In the 1950s and early 1960s there were no styles for America's youth. As soon as they outgrew their children's clothing they wore the same clothes as their parents, they became scaled down versions of them. Many young women wore hats, gloves, and high heels when they went out in public, just like their mothers. The young people wanted to break out of the conservative, restrictive clothing of their parents. This desire led to many youth trying to create their own styles and create their own fashions. T hese desires led to the mod movement and the other fashions of the 60s. The 60s became the first decade that styles were geared toward the youth. "It was a time full of short skirts, bright colors, graphic patterns, and unusual materials" (Fitzgerald).
The Mod movement started as a British youth movement in the mid 1960s. This scene included art, drugs, fashion (usually characterized by wild clothing) and music. It's hard to define Mod because each scene and individual had their own definition. The M od movement, however, gave America's youth (once it traveled across the ocean) fashion they could wear (Gerson). The Mod movement affected every aspect of fashion. I will break it down into categories and explain each aspect.
The "sack dress" reinvented women's fashion. It had a new skinner look (Jennifer). In 1965 the culotte dress was introduced. This dress had the appearance of a dress, but was actually shorts. It came in many vibrant color patterns. The baby doll dress came out in 1966. This was usually transparent chiffon over a contrasting slip. The waist line was very high in these dresses. In 1967 the paper dress became popular. It was made of paper blended with Nylon. Paper clothing will be discussed in greater det ail below.
The skirts of the 60s had shorter and shorter hemlines. Some say this "led to the moral decline of society and youth" (Jennifer). In 1966 the mini skirt was introduced. In New York the skirt was four to five inches above the knee, in London it was seve n to eight inches (Jennifer). The skirts were usually paired with matching tights and sweater.
The popular tops were the cardigan twin sets. The same sets that one can see many people wearing today. Turtleneck sweaters were also very popular. Most of the sleeves on blouses were three quarter length. In the mid 60s sleeveless tops became popular. In 1964 most women wore reversible coats that were made of tweed and were plaid. In 1965 the mini coat took over. This coat was straight and shapeless. Finally in 1967 capes became popular (Jennifer).
At last in the 60s there were seamless tights. There were many different colors and textures to compliment the mini skirts. In 1967 the first pantyhose were made. By 1968 every closet had at least one pair of pantyhose (Jennifer). In 1964 the trouser s uit was introduced. Tweed and courduroy were the popular fabrics for pants (Jennifer).
Shoes in the 1960s were made of different fabrics and were made bigger. In 1963 the black leather boots were introduced. These became a staple for any Mod (Fitzgerald). In 1965, chisel toed sling-back shoes were the most popular dress shoe (Jennifer). In the same year Go-Go boots were introduced. These came to mid-calf or above the knee and were worn to compliment the mini skirts (Jennifer).
The fabrics of the 60s were mainly synthetics. Nylon was widely used and was dubbed "the miracle fabric" (Jennifer). Lurex was used for the glittery look. PVC was very important in the pop clothing movement of 1966 (Jennifer).
"The basis of Western dress, whether considered a fashion or a fad, is newness and change" (Cunningham 85). The paper clothing fad from 1966-1968 was certainly a change and undoubtedly new. It all started with the Scott Paper Co. in 1966. The company p ut out two dresses to promote their new line of "Colorful Explosions" (88). The two dresses had the same A-line sleeveless pattern but were of different prints. One was black on white op-art design and the other was red, black and yellow with small paisle ys. These dresses were not made of regular paper. Scott Co. used its patented 'Dura-Weave'. This 'paper' was a mixture of non-woven tissue cellulose strengthened by rayon mesh (90).
Many other companies began producing paper clothes. These companies produced dresses, as well as, bellbottom jumpsuits, men's vests and jackets. Swim trunks were made from Tyvek plastic, to be distributed at hotels for use by their guests. As public in terest grew more styles were added. Zippers, velcro and snaps were used to enhance the paper garments. Wedding dresses, pant suits, slippers, hats and men's suits were made (Cunningham 91).
After a while, paper garments made their way into designer boutiques. As Marylin Bender remarked, "It (fashion in the 1960s) ceased to filter down from the top-from the haute courtiers and the women of educated taste whom they dressed-to the masses. It ascended from the populace to the plutocrat" (Cummingham 89). The designers saw that a majority of the public liked these new 'paper' clothes. In order to compete in business, the designers had to sell their own 'paper' clothes. One boutique sold a "fur" coat. Pieces of paper were tied in bows and then tied together to create the illusion of fur (89).
This fad was another way for the American people to be non-conformist. It also allowed people to be fashionable without feeling guilty about the cost, the clothing was very cheap (Cunningham 92). This fad was also very convenient, "it created a portabl e lifestyle that cannot be discarded and replaced at convience" (93).
In 1968 the 'paper'clothing fad started to decline. Paper clothes gave way to Mod and Pop styles. The hippie lifestyle took over fashion. People were upset about ecological issues, there was too much pollution and waste. These paper clothes were provid ing much of that waste.
During the Vietnam War, the younger generations of America had widespread rejections of mainstream social norms, including fashion (Cunningham, 34). Jeans became a personal outlet for their opinions and views. They decorated and embellished their jeans with beads, buttons, ribbons, etc. This allowed their jeans to become a vocal personal statement and would fit no one else (34). Sewing became an acceptable and creative outlet. Women and men alike learned necessary stitches to work on their own clothes (35).
Along with jeans, came T-shirts. The T-shirt was another outlet for personal statement. Groups or organizations could cheaply put their message on a T-shirt and get mass circulation. This, in a way, was advertising. A much more effective way than on bi llboards or in written texts. People noticed them because they were on other people. Tie-Dye T-shirts were also popularized during this time. They were seen as going against the norm and thus, going against the war (Stein).
The jeans and T-shirt style allowed people to express their feelings and views on the war. It also helped to desegregate the classes in America. "In the 1960s one couldn't tell the difference between farm workers and the supporters of farm workers" (St ein). In jeans and a T-shirt everyone looks the same.
Cunningham, Patricia A. and Lab, Susan Voso, eds. Dress and Popular Culture. Bowling Green, Ohio: Bowling Green State University Popular Press, 1991.
Fitzgerald, Lynn."1966". http://www.geocities.com/FashionAvenue/5362.november20,1998.
Gerson, Lisa."Modlist". http://www.modernist.com/modlist/
Jennifer."1960's Ladies' Style Site". http://www.geocities.com/SoHo/4473/
Stein, Julia."Clothing in the 1960s". http://lists.village.virginia.edu/listservs/sixties-l/jun.26.96. june26,1996.
Email: stknapp@syr.edu