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4 6 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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1950s
The 1950s saw the rst effects of the postwar baby boom. The term teenager was coined for
the surge of young adults that provided a new market for fashion. In the era of rock ’n’ roll,
bobby soxers in poodle skirts dancing at the sock hop and greasers in leather jackets driving
motorcycles were iconic looks. At the same time, the anticommunist suspicions and fearmon-
gering of McCarthyism took hold, and in models of dress and behavior, social conformity ruled.
Coco Chanel made a successful comeback, reinventing the “Chanel suit” and introducing her
signature quilted leather handbag. The boxy suit was the ideal silhouette to serve as an alter-
native to the corseted waist and full skirt of the New Look. Another symbol of the brand, the
Chanel No. 5 fragrance, was immortalized in advertising by spokesperson Marilyn Monroe.
Over the course of the decade, the couturier Cristóbal Balenciaga offered women a radically
different silhouette. Already renowned for his vast knowledge of construction and technique,
Balenciaga discarded the hourglass to create simple, sleek, uid designs that formed a new re-
lationship to the body: Innovations that he introduced into fashion included the tunic dress, the
chemise dress, the balloon jacket, the baby doll dress, the cocoon coat, and the sack dress.
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Cristóbal Balenciaga and fashion editor Carmel Snow, 1952
Photograph by Walter Sanders/Time Life Pictures/Getty Images.
Photograph by Arnold Newman/Getty Images.
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Fa s h i o n Hi s t o r y 47
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1960s
Lo n d o n i n t h e 1960s w a s a t t h e ce n t e r o f a cu l t u r a l mo ve me n t i n mu s i c a n d f a s h i o n t h a t Vogue
e d i t o r Di a n a Vr e e l a n d i n 1963 t e r me d a “y o u t h qu a ke . ” Th e t e e n a g e mo d e l Tw i g g y , b o r n Le s l e y
Ho r n b y , ca me t o e p i t o mi ze t h e mo d l o o k i n f a s h i o n w i t h h e r s h o r t h a i r a n d mi n i s ki r t s . Wh i l e
Ma r y Qu a n t , f a mo u s f o r h e r p o p a e s t h e t i c, a l s o ma d e cl a i m t o t h e i n n o va t i o n , t h e o r i g i n o f t h e
mi n i s ki r t i s g e n e r a l l y cr e d i t e d t o Fr e n ch d e s i g n e r An d r é Co u r r èg e s . Co u r r èg e s cr e a t e d u l t r a -
mo d e r n cl o t h i n g b a s e d o n g e o me t r i c s h a p e s a n d i n co r p o r a t i n g n e w ma t e r i a l s s u ch a s vi n y l ,
r u b b e r , a n d p l a s t i c. Th e w h i t e a n d s i l ve r Mo o n Gi r l co l l e ct i o n o f 1964 i s t y p i ca l o f h i s w o r k,
r e e ct i n g s o ci e t y ’s f a s ci n a t i o n w i t h t h e Sp a ce Ra ce . Tw o o t h e r s t r o n g i n u e n ce s o n f a s h i o n
w e r e t h e p o p a r t mo ve me n t , e s p e ci a l l y t h e p r o d u ct i o n s o f An d y Wa r h o l , w h o ma d e s t a r s o f
u n d e r g r o u n d p e r s o n a l i t i e s l i ke Ed i e Se d g w i ck, a n d t h e h i p p i e co u n t e r cu l t u r e t h a t e xp l o r e d a
h edo n i s t i c r el a t i o n s h i p t o cl o t h i n g a n d g r o o mi n g .
Di a n a Vr eel a n d
Photograph by Arnold Newman/Getty Images.
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4 8 THE FASHION DESIGN REFERENCE + SPECIF ICATION BOOK
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An dy Wa r ho l , pa per “so uper dr ess’”
In t he Ken n edy Whi t e Ho use, a pt l y dub b ed Ca mel o t , Ja cquel i n e Ken n edy b eca me t he symb o l
o f Amer i ca n st yl e. A t r ue f a shi o n co n n o i sseur , t he Fi r st La dy dr ew o n i n uen ces f r o m t he l ea d-
i n g co ut ur e ho uses o f t he da y. Fo r her st a t e w a r dr o b e she cho se desi g n er Ol eg Ca ssi n i ; her
f a mo us pi l l b o x ha t w a s cr ea t ed b y Ro y Ha l st o n , t hen hea d mi l l i n er a t Ber g do r f Go o dma n ’s i n
New Yo r k. Ken n edy’s si mpl e b ut el eg a n t dr esses a n d b o xy ja cket s a n d co a t s, cha r a ct er i zed b y
so l i d co l o r s a n d ea se o f mo vemen t , w er e w i del y co pi ed.
Pa co Ra ba n n e, w eddi n g go w n
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Photograph by Leon Neal/AFP/Getty Images.
Photograph by Louisa Gouliamaki/AFP/Getty Images.
Photograph by Brian Hamill/Getty Images.
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Fashion History 4 9
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1970s
Marked in the early years by the opposition to the Vietnam War, the oil crisis, Nixon’s impeach-
ment, and the rise of the Women’s Liberation and Black Power movements, the 1970s were a
decade of disillusionment and experimentation. It was a time when the ease and widespread
availability of air travel led to a conglomeration of ethnic trends from every corner of the world,
among them caftans, kimonos, turbans, peasant blouses, fur vests, and quilted jackets.
Hemlines ran the gamut from mini to maxi and platforms were the shoe of choice. The popular-
ity of disco and glam rock permeated fashion with glitter by way of satin, sequins, rhinestones,
Lurex, and lamé in gure-molding styles. By contrast, rejecting glamour or prettiness, the punk
scene emerged with ripped and frayed clothing held together by safety pins and chains; body
piercings were the preferred adornment. Vivienne Westwood, who would go on to design many
in uential collections, added bondage gear to the punk fashion mix, in the store she opened
with music impresario Malcolm McLauren called Sex.
Diane Keaton and Woody
Allen in Annie Hall, 1977
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In the early 1970s Diane von Furstenberg introduced her jersey knit wrap dress, a classic that
would be popular for much of the decade (and appear again in the late 1990s). At the same time,
trouser suits and three-piece suits became a popular addition to a woman’s wardrobe. In 1977
Ralph Lauren’s costumes for the movie Annie Hall turned Diane Keaton’s character into a symbol
of the modern women who could adopt and be empowered by the trappings of menswear.
The couture house of Yves Saint Laurent rst put women in tuxedos in 1966 and in trouser
suits in 1969. In the 1970s Saint Laurent continued to de ne an ultrafeminine style garnered
from men’s clothing. He also drew from the global mix to present his groundbreaking Russia
collection with its rich colors and opulent fabrics in 1976; the following year he launched the
perfume Opium.
Photograph by Louisa Gouliamaki/AFP/Getty Images.
Photograph by Brian Hamill/Getty Images.
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5 0 THE FASHION DESIGN REF ERENCE + SPECIFICATION BOOK
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1980s
The 1981 w eddi n g o f Pr i n ce Cha r l es a n d La dy Di a n a Spen ser gr ea t l y i n uen ced br i da l a n d
even i n g w ea r f a shi o n s, pr o duci n g a gl ut o f f r o t hy r uf ed co n f ect i o n s w i t h l a vi sh bea di n g.
Sho ul der pa ds r et ur n ed t o w o men ’s cl o t hi n g, a n d desi gn er jea n s beco me a must -ha ve i t em.
Tel evi si o n sho w s l i ke
Dallas a n d Dynasty t o o k br o a d-sho ul der ed po w er dr essi n g t o a n ew pl a ce
w i t h vi br a n t co l o r a n d spa r kl e. The cul t ur a l excesses o f t he 1980s w er e ca pt ur ed i n Ma do n n a ’s
“Ma t er i a l Gi r l . ” At t he sa me t i me, t he per f o r mer Ci n dy La uper spa r ked a gr o w i n g i n t er est i n
vi n t a ge cl o t hi n g by cr ea t i n g a n ecl ect i c l o o k o f her o w n .
By sha r p co n t r a st , t he deca de a l so beca me t he set t i n g f o r a n a va n t -ga r de Ja pa n ese i n t er pr e-
t a t i o n o f f a shi o n , i n t r o duci n g co l l ect i o n s by desi gn er s such a s Issey Mi ya ke, Yo hji Ya ma mo t o ,
a n d Rei Ka w a kubo o f Co mme des Ga r ço n s. The a est het i c w a s si mul t a n eo usl y si mpl e a n d
co mpl ex, a ust er e a n d vi br a n t , a n d i t a ddr essed t he a r t o f cr a f t i n g ga r men t s i n a w a y Eur o pea n
a n d Amer i ca n desi gn er s ha d n o t yet co n si der ed.
Di a n a Vr eel a n d w a s f i r ml y est a bl i shed a s a co n sul t a n t t o t he Co st ume In st i t ut e o f t he Met -
r o po l i t a n Museum o f Ar t , cul t i va t i n g a n ew i n t er est a n d r espect f o r t he hi st o r i ca l i mpo r -
t a n ce o f f a shi o n . The 1980s w er e a l so t he deca de o f t he super mo del , t r a n sf o r mi n g mo del s
such a s Li n da Eva n gel i st a , Chr i st y Tur l i n gt o n , Na o mi Ca mpbel l , a n d Ci n dy Cr a w f o r d i n t o
cel ebr i t i es. At t he sa me t i me, desi gn er s such a s Ca l vi n Kl ei n , Ra l ph La ur en , a n d Do n n a
Ka r a n beca me ho useho l d n a mes.
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Ma do n n a , Li ke A Vi r gi n to ur , 1985
Cyn di La uper
Photograph by Dave Hogan/Getty Images.
Photograph by Barry King/WireImage.
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