set of "A Hard Days Night"
(she had a bit part), have dated since. Pattie likes London best at night, prefers days in the country, where she rides and sketches.
This photo Pattie is posing with actor Tom Courtenay (Dr. Zhivago). All of the clothes are Mary Quant
designs made available in the U.S. through Puritan Fashions. Pattie tries versions of a Mary Quant special: navy with "Stinging acid green." To
take the gray out of a rainy day, a dress of rayon crepe in navy with wide bands of acid green; it's narrow at the top, flaring to the hem. About
$20.
Pattie posing with artist William Feilding 26. A slip of a dress in the same colors, the same floating fabric, this time in a pared away
shape with a low belt, the famous Quant low pockets, and eyeleted white band above the green-banded hem. About $23.
Pattie posing with the Merseybeats at the Scotch of St. James Club. Acid green is the color power with a navy yoke and low navy pockets.
That clever eyeleted white band reappears, sandwiched between two bands of navy. Dress of rayon crepe, about $18.
Pattie posing with interior designer Jon Bannenberg. Mary Quant mixes up navy, red and white for a colorful scramble as fire- crackling as the
Fourth of July! Pattie's white jumper is cut, cut, cut away for an apron look. Of cotton twill, about $15, worn with a ribbed sweater by
Alberoy.
Pattie posing with actor David Warner. Her cotton twill navy skimmer has dashes of white at neck, arms, hem, plus red button-down
pockets. About $18.
Pattie posing with sports enthusiast George Drummond, one of the richest young men in England. Triple-play bands of red and navy edge
Pattie's tunic; front and center: a pocket for her stop watch! About $15. Long lean pants, about $11. Both are cotton twill.
Pattie posing with Jon Bradshaw an American magazine writer living in London. A suspender skirt is of butcher-striped cotton. The straps
have brass eyelets all the way along; they buckle in an X. About $15. The ribbed sweater is by Alberoy.
Pictures by JOHN COWAN
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vintageclothes-line
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| posted on 19-7-05 at 04:31 PM |
Reply #: 28 |
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Here are a few 60s scans that I have from an encyclopedia yearbook. Have more but I think these would follow what you have commented on thus far. I
believe these photos would be 1967, reviewed in the 1968 yearbook.
This is a Dior.
Another Dior.
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premierludwig
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| posted on 19-7-05 at 04:35 PM |
Reply #: 29 |
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The Paris designers also used a lot of geometry in their designs during this period, but the look they created was stark rather than bold and fun.
They also mainly failed to use to vivid colours that designers such as Quant and Foale and Tuffin used which tended to give their outfits a rather
bland look.
short straight jersey shift by Yves Saint Laurent with white torso, blonde skirt, vertical black bands and
left shoulder in grey
The geometric style produced some amazing eye-catching outfits that were perfect at hiding the shape of the wearer and creating a whole new shape and
appearance all by themselves... but as the look progressed over the decade, it went rather extreme and never managed to improve or even match the
success of the look when it was launched in the mid 1960s.
As you can see in the example below, by 1969 the bold bright colours and strong geometric shapes had gone to the extreme and had completely wiped out
the femininity of the wearer:
Mouche in a suit by Ken Scott pictured in Vogue 1969
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