Category: 1970-1979

Overview

1970-1979

1970-1979, 20th century, decade overview

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1977 – Vivienne Westwood/Malcom McLaren/Jamie Reid, “God Save the Queen” T- shirt

1970-1979, 20th century, garment analysis

Vivienne Westwood and Malcolm McLaren’s “God Save the Queen” T-shirt is a white, long-sleeve shirt with distressed elements and a bold graphic by Jamie Reid featuring lyrics to the Sex Pistols song. It has become an iconic representation of early British Punk style.

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1970 – Rudi Gernreich, Caftan

1970-1979, 20th century, garment analysis, LGBTQ+

Rudi Gernreich’s 1970 caftan reflects the designer’s politics and his tireless effort toward creating genderless clothing. The piece features his characteristic loose silhouette as well as his technique of using patterns to de-accentuate the assumed gender of the wearer.

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1948-1987 – Willi Smith

1970-1979, 1980-1989, BIPOC, designer profile, LGBTQ+

Willi Smith was the popularly renowned designer behind Williwear, a womenswear line that opened in 1976. He was known for his innovative blend of the newly-emerging concept of streetwear with high fashion.

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1943-Present – Stephen Burrows

1970-1979, 2000-2009, BIPOC, designer profile

Stephen Burrows is celebrated for his graphic color blocking and innovative use of matte jersey fabric at the height of the disco era. He became one of the first Black fashion designers to achieve international acclaim.

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1973 – Stephen Burrows, Evening Dress

1970-1979, 20th century, BIPOC, garment analysis

This color-blocked 1973 chiffon evening dress represents American designer Stephen Burrows’ original contributions to fashion as well as to the ground-breaking Battle of Versailles.

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1973 – Bill Blass, Evening ensemble

1970-1979, 20th century, garment analysis, LGBTQ+

The 1970s were marked by a progression towards casual comfort while retaining an aura of chic, a trend Bill Blass embodies in this 1973 evening ensemble that radiates classy comfort.

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David Bowie Is

1970-1979, 1980-1989, 1990-1999, 20th century, 21st century, blog

An exhibition about the internationally acclaimed artist David Bowie (1947-2016) faces its final curtain call at the Brooklyn Museum.

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1973 – Rafael, Denim Leisure Suit

1970-1979, 20th century, garment analysis

Bill Kaiserman (Rafael) was a retail salesman turned hat maker who influenced that fashion world by introducing the leisure aesthetic to the American fashion market in the early 1970s.

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Counter-Couture: Handmade Fashion in an American Counterculture

1970-1979, 20th century, blog

Today’s idea of political support is buying a t-shirt and promoting a specific candidate. However in the 1960s and 1970s, the idea that many clothes were handmade was a political statement on its own.

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In honor of the passing of Paco Rabanne, we’re h

In honor of the passing of Paco Rabanne, we’re highlighting his career and his influence on 1960s fashion with his space-age aesthetic that became very popular during the decade. Rabanne was fascinated by industrial design and plastics, and started out as a jewelry designer, selling to famous designers such as Balenciaga, Schiaparelli, and Givenchy. In 1966, Rabanne made his debut on the French fashion scene with a collection of garments made of unconventional materials including aluminum plates joined by metal rings, plastics, and papers. The show shocked and awed the fashion industry, and his chain-linked mini dresses became all the rage. His futuristic designs became associated with the popular space-age movement. His designs were worn by many celebrities including Jane Fonda for her movie Barbarella, and Audrey Hepburn in Two for the Road. He was very innovative in his material’s and used a new plastic called Rhodoid in developing his signature disk shape called “pacotilles”. He even collaborated with Scott Paper on a series of dresses made from their toilet paper. To this day, Rabanne and his work continues to be a source of inspiration for the fashion industry. Read more about space-age fashion at the link in the bio!
#fashionhistory #20thcenturyfashion #digitalhumanities #pacorabanne

The dashiki is a loose-fitting pullover tunic trad

The dashiki is a loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s. It was then more widely worn as a popular item of “ethnic” fashion. The Encyclopedia of Clothing and Fashion offers a brief definition of the dashiki: “A pullover shirt usually sewn from colorful, African-inspired cotton prints or from solid color fabrics, often with patch pockets and embroidery at the neckline and cuffs. The dashiki appeared on the American fashion scene during the 1960s when embraced by the black pride and white counterculture movements. ‘Dashiki’ is a loanword from the West African Yoruba term danshiki, which refers to a short, sleeveless tunic worn by men.” Author Norma Wolff goes on to describe its origins and its rise in American culture: “The Yoruba dashiki was originally sewn from hand-woven strip cloth. It has deep-cut armholes with pockets below and four gussets set to create a flare at the hem. Similar tunics found in Dogon burial caves in Mali date to the twelfth and thirteenth centuries. In many parts of West Africa today such tunics are worn with matching trousers as street clothes. In the 1960s, the dashiki appeared in the American ethnic fashion inventory, along with other Afrocentric clothing styles, possibly from the example of African students and African diplomats at the United Nations in New York. Both sexes wear the shirt, and women wear short or full-length dashiki dresses.’’ A 1970 dashiki dress was designed and worn by Fath Davis Ruffins, curator of the National Museum of American History since 1981. She made a matching head tie to wear with it, which was a common practice. Jazz musician Eddie Harris wore a printed dashiki while playing saxophone at a performance in Hollywood, Florida in 1983. Dashikis can be made out of a wide array of fabrics including “African print brocade, silk, lace, suiting, or cotton fabrics.’’

#fashionhistory #digitalhumanities #africanfashion #dashiki

Ann Lowe’s 1953 wedding dress she designed for J

Davide Ghirlandaio was a 15th-century Italian arti

Davide Ghirlandaio was a 15th-century Italian artist known for his mosaics and paintings. He was mostly commissioned for mosaics in cathedrals, but there were also paintings done for churches and for other patrons. Although there has been some confusion as to who created this portrait since Davide’s brother was also a painter, it has now been confirmed to be by Davide as it features left-handed brush strokes, exclusively done by Davide. Selvaggia Sassetti was the fifth daughter of Francesco Sassetti, an Italian banker, and her portrait was most likely painted in anticipation of her marriage. However, she appears younger in the painting, since it was commissioned three years before her actual marriage. Selvaggia wore a fitted, green silk gown with an attached translucent veil wrapped over her shoulder. The green gown is fastened with a black lacing in a simple criss-cross manner, which exposes an inner white blouse with compressed folds. Also, the shoulders have open seams in the tight fitting sleeves that, again, reveal the blouse underneath. Her gown has a rectangular neckline, exposing her neck and collarbone. She wears an eye-catching, bright red beaded necklace, perhaps made of coral, with a round gold pendant mounted with a red stone in the center, as well as two rose-shaped ornaments attached to the side with three pearls hanging from below. It stands out against her pale complexion and complements the green of her gown. Her dress appears to be made of watered silk, indicating she is a part of the upper class. Her father was a banker, therefore, he could afford to commission several paintings of her. Read more at the link in the bio!
#fashionhistory #digitalhumanities #15thcenturyfashion

Charles James’ 1955 “Butterfly” gown feature

Charles James’ 1955 “Butterfly” gown features a body-conscious sculpted sheath and large bustle skirt, which is reminiscent of the tightly fitted bustle dresses of the early 1880s. The garment is perhaps one of his most notable pieces since it embodies his exquisite attention to detail and architectural capabilities within fashion. James often utilized similar fabrics in different colors or different fabrics in similar colors in order to display his expertise between form, color, and texture. The ‘Butterfly’ dress features a cream and brown palette and a pop of color in the purple tulle that makes up the billowing skirt. Made from silk chiffon, silk satin, and twenty-five yards of nylon tulle, the dress wrapped the wearer’s body in sensual femininity and extravagance. Weighing a total of eighteen pounds, the enormous bustle skirt moved swiftly with the wearer’s body and its satin side flanges emulate the beauty of a butterfly’s wings. To create detail on the body-conscious sheath of the “Butterfly” James used a labor-intensive tucking treatment also featured in his “Swan” gown. A wide satin band was utilized to control the volume and drama of the tulle bustle skirt, as well as seamlessly disguising the structural components of the dress. James often utilized similar voluminous shapes and construction methods, especially drapery, to achieve an elegant design that highlighted the feminine form of the wearer. Cinching the waist and featuring an explosion of tulle “wings” this garment transforms the wearer into a beautiful butterfly, which is similar to Dior’s infatuation with depicting women as flowers. James’ 1955 dress plays a significant role in the history of fashion, as it perfectly showcases the designers creative vision and architecture capabilities as well as being one of the first strapless dresses in couture. Read more at the link in the bio!
#fashionhistory #20thcenturyfashion #digitalhumanities

1770s womenswear simplified earlier fashions, lead

1770s womenswear simplified earlier fashions, leading to new styles that exemplified the casual aesthetic taking hold with increased use of cottons, wools, and linens demonstrating the popularity of informal ensembles. In this decade the heavily trimmed robe à la française fell out of favor to the robe à l’anglaise which was worn in England throughout the century as a more informal garment. This ensemble had a closed front opening which eliminated the need for a separate stomacher and the back panels were stitched down as far as the waist, continuing into the skirt. Another popular dress style was the robe à la polonaise. This 2-piece gown featured distinctive swags by looping up the skirt with interior ribbons or cords that were attached on the outside of the gown or below the waist. The caraco, a hip-length jacket worn with a petticoat, was once only worn in the privacy of one’s home, but eventually became acceptable for daywear in urban settings. Along with the introduction of informal styles were changes in fashionable textiles. Heavy, brocaded fabrics were traded in for silks that were more lightweight and simpler in design. Informal cottons, wools, and linens with block-printed designs were also popular. Read more at the link in the bio!
#fashionhistory #digitalhumanities #18thcenturyfashion

The year 1868 saw many interesting trends for wome

The year 1868 saw many interesting trends for womens’ fashion including skirts with long trains. The crinoline was falling out of favor with The New York Times writing: “Only ignorant women or vulgar now wear crinoline so that it can be detected.” In addition to long trained dresses, walking ensembles consisting of a skirt and paletot (jacket) became popular during this year as well. The waist of a paletot could either hang loosely or be close-fitted with a belt. Some walking ensembles featured quite short hems that revealed short ankle boots. During this time, the sale of ready-made dresses was in its beginning stages. Read more at the link in the bio!
#fashionhistory #digitalhumanities #19thcenturyfashion

A muff is a tubular padded covering of fur or fabr

A muff is a tubular padded covering of fur or fabric, into which both hands are placed for warmth. Originally a purse and hand warmer in one, the muff was first introduced to women’s fashion in 1570, when fur trimming was becoming popular. Muffs in the 17th century were unisex but by the 19th, they were considered an accessory for feminine dress. Different types of muffs ranged from large down styles to small fur or velvet ones that matched the trim of the wearer’s dress. During the 1880s, a pocket for a card-case and purse was added into ladies muffs. As with many other elements of excess in womenswear, fur muffs became the subject of 18th-century caricature which mocked their immense size to the point where the woman in the drawing was completely covered by the muff itself. For the first two decades of the 19th century, muffs were considered an essential accessory paired with the thin chemise style dresses that were in vogue. The appeal of the muff lasted well into the 20th century. Muffs, fundamentally a practical accessory for cold winters, make regular returns to fashionability. In a contemporary digital age where hands-free options are considered a necessity, modern muffs are the chicest form of convenience. During fall 2014, accessories designers returned to the 16th century and reimagined muffs for the modern woman. Muffs that were reminiscent of fashionable centuries before made appearances in the fall 2014 collections of Balenciaga and JC de Castelbajac. Read more at the link in the bio!
#fashionhistory #digitalhumanities #19thcenturyfashion

The 1720s marked a distinct change in women’s si

The 1720s marked a distinct change in women’s silhouettes from the 2 preceding decades as the robe volante became extremely fashionable. This style of dress replaced the mantua, which became completely out of fashion in France. The robe volante was characterized by its billowing shape, and hung loosely from the shoulders with the excess fabric arranged into flat sewn-down revers at the center front. These panels were set into wide box pleats, and the ensemble was typically seamed at the center from just below the waist to the hem. Elbow length sleeves were finished with fan shaped cuffs that were tightly pleated inside the bend of the arm and expanded outward from the elbow. Filling the front of the gown was the stomacher, pinned to the stays or laced with eyelet holes. A fashionable way to decorate a stomacher was with rows of bows decreasing in size from top to bottom known as an échelle. During this decade women’s undergarments consisted of a linen chemise, a boned corset, and the hoop petticoat, also known as a panier. The hoop was worn by all fashionable women and aided in blurring social class distinctions, promoting social climbing. Read more at the link in the bio!
#fashionhistory #digitalhumanities #18thcentury

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