The 1960s: From Homemaker to Hippie Chic

By Paige McKirahan

 

The 1960s was a truly transitional decade filled with experimentation and defiance. In the earlier years, it was very reminiscent of the conservative styles popularized in the ‘50s, but the late ‘60s were the complete and utter opposite. This contrast makes you wonder if the extreme traditional values of the previous decade created this opposition where women showed more skin and were more flamboyant than ever. The world’s fashion leaders were shifted as the overwhelming British Invasion had to do with more than just The Beatles and Twiggy. The London look trumped Parisian couture and modern, youthful styles took hold of the public as new fashion icon’s bold aesthetics shook the industry to its core. 

 

 

In the beginning of the decade, Jackie Kennedy was the “it” girl of fashion; her style as simple, clean, well-tailored, and perfectly cohesive. She wore collarless dresses with one large top button, accessorizing with pillbox hats, sensible heels, and Chanel bags that were widely popularized in the ‘50s. Her global influence came to a screeching halt after the assassination of her husband, President John F. Kennedy, and she was removed from the public eye.

 

 

Women now had to discover a new fashion inspiration and found it in pop culture icons Brigitte Bardot and Mary Quant. Quant's style moved away from stiff, “adult” fashions and leaned towards youthful, short silhouettes with bold prints and accessories. Bardot, on the other hand, was very different than both Kennedy and Quant; her “tacky” and bold style was unlike any others that we had seen before and she was so influential that her pink gingham wedding dress with lace trim started a movement all on its own. We can also thank Brigette for popularizing the off the shoulder look, affectionately known as the Bardot neckline, that has come back into circulation in the past few years.

 

 

Brigette Bardot sporting her namesake neckline

(image credit pinterest.com)

 

As the decade zoomed forward, experimentation was brought to the forefront with mod style. Designers began revolting against traditional, waist cinching styles from the ‘50s and used the youth rebellion spreading from England to garner massive profits. The mod look boasted miniskirts, colored tights, low heels, mannish jackets, and ties. Shift dresses became trendy and their hem lengths were directly related to how women felt about their own sexual liberation, giving them a power over their own sexuality that was previously unheard of.

 

 

One of fashion’s most iconic faces, a icon known to the public as Twiggy, commonly modeled this style and had women stepping into freeing clothing that allowed personal expression. Colors and prints were inspired greatly by the pop and modern art movements, with bright hues, stripes, and Campbell’s soup cans adorning everything from dresses to bags.

 

 

Supermodel Twiggy in a mod shift dress

 (photo credits to pintrest.com)

 

This rebellion also is responsible for the birth of the hippie movement, which was a political anti-fashion statement that was so popular it became a mainstream trend. The late ‘60s saw an earthier hippie style than the 1970s and the more colors, the better. Extremism was a huge part of this form and it affected everything from accessory choice to silhouettes. Hats were oversized, vests were knee length, and coats drug the floor. Folk motifs were front and center, influencing clothing and jewelry alike with ethnic motifs. There were no rules with this type of fashion; you marched to the beat of your own drum with no regard for outside judgement.

 

 

The jewelry of this decade still loved the longstanding costume style, but designs became bolder and increasingly more expressive. Many jewelry producers began experimenting with lower cost materials, rejecting the idea that jewelry represented status. Textured gold was still popular, yes, but plastics like vinyl, resin, and Perspex could be produced in mass quantities for a very low cost. The Pop Art movement that was influencing fashion made its way into accessories, with large geometric shapes complimenting the simple shift dress silhouette.

 

Floral motifs that have been used in jewelry for decades’ prior were revived in a big way as the birth of the Hippie movement and Flower Power trend paired with the new plastics of the time allowed the designs to become bold and colorful. Long, dangling earrings also came into fashion as shorter hairstyles were in and clip earrings were out. Large bangles and statement rings were ‘60s staples and were easy options to update outfits that need a little bit more va-va-voom. Lea Stein was one of the most popular designers of the time; after she started her company in 1957, she began manufacturing buttons for apparel. She then made her way into jewelry and used layers of colored cellulose acetate to create her trademark character pieces.

 

 

Though this decade seems to have dipped its toes in multitude of differing trends, the ‘60s made its mark in the fashion industry and changed style forever. People no longer felt the need to conform to society’s idea of stylish and instead started dressing in a way that expressed their personalities and taste. I think everyone should be a little rebellious in fashion because without rebellion, how do will we stand out? To start a fashion rebellion of your own, head over to our '60s collection to find pieces that express who YOU are!

Elsa Schiaparelli was an Italian fashion designer who, along with her rival Coco Chanel, is regarded as one of the most prominent figures in fashion between the two World Wars.

Schiaparelli was born in 1890 and raised in Rome, Italy. The cultural background and erudition of her family members served to ignite the imaginative faculties of Schiaparelli’s impressionable childhood years. She became enraptured with the lore of ancient cultures and religious rites. The content of her writing alarmed the conservative sensibilities of her parents, so they sought to tame her fantasy life by sending her to a convent boarding school in Switzerland. Once within the school’s confines, Schiaparelli rebelled against its strict authority by going on a hunger strike, leaving her parents no alternative but to bring her home again.

