1970년대의 유행

1970s in fashion
1971년에는 핫팬츠와 하의바지가 인기있는 패션트렌드였습니다.
1970년대 초 로이 우드와 워즈드가 입었던 글램 록 의상의 예.
1970년대 디자인된 Diane von Fürstenberg 랩드레스

1970년대 패션은 개성에 관한 것이었습니다. 1970년대 초, 보그는 저렴한 합성 의류로 넘쳐나는 과잉 생산 때문에 "지금 패션 게임에는 규칙이 없다"[1]고 선언했습니다. 공통 아이템으로는 미니 스커트, 히피들이 유행시킨 벨보텀, 1950년대 이상의 빈티지 의류, 플랫폼 슈즈, 밝은 컬러, 글리터, 새틴 등을 선보인 안드로진 글램 록과 디스코 스타일 등이 있었습니다.[2]

새로운 기술은 대량 생산, 더 높은 효율성, 더 높은 표준 및 균일성을 통해 생산의 발전을 가져왔습니다. 일반적으로 1970년대 중후반 남녀 모두에게 가장 유명한 실루엣은 위에는 꽉 끼는 실루엣과 아래에는 헐렁한 실루엣이었습니다. 1970년대에는 스웨터, 티셔츠, 청바지, 운동화 등으로 구성된 패션에 대한 무관심하고 반적합주의적인 캐주얼 시크 접근법이 탄생했습니다.[3] 이 시기에 주목을 받은 주목할 만한 패션 디자이너 중 한 명은 Diane von Fürstenberg였는데, 그는 무엇보다도 저지 "랩 드레스"를 대중화했습니다.[4][5] 1970년대의 가장 인기 있는 패션 스타일 중 하나였던 폰 퓌르스텐베르크의 랩 드레스 디자인 또한 여성 해방의 상징으로 여겨질 것입니다.[6][7] 프랑스 디자이너 Yves[8][9] Saint Laurent와 미국 디자이너 Halston은 모두 사회에서 일어나고 있는 변화들, 특히 여성의 권리의[10] 거대한 성장과 청소년 반문화를 관찰하고 받아들였습니다. 그들은 시장이 지향하는 변화를 수용하기 위해 디자인 미학을 성공적으로 적용했습니다.

1970년대 최고의 패션 모델은 로렌 허튼, 마고 헤밍웨이, 비벌리 존슨, 지아 카랭이, 제니스 디킨슨, 패티 한센, 셰릴 타이즈, 제리 홀, 그리고 이만이었습니다.

여성들.

1970년대 초 (1970-1972)

히피룩

  • 1970년대는 1960년대부터 히피 룩이 지속되면서 시작되어 민족적인 독특한 풍미를 선사했습니다. 1970년대 초 여성들에게 인기 있는 패션은 타이 염료 셔츠, 멕시코의 '농부' 블라우스,[11] 민속 자수 헝가리 블라우스, 폰초, 망토,[12] 군용 잉여 의류 등이었습니다.[13] 이 시기 여성들의 하의복장에는 벨바텀, 가우초,[12][14] 기른 청바지, 미디 스커트, 발목까지 오는 맥시 드레스가 포함되었습니다. 이 시기의 히피 옷은 인도 문양, [15]북미 원주민 문양, 꽃무늬뿐만 아니라 매우 밝은 색상으로 만들어졌습니다.[16]
  • 1970년대 초반의 여성 히피 액세서리에는 초커, 개 목걸이, 수공예 목 장식품, 나무, 조개, 돌, 깃털, 인디언 구슬, 가죽과 같은 천연 요소로 만든 액세서리가 포함되었습니다. 이 모든 것이 표준 보석을 대체했습니다.[12] 남녀 공용 히피 액세서리에는 머리띠, 플로피 모자, 발룸바 볼, 흐르는 스카프,[13] 버켄스탁,[17] 흙 신발,[18] 무릎 높이의 부츠 버전을 포함한 정통 구슬 및 테두리가 있는 북미 원주민 벅스킨 모카신, 타이어 솔 버전 및 휴아라치를 포함한 샌들이 포함되었습니다. 시대적으로 돌아가는 방향은 맨발로 다니는 일도 많다는 것을 의미했습니다.

글래머

1970년대 초까지 미니스커트는 역대급 인기를 끌었습니다. 이 젊은 영국 여성은 1971년에 테두리가 있는 스웨이드 미니스커트를 입고 있습니다.
  • 히피 룩이 널리 퍼졌지만, 모든 사람들이 히피 룩을 채택하지는 않았습니다. 많은 여성들은 여전히 1940년대 영화배우의 매력에서 영감을 받아 더 화려한 옷으로 변장을 계속했습니다. 다른 여성들은 간단한 캐주얼 패션을 채택하거나, 1930년대, 1950년대, 1960년대의 엄선된 중고 또는 빈티지 의류와 새로운 옷을 결합했습니다.[19]
  • 1970년대 초반의 화려한 여성 액세서리에는 클로체 모자 또는 터번, 진주 귀걸이, 목걸이, 팔찌, 깃털 가슴, 검은 베일 모자, 나막신, 쐐기, 코르크 솔이 달린 플랫폼, 그리고 통통한 하이힐이 포함되었습니다.[20][12] 금 체인, 금 단추 귀걸이, 그리고 라인스톤 클립은 몇 년 동안 집에서 만든 보석으로 만든 후 1973년에 다시 인기를 얻기 시작했습니다.[21][12][22]

기타 70년대 초반 트렌드

  • 1970년대 초반 여성들을 위한 좀 더 단순한 유행에는 핏 블레이저(넓은 옷깃과 함께 다양한 직물로 제공), 길고 짧은 드레스, 미니 스커트, 맥시 이브닝 가운, 핫팬츠(극단적으로 짧고 딱 맞는 반바지)와 피부에 꼭 맞는 티셔츠,[15] 그와 그녀의 의상(서로 거의 비슷한 옷), 그리고 플레어 팬츠. 파스텔 색상은 모베, 복숭아, 사과 녹색, 핑크, 노란색, 흰색, 밀, 낙타, 회색 및 베이비 블루와 같은 이러한 스타일의 옷에 가장 흔하게 사용되었습니다.[12] 녹, 귤, 구리, 숲의 녹색, 피스타치오는 1973년부터 더 대중화되었습니다.[12] 스웨터는 1970년대 초에 큰 현상이었고, 종종 의상은 전적으로 스웨터만으로 판단됩니다. 이것은 스웨터 코트, 스웨터 드레스, 바닥까지 내려오는 스웨터, 심지어 스웨터 정장과 같은 더 많은 스타일로 나뉘었습니다. 그것들 중 많은 것들이 모피, 특히 인조로 다듬어졌습니다. 종종 갈색과 흰색의 청키한 숄카라에 벨트를 두른 카디건도 흔했습니다.[12] 발에는 플랫폼 슈즈가 나막신 같은 형태와[24] 샌들 [23]등 다양한 스타일로 널리 퍼져 있었고 비교적 넓은 스트랩이 달려 있었습니다. 그 어린 아이들은 이것들을 알록달록하고 종종 밝게 줄무늬가 있는 무릎 양말과 짝을 이루었는데,[25] 어떤 아이들은 발을 위한 장갑처럼 분리된 발가락을 가지고 있는데, 이것은 발가락 양말이라고 불립니다.[26]
  • 1970년대 초 부츠는 1960년대 중반부터 계속 인기의 절정에 이르렀습니다. 여성들은 모든 경우를 위한 부츠를 가지고 있었고, 다양한 스타일의 부츠가 매장에서 저렴한 가격에 판매되고 있습니다. 다양함에도 불구하고, 가장 인기 있는 부츠는 고고 부츠, 크링클 부츠(주름이 있는 반짝이는 젖은 모습의 부츠), 스트레치 부츠, 그리고 할머니 부츠(무릎 바로 아래에서 끝나는 1920년대 스타일의 레이스업 부츠)였습니다.[27]

1970년대 중반(1973-1976)

1975년 7월 시카고 미시간 애비뉴 아프리카계 미국인 부부

캐주얼룩

  • 1974년이 되자 티셔츠는 더 이상 속옷으로 여겨지지 않게 되었고, 그때까지 구호, 스포츠 팀, 그리고 다른 스타일들과 같은 정교한 디자인으로 만들어졌습니다.[12] 그와 비슷한 시기에 1970년대 초의 헐렁하고 좀 더 유동적인 셔츠들이 몸에 맞는 상의로 자리를 내주었습니다.
  • 1970년대 중반까지 히피룩은 완전히 사라졌지만 캐주얼한 룩은 계