60s space age jewelry fashion11/17/2023 ![]() ![]() Though the space age movement technically began in the 1950s, it flourished in the ‘60s. Helmed by Paco Rabanne and Jacques Fonteray, Barbarella’s costume design serves to flawlessly encapsulate the invigorating aesthetics of the space age movement. The film’s moral revelations, however, have nothing on the boundless provocativity of its costume design, which practically invented molded body plates and chainmail dresses. Both Fonda and Vadim were emphatic that Barbarella had no sense of guilt about her body or bold sexuality. Barbarella (Jane Fonda) herself is a scantily clad space-traveler of the 41st century whose sexuality and freeness are impossible to measure against our contemporary morality. It cares more about sex politics than elevating what was a largely neglected genre because Vadim wanted a playful spectacle rather than a cerebral exercise. T.358-1974.Roger Vadim’s 1968 space drama Barbarella takes kitschy sci-fi to an alternate dimension, one of campy eroticism. Knitted Circle evening dress, Zandra Rhodes, 1969, UK. This new direction was reflected in the fashions of Zandra Rhodes, Foale and Tuffin, and Yves St Laurent, all of whom demonstrated an interest in ethnic textiles. London's Kensington Market became a mecca for young people wanting to create their own alternative look, selling lots of colourful clothing, much of it sourced in India. Fashion leaders began to sport long, loose and layered outfits, inspired by second-hand, or 'vintage' styles, often from the late nineteenth century and the 1930s. ![]() The ideas and mix-and-match aesthetic of California's hippy movement crossed the Atlantic, giving people free rein to 'live different', and to sport clothing from a range of non-Western cultures. People moved towards Eastern culture for inspiration. With war in Vietnam and student uprisings in France, opinion-formers began to disapprove of Pop's materialistic sheen. Men enjoyed the newly granted freedom to be flamboyant, wearing suits accessorised with bright, bold shirts and high-heeled boots, and, increasingly, as clothes became more unisex, shopped in the same boutiques as women. Fashion sanctioned longer hair for both men and women, as well as a flared outline for trousers. © Victoria and Albert Museum, Londonīy the late 1960s, style had become quite theatrical. Silk ties with abstract designs in various colours, Emilio Pucci, 1960 – 75, Italy. Pucci's busily flamboyant designs prefigured the psychedelic patterns of the drug-fuelled counter culture. These were used for seemingly endless scarves and ties, as well as the loose-fitting dresses and pyjama suits whose outlines reflected a growing interest in ethnic style. The first designer to exploit a signature style for high-fashion licensing, Pucci created a range of colourful printed silks. He produced sophisticated clothing for the jet set, but his designs were far from conservative. Italian designer Emilio Pucci was also influential. Cardin, in particular, was excited by new materials including vinyl, silver fabrics and large zips, creating radical forms like his celebrated 'visor' hats. Pierre Cardin, Emanuel Ungaro and Yves Saint Laurent were among those European designers who successfully translated a couture aesthetic – producing bold, futuristic designs for young people who wanted everyday wear. Model wearing a Mary Quant dress, 1964, England. As committed to European-style clothes – characterised by high-impact colour and line – as they were to American soul and R&B music, Mods helped focus the tastes of young people everywhere, and inspired the look of bands like The Who, The Small Faces and The Beatles. ![]() The Beatniks and the Mods (an abbreviation of 'Modernists') were particularly influential early in the decade. The fashion industry quickly responded by creating designs for young people that no longer simply copied 'grown up' styles. Increased economic power fuelled a new sense of identity and the need to express it. At the dawn of the 1960s, young people's income was at its highest since the end of the Second World War. Paris remained the engine of the fashion industry with sophisticated haute couture garments produced in regular collections by the likes of Cristóbal Balenciaga and Hubert de Givenchy (the creator of Audrey Hepburn's iconic black dress in Breakfast at Tiffany's, 1961). In the 1950s, fashion was dominated by the tastes of a wealthy, mature elite. ![]()
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |