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1960-1969
Posted by Karina Reddy | Last updated Aug 18, 2020 | Published on Jul 23, 2019 | 1960-
RECENT ESSAYS
1969, 20th century, decade overview

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1876 –
OVERVIEW James
Tissot,
Summer
in 1870-1879,
Fashion in the 1960s became progressively more casual across all 19th century,
artwork analysis
genders and ages. Womenswear followed three broad trends: a
continuation of the previous decade’s ladylike elegance, the youthful adinkra
styles of Mary Quant and the Space Age influence, and the late 1960s in 17th century,
18th century,
“hippie” style. Menswear saw an increasing amount of color and 19th century,
20th century, a,
pattern, military influence, and new fashion icons in the form of rock africa, bipoc,
term definition
stars. Children’s wear saw less change, but also became more casual
and bright in color and pattern.

TWITTER

WOMENSWEAR Tweets from

@FITfashionstor

B
roadly categorized, there were three main trends in y
1960s womenswear: 1) the lady-like elegance
inherited from the previous decade seen on the likes Fashi…
… · 4h
of First Lady Jacqueline Kennedy, 2) the fun, youthful designs
popularized by Swinging London, and 3) the Eastern- Mary Cassatt’s The
Boating Party shows
influenced hippie styles of the late 1960s. Along with these
important changes in
diverse styles, there came a shift in the way that women art and culture near
shopped and for whom the styles were created. the end of the 19th
century. The Boating
In the early years of the decade, fashion continued along the Party depicts evolving
cultural norms around
lines of the 1950s. Skirt suits and coordinating accessories
Fig. 1 - Hubert de Givenchy
women and sport, and
were emphasized as one decade transitioned into the next. (French, 1927–2018). Suit, the rise of
1960. Wool. New York: Brooklyn
First Lady Jacqueline Kennedy epitomized this look during her Museum Costume Collection at womenswear
husband’s presidential campaign and short presidency. She
The Metropolitan Museum of Ar, separates. Read more!
2009.300.453a, b. Gift of the
Brooklyn Museum, 2009; Gift of fashionhistory.fitnyc.e
was admired around the world for her put-together, lady-like Lauren Bacall, 1967. Source: du/1893-94-cassat…
The Metropolitan Museum of Art
look consisting of boxy skirt-suits like the Givenchy suit in
figure 1 and navy suit in figure 2, sheath and A-line dresses
(Fig. 3), and luxurious coats–all accessorized with white
gloves, pearls, and a matching hat. This look was being
produced by the likes of Hubert de Givenchy and Cristóbal
Balenciaga (Fig. 4), but as the decade progressed, it became
7
clear that the momentum was towards a new kind of designer
in the 1960s. Fashi…
… · 21h

INSTAGRAM

Fig. 2 - Robert Knudsen Fig. 3 - Cecil Stoughton

(American, 1929-1989).
President John F. Kennedy and
First Lady Jacqueline Kennedy
attend Mass at St. Mary’s
Church, Newport, Rhode Island.,
October 8, 1961. Negative; (2.25
x 2.25 in). Boston: White House
Photographs. John F. Kennedy
Presidential Library and
Museum, KN-C19037. Robert
Knudsen. White House
Photographs. John F. Kennedy
Presidential Library and
Museum, Boston. Source: John
F. Kennedy Presidential Library
and Museum
(American, 1920-2008). First
Lady Jacqueline Kennedy tours
the island palace of Jag Mandir
(also called the “Lake Garden
Palace”) on Lake Pichola, during Fig. 4 - Cristobal Balenciaga
her visit to Udaipur, Rajasthan, (Spanish, 1895–1972). Cocktail
India., March 17, 1962. dress, 1962. Silk. New York: The
Negative; (2.25 x 2.25 in). Metropolitan Museum of Art,
Boston: White House 1994.147.3. Gift of Rosamond
Photographs. John F. Kennedy Bernier, 1994. Source: The
Presidential Library and Metropolitan Museum of Art
Museum, ST-C117-20-62. Cecil FOLLOW US
Stoughton. White House
Photographs. John F. Kennedy
Presidential Library and

! "
Museum, Boston. Source: John
F. Kennedy Presidential Library
and Museum

The cultural phenomenon termed Swinging London began in

Fig. 5 - Photographer unknown.
Swinging London. Teenagers in
London's Carnaby Street., 1969.
The National Archives UK. INF
14/147. Source: Flickr
1955 but reached its zenith in the early- to mid-1960s. It was a
!
phenomenon that focused on youth, spotlighting music and
fashion. It brought us The Beatles and the miniskirt, Twiggy
(Fig. 9) and The Who. The designer who led the way in the
“youthquake” was Mary Quant who opened her first shop,
LOGIN
Bazaar, on the King’s Road in Chelsea, London in 1955.
Quant’s simple, colorful designs appealed to teenagers and
young people who had more disposable income than any ' U S E R N AM E

generation before. It differed from the stuffy looks of the older

generation and appealed to young women who embraced the
( PASSWORD
child-like styles Quant produced (Fig. 7). Fashion historian
James Laver writes of Quant in Costume and Fashion: A
Concise History, Login

lost my password
“Rejecting the constraints of seasonal shows, she
produced as many as twenty-eight collections during
her early years, creating simple, practical, often mix
n’match designs which had an element of
classlessness perfectly suited to the mood of the
sixties” (261-262).

Bazaar was in the new boutique style, a revolutionary new way

to shop that differed from the traditional designer atelier and
the department store. Besides the accessibility of the clothes

Fig. 6 - Mary Quant (British, Ca.

1934-). Ensemble, ca. 1968.
Wool, acetate. New York: The
Metropolitan Museum of Art,
1989.336a–c. Gift of Paula A.
Heidelman, 1989. Source: The
Metropolitan Museum of Art
in the shop, boutiques also created a frenetic atmosphere, as
seen in figure 5. In her book The Lost Art of Dress, Linda
Przybyszewski writes, “Boutiques were groovy places where
modern music played and young owners and customers
collaborated on new looks that came only in small sizes” (202).

One of the most revolutionary designs attributed to Quant was

the miniskirt and minidress (Fig. 6). Eschewing the prim below-
the-knee skirts of the late 1950s and early 1960s, by the mid-
sixties, young women were wearing skirts that fell at the upper
thigh. Like the short skirts of the 1920s, the miniskirt shocked
but was also a highly popular look for young women. Miniskirts
and minidresses were adopted by Parisian designers as Quant
and her contemporaries continued to gain popularity.

Fig. 8 - André Courrèges

Fig. 7 - Unknown. Jean
Shrimpton and Celia are wearing
Mary Quant designs, ca. 1960s.
Kristine. Source: Flickr
(French, 1923–2016). Boots,
1967-69. Leather. New York: The
Metropolitan Museum of Art,
1977.115.28a, b. Gift of Jane
Holzer, 1977. Source: The
Metropolitan Museum of Art
Fig. 9 - Unknown. Twiggy is
wearing Pierre Cardin, 1967.
Kristine. Source: Flickr

Along with the miniskirt came a craze for the playful, innovative
use of new materials and a focus on scientific progress. Newly
developed materials such as acrylics, polyesters, and shiny
PVC were used in women’s clothing while designers were
inspired by pop art and space, like the miniskirt in figure 10
and the dress in figure 11. Pierre Cardin and André Courrèges
debuted space-inspired designs in shades of white and silver.
Laver writes, “Courrèges’ Spring/Summer 1964 ‘Space Age’
collection featured ‘astronaut’ hats and goggles, white and
silver PVC ‘moon girl’ loon trousers, catsuits and white patent
or kid leather, mid-calf-length boots” (264, Fig. 8). Sheath and
A-line minidresses, both without defined waists, were popular
silhouettes. These modern designs dominated the mid-sixties
as fashion moved toward a more playful and freeing look.

While the miniskirt reached its height mid-decade, by the late

1960s, a new style and culture was emerging. Skirts dipped

Fig. 10 - Pierre Cardin (French,
1922-). Miniskirt, 1969. Wool,
plastic. New York: The
Metropolitan Museum of Art,
1977.412.2. Gift of Glady
Whitfield Solomon, 1977.
Source: The Metropolitan
Museum of Art
back to mid-calf and by 1969, the full-length maxi-skirt had
emerged (Fig. 12). This came with the move towards the
“hippie” aesthetic. Elizabeth Wilson writes in Gerta Buxbaum’s
Icons of Fashion: The Twentieth Century, “Between 1965 and
1967, the uncluttered, futuristic design of André Courrèges and
Mary Quant – featuring short skirts, childish pinafores, and
boxy shapes – were superseded by a return to the styles of Art
Nouveau, Hollywood, and William Morris” (98). Suede,
headbands, kaftans, Afghan coats, beads and other non-
Western elements of adornment were embraced as were
flowing skirts and secondhand clothing (Laver 267-268). Janis
Joplin, seen in figure 13, embraced this style in the late 1960s.

Both the “Mod” movement, to which Quant contributed, and

the hippie movement were part of a new model of “street style”
in which fashion is disseminated from the streets up to the
designers rather than vice versa. Jane Mulvagh writes in Icons
of Fashion, “1962 to 1968 were crucial years in which the
allure and originality of street style challenged, and finally
broke, the hegemony of high fashion” (86). The trajectory of
fashion in the 1960s saw three very diverse overarching styles
but also a shift from a designer-centric fashion ecosystem to
one where the consumer was at the center of creation.

Fig. 11 - André Courrèges

(French, 1923-2016). Dress,
1968. Cellulose acetate/styrene-
butadiene copolymer, rayon, silk,
cotton, metal. New York: The
Metropolitan Museum of Art,
2012.182. Purchase, The
Dorothy Strelsin Foundation Inc.
Gift, 2012. Source: The
Metropolitan Museum of Art
Fig. 13 - Ashley Famous
Fig. 12 - Mr. Eric. Mr. Eric
evening gown, 1969. Ink, Agency/Albert B. Grossman-
management. Publicity photo of
marker; (9 x 11 in). New York:
Bergdorf Goodman Custom Janis Joplin, 1969. Source:
Wikimedia
Salon Sketches. Source: SPARC
Digital

FASHION ICON: AUDREY HEPBURN

A
n enduring icon of the 1950s and ‘60s, movie star
Audrey Hepburn embraced the progression of sixties
fashion up to the hippie aesthetic of the last part of
the decade. Having firmly established herself as a leading lady
in 1950s films like Roman Holiday, Sabrina, and Funny Face,
Hepburn’s influence continued into the sixties.
Fig. 14 - Jurow-Shepherd.
Breakfast at Tiffany's
In 1961, she starred as Holly Golightly in one of her most Promotional Image, 1961. Laura
Loveday. Source: Flickr
iconic films, Breakfast at Tiffany’s (Fig. 14). In this film, like so
many others, Hubert de Givenchy designed the costumes,
including the iconic black dress from the opening scene (Fig.
17). Hepburn and Givenchy worked together both on- and off-
screen to create a simple, but stylish wardrobe that was easily
copied by women of all means.

Fig. 15 - Directed and produced

In the early 1960s, Hepburn wore feminine, Jackie Kennedy- by Stanley Donen;
cinematography by Charles
esque skirt suits. Like the First Lady, she paired these suits Lang. A screenshot from the film
Charade, 1963. Source:
with the requisite accessories: gloves and hat, like the green Wikimedia

Givenchy suit worn in Paris When It Sizzles in 1962 (Fig. 18).

The clothes she wore in 1963’s Charade would not have
looked out of place on Kennedy but also cut a stylish figure as
she gallivanted through Paris (Fig. 15). As the decade
progressed, so did her fashion. In the mid-sixties, Hepburn
began to wear more “Mod” styles with bright colors and
minidresses working their way into her wardrobe. In the 1966 Fig. 16 - World Wide
Productions. Audrey Hepburn,
film How to Steal a Million, she sported white-rimmed Peter O'Toole, "How to Steal a
Million", 1966. Classic Film.
sunglasses à la Space Age styles and a stylish bob hairstyle Source: Flickr

accented by dark eyeliner to give her the popular doe-eyed

look of the period (Fig. 16).

Though she would remain admired for her fashion for the rest
of her life, by 1969, when the fashion world had started to turn
to Eastern influences and longer skirts, Hepburn married
Andrea Dotti in a pink minidress (Fig. 19). Looking happy, she
represented the part of the population, including couture
designers like Givenchy, who had not yet embraced the new
style.

Fig. 17 - Jurow-Shepherd.
Breakfast at Tiffany's
Promotional Image, 1961.
Christina Saint Marche. Source:
Flickr
Fig. 18 - Bob Willoughby. Audrey
Fig. 19 - Unknown. Audrey
Hepburn in a Givenchy suit,
Hepburn and Dr. Andrea Dotti,
"Paris When it Sizzles", 1962.
1969. Kate Gabrielle. Source:
Laura Loveday. Source: Flickr
Flickr

MENSWEAR

J
ust as womenswear became more casual and colorful
throughout the 1960s, so too did menswear. While
menswear began moving towards a more casual style
in the 1950s, the frenetic energy of Swinging London found its
way with bright prints and colors for men. As there had not
been very much movement in men’s fashion for over a
hundred years, the change was striking. The V&A writes,

“Perhaps the most remarkable development in 1960s Fig. 20 - Unknown. A Stylish

Couple in the Rain in London,
dress was the dramatic change in menswear. For the 1963. Source: Pinterest
past 150 years, clothing for men had been tailor-made,
and plain and sombre in appearance. Now, colourful
new elements were introduced, such as the collarless
jacket, worn with slim-fitting trousers and boots”
(History of Fashion 1900-1970).

Where the mid- to late-1950s saw a rise in the popularity of

Italian style suits with narrow striped ties, menswear gradually
incorporated brighter colors and patterns, and ties began to
widen again as the decade progressed. The difference
between the conventional suit seen in 1963 (Fig. 20) and those
designed by Cardin (Figs. 22-24) and worn by George
Harrison (Fig. 21) is striking. Fig. 21 - Unknown. George
Harrison in a Granny Takes a
Trip Jacket, ca. 1960s. Source:
By the mid-1960s, even the suit itself was seeing changes. Pinterest

Brightly striped or patterned suits were worn by bold young

men, while even the trousers and jacket did not escape from
new styling. The V&A writes,

“As the 1960s gathered pace, the standard template

for a man’s suit began to accommodate subtly daring
new elements: the collarless jacket (a look popularised
by The Beatles in 1963, the year they launched their
first album) and slim-fitting trousers, matched with
heeled boots rather than shoes” (The Peacock
Revolution: 1960s Menswear).

As mentioned, even who was inspiring men’s style was

changing: where movie stars had been the primary style icons
since the 1930s, rock stars such as The Beatles, Jimi Hendrix,
and Mick Jagger, among others, became a primary influence
on men’s fashion.

Fig. 23 - Pierre Cardin (French,

Fig. 22 - Pierre Cardin (French,
1922-). Ensemble, 1960. Wool,
plastic, metal. New York: The
Metropolitan Museum of Art,
1977.25.17a–e. Gift of Pierre
Cardin, 1977. Source: The
Metropolitan Museum of Art
1922-). Ensemble, 1964. Wool,
metal, leather. New York: The
Metropolitan Museum of Art,
1977.25.16a–e. Gift of Pierre
Cardin, 1977. Source: The
Metropolitan Museum of Art
Fig. 24 - Pierre Cardin (French,
1922-). Ensemble, 1968. Wool,
leather. New York: The
Metropolitan Museum of Art,
1977.25.20a–e. Gift of Pierre
Cardin, 1977. Source: The
Metropolitan Museum of Art

From the mid-1960s, men’s fashion was influenced by military

elements, with many of the rock influences contributing to its
popularity. Mick Jagger (Fig. 26) and Jimi Hendrix (Fig. 25)
both sported military jackets during performances, while The
Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club
Band showed the band wearing neon versions of the styles
(Buxbaum 100). Partly thanks to this style, army-and-navy
surplus clothing stores and secondhand stores became
popular in the late 1960s. Like womenswear, menswear also
saw an influence from space as Pierre Cardin designed
futuristic clothing for men, too. In Swinging Sixties, Jenny
Lister writes,
Fig. 25 - Jim Marshall
Photography LLC. Jimi Hendrix
during his sound check at the “His ‘Cosmos’ collection of 1966/7 was too extreme to
Monterey Pop Festival, 1967.
Time. Source: Pinterest enter the mainstream, but elements of the look such as
turtle-neck sweaters, and zipped tunics in bonded
jersey, were taken up and worn with more accessible
styles” (34).

You can see some of these elements in the green suit from
1960 (Fig. 22) and the space-inspired suit from 1965 (Fig. 24).
By 1968, Cardin’s suits had returned to a more conventional
look, though the jacket still had a bold pattern (Fig. 24).

Like women’s fashion, menswear turned to Eastern influences

Fig. 26 - Photographer unknown.
Mick Jagger, ca. 1960s. Source:
Pinterest
and secondhand shopping in the late 1960s. Rejecting the
consumerism and synthetic materials of the earlier part of the
decade, men began to wear vintage clothes, especially those
from the 1930s and 1940s. This meant that men’s suits began
to widen again, as they had in the thirties and forties. George
Harrison was an early adopter of the style and the boldly
patterned suit jacket from boutique shop Granny Takes a Trip
he wore in the mid-sixties foreshadows the style to come (Fig.
21). Tie-dye, loose-fitting shirts, and velvet vests were all a
part of the men’s hippie aesthetic in the later part of the 1960s
while color continued to remain front and center. As the 1960s
moved into the 1970s, flared trousers, jeans, and long hair
were all widespread men’s styles.

CHILDREN’S WEAR

C
hildren’s clothing in the 1960s saw less change than
their adult counterparts. While women’s and men’s
fashion were changing quickly and radically,
children’s fashion changed at a much slower, subtler pace.
Both boys’ and girls’ fashion continued along the same lines in
the early sixties, but they did wear clothes made from the new
synthetic materials which were easier to care for.

Girls continued to wear dresses with defined waists and full

skirts at the beginning of the decade, like those seen in the
1962 Good Housekeeping feature (Fig. 28). Mary-janes, white
ankle socks, and peter pan collars all continued to be popular
aspects of young girl’s clothing, and girls were sometimes
even still required to wear white gloves for special occasions. Fig. 27 - McCall's. Girls' dress in
Three Versions/McCall's 8627,
As the decade progressed, however, girls’ fashion slowly 1966. Source: Pinterest

started to become more casual. Bright colors, bold patterns

such as plaids and bright florals, and oversized bows became
popular, like the fun styles featured in the McCall’s patterns
(Fig. 27). New silhouettes such as the A-line, dropped waist,
and babydoll began to replace the nipped-in waist of earlier in
the decade (Fig. 29). As styles became more casual, it
became more acceptable for young girls to wear pedal
pushers, shorts, and trousers while playing.

Fig. 28 - Good Housekeeping. Magic in the Air, 1962. Fig. 29 - Woman's Day. Playtime Pinafores, June 1966.
Classic Film. Source: Flickr Classic Film. Source: Flickr

One of the areas where girls did follow the trends of adults was
in accessories. Young girls could be seen wearing the same
brightly colored and patterned tights that young women wore
with their miniskirts. Others might wear the shiny white go-go
boots that went along with the Space Age fashions. In some
ways, many of the adult styles actually took after young girl’s
fashion rather than the other way around.

Boy’s fashion saw the popularity of denim and plaid throughout

Fig. 30 - Spiegel. Spiegel 1963
boy's suits and sport coats,
1963. Genibee. Source: Flickr
the decade. In the early 1960s, cuffed jeans and corduroy
pants were favorites paired with tucked in polo shirts and
athletic jackets or blazers. As the decade progressed, the color
and pattern that was seen in men’s clothing began to slowly
creep into young boy’s fashion (Fig. 30). Striped and plaid
blazers were popular formal options, while turtlenecks, a
popular style among men, and brighter colors such as red,
yellow, and orange were worn in the mid-sixties. Neither girl’s
nor boy’s fashion saw a strong influence from hippie fashion,
although some boys began to wear bell-bottom jeans in the
later part of the decade.

! 1950-1959 " 20TH CENTURY 1970-1979 #

REFERENCES:

Breward, Christopher, David Gilbert and Jenny Lister. Swinging Sixties: Fashion in London and Beyond 1955-1970.
London: V&A Publications, 2006. http://www.worldcat.org/oclc/552142953.
Brown Jones, Bonny. “Fashion for Children in the 1960s.” Our Everyday Life, January 10, 2019. Accessed June 27,
2019. https://oureverydaylife.com/fashion-for-children-in-the-1960s-12487774.html.

Buxbaum, Gerda. Icons of Fashion: The 20thCentury. Munich: Prestel Verlag, 2005.
http://www.worldcat.org/oclc/773599428.
Ewing, Elizabeth. History of 20th-Century Fashion. 4th ed. London: B.T. Batsford Ltd, 2001.
http://www.worldcat.org/oclc/456545252.
Moseley, Rachel. “Audrey Hepburn – Everybody’s Dream Girl.” The Observer, March 7, 2004. Accessed June 27,
2019. https://www.theguardian.com/film/2004/mar/07/highereducation.gender.
Olivier, Lucy. “Jackie Kennedy – A True Fashion Icon.” The Telegraph, January 6, 2017. Accessed June 24, 2019.
https://www.telegraph.co.uk/films/jackie/true-fashion-icon-jackie-kennedy/.
The People History. “Vintage 1960s Children’s Fashion Clothes.” Accessed June 27, 2019.
http://www.thepeoplehistory.com/1960skidsfashion.html.

Przybyszewski, Linda. The Lost Art of Dress: The Women Who Once Made America Stylish. New York: Basic Books,
2014. http://www.worldcat.org/oclc/1023179396.
Stratford, SJ. “1960s Clothes for Girls.” Love to Know. Accessed June 27, 2019. https://childrens-
clothing.lovetoknow.com/1960s-clothing-girls.
Victoria and Albert Museum. “An Introduction to 1960s Fashion.” Accessed June 24, 2019.
https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion.
Victoria and Albert Museum. “History of Fashion 1900 – 1970.” Accessed June 24, 2019.
http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/.
Victoria and Albert Museum. “Introduction to 20th-Century Fashion.” Accessed June 24, 2019.
http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Victoria and Albert Museum. “The Peacock Revolution: 1960s Menswear.” Accessed June 24, 2019.
https://www.vam.ac.uk/articles/the-peacock-revolution-1960s-menswear.

HISTORICAL CONTEXT

WIKIPEDIA: 1960-1969

EVENTS:

1961 – John F. Kennedy becomes president. His wife, first lady Jacqueline Kennedy, soon
becomes a fashion icon. Fur coats are much sought after because they are seen as a status
symbol. Movements in the following decades protest vigorously against the wearing of fur.
1962 – The Sidney Janis Gallery in New York exhibits works by contemporary American pop
artists and the “Nouveau Realisme” movement in a groundbreaking show called the
“International Exhibition of the New Realists.”
1963 – The Beatles make their first national TV appearance. Their identical haircuts became a
popular look among young men on both sides of the Atlantic.
1964 – Young designers, including Mary Quant and Andre Courreges, introduce the miniskirt
and minidress.
Maija Isola designs the iconic Unikko (poppy) print for Finnish fashion firm Marimekko.
The first Biba store, the inspiration of designer Barbara Hulanicki, opens in London, selling
young, creative styles at budget prices.
1965 – Yves Saint Laurent’s Mondrian- inspired color blocks sweeps through the international
fashion world.
Young fashion designers, including Foale and Tuffin and Mary Quant, go on the British
“Youthquake” tours to the US arranged by the Puritan Fashion Corporation and J.C.Penney in
New York.
1966 – By early 1966 the waistline disappears, and designers like Norman Norell showcase
loose-fitting dresses with loose sleeves. Twiggy, the “Face of 66” and one of the world’s first
supermodels, shoots to fame. Jewelry designer Paco Rabanne causes a sensation when he
launches his linked chain and plastic paillettes and minidresses in Paris.
1967 – American fashion designer Geoffrey Beene presents his sequined football jersey
evening gowns, following his ball gowns in gray flannel and wool jersey shown the previous
year.
1968 – The rock musical Hair opens on Broadway and in London’s West End, making Marsha
Hunt a star and proclaiming “black is beautiful.”The first Ossie Clark for Radley collection is
shown at Chelsea Town Hall.
1969 – The Woodstock festival takes place in New York state, and is seen as a defining
moment of the “hippie era” and the counterculture of the 1960s. The US lands the first men on
the Moon, after space exploration earlier in the decade, which inspires space-age fashion
looks.

TIMELINE ENTRIES

1898-1981 – Ann Lowe
1950-1959, 1960-1969,
20th century, BIPOC,
designer profile
1927-2001 – Maija
Isola
1950-1959, 1960-1969,
20th century, designer
profile
1963 – Mankiewicz, 1963 – Visconti, The
Cleopatra Leopard
1960-1969, ancient, film 1860-1869, 1960-1969,
analysis 19th century, film analysis

1963-1969 – André 1964 – Glenville, 1966-1967 – Ann Lowe, Norell: Dean of

Courrèges, Coat Becket American Beauty American Fashion
Dress
1960-1969, 20th century, 1960-1969, film analysis, 1940-1949, 1950-1959,
1960-1969, 20th century,
garment analysis Middle Ages 1960-1969, 20th century,
BIPOC, garment analysis
blog

Norell: Flappers Back Roaring & Swinging:

In Fashion
1920-1929, 1960-1969,
20th century, LGBTQ+,
thematic essays
Shared Fashionable
Ideals of Flappers and
Mods
1920-1929, 1960-1969,
20th century, thematic
essays

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