Schiaparelli was dissatisfied by a lifestyle that was refined, but ultimately cloistered and unfulfilling. Her craving for an exploration of the wider world led her to try to remedy this and when a friend offered her a post caring for orphaned children in an English country house, she saw her opportunity to leave. The placement, however, proved uncongenial to Schiaparelli. She subsequently planned a return to the stop-over city of Paris rather than admit defeat by returning to Rome and her family.

She married a charlatan, whom she got engaged after one day of dating. They moved to NY in 1916 and their lives were followed by FBI and others suspicious of his career credits along and spy actions during war times. Soon after Schiaparelli and then husband Dr. Kerlor had their daughter in 1920, he left them behind. So, in 1922, she moved back to France with her daughter "Gogo". Schiaparelli relied greatly on the emotional support offered her by her close friend Gabrielle 'Gaby' Buffet-Picabia, the wife of Dada/Surrealist artist Francis Picabia.

Schiaparelli’s design career was influenced by couturier Paul Poiret, who was renowned for jettisoning corseted, over-long dresses and promoting styles that enabled freedom of movement for the modern, elegant and sophisticated woman. In later life, Schiaparelli referred to Poiret as "a generous mentor, dear friend."

Schiaparelli had no training in the technical skills of pattern making and clothing construction. Her method of approach relied on both impulse of the moment and the serendipitous inspiration as the work progressed. She draped fabric directly on the body, sometimes using herself as the model. This technique followed the lead of Poiret who too had created garments by manipulating and draping. The results appeared uncontrived and wearable.

Schiaparelli was also renowned for her unusual buttons, which could resemble candlesticks, playing card emblems, ships, crowns, crickets, or silver tambourines. Many of these fastenings were designed by Jean Clement and Roger Jean-Pierre, who also created jewellery for her. In 1936, Schiaparelli was one of the first people to recognise the potential of Jean Schlumberger, who she originally employed as a designer of buttons.

Schiaparelli's output also included distinctive costume jewellery in a wide range of novelty designs. One of her most directly Surrealist designs was a 1938 Rhodoid (a newly developed clear plastic) necklace studded with coloured metallic insects by Clément, giving the illusion that the bugs were crawling directly on the wearer's skin. During the 1930s, her jewellery designs were mostly produced by Schlumberger, Clemént and Jean-Pierre. 

Schlumberger's jewellery, with its inventive combinations of precious and semi-precious stones proved successful, prompted him to launch his jewellery business in New York at the end of the '30s. Schiaparelli also offered brooches by Alberto Giacometti, fur-lined metal cuffs by Méret Oppenheim, and pieces by Max Boinet, Lina Barrette, and the writer Elsa Triolet. Compared to her unusual couture 1930s pieces, 1940s and 1950s Schiaparelli jewellery tended to be more abstract or floral-themed.

 Schiaparelli also designed the wardrobe for several films, including Moulin Rouge in which Gabor played Jane Avril. She famously dressed Mae West for Every Day's a Holiday (1937) using a mannequin based on West's measurements, which inspired the torso bottle for Shocking perfume. 

Schiaparelli's fanciful imaginative powers coupled with involvement in the Dada/Surrealist art movements directed her into new creative territory. Her instinctive sensibilities soon came to distinguish her creations from her chief rival Coco Chanel, who referred to her as 'that Italian artist who makes clothes'. Schiaparelli collaborated with a number of contemporary artists, most famously with Salvador Dalí to develop a number of her most notable designs. 

The House of Schiaparelli was first opened in the 1930s at 21 Place Vendôme, but was shut down on 13 December 1954. The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often". Schiaparelli relied on inspiration rather than craftsmanship and, "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models".

The Rarity of Polaroids

Almost everyone is fascinated with Polaroid cameras. People enjoy tangible objects more than just seeing them digitally. It is because there is a sense of connection to the instant photos that Polaroids produce, as it begins to develop by itself in your hand that very moment you take a photo. The physical image is ready instantly for the individual to enjoy immediately. Vintage lovers tend to adore Polaroids simply because they are retro, vintage, and rare to find or use anymore. Film and history lovers love Polaroids as well because it is a tangible piece of history! 

 

Photography Available at Your Fingertips 

In today's modern times, there is a demand for instant gratification. For modern digital cameras, the photos typically need to get edited and printed, which takes a bit of time. Polaroids were introduced in the late 1940s. While our digital technology has enhanced so much since then, it simply takes longer for photos to be ready. When one uses a Polaroid, the photo is ready instantly. This is why instant film is still a phenomenon to this day. 

 

Rising Popularity of Polaroid Cameras 

In 1948, the first Polaroid Land Model 95 camera was created. Little did the world know how popular this was going to become. Polaroid did not manufacture nearly enough copies of the first camera, as they severely underestimated the demand from consumers. The entire supply sold out in one day! 

 

Polaroid and Edwin Land continued to move forward and improve instant photography ideas. Multiple different types of film became available, some of which have features containing ways to expose, develop, and fix a photograph for efficiently. Inside a Polaroid camera contains multiple color layers that are light sensitive. Specific chemical reactions to the photo occur when exposed to light. Those light sensitive layers are squeezed together with a bottom base layer of black and four more layers on top. Those additional top layers hold the photo together and distinguishes it from any other photo. It is how you know a photo is a Polaroid photo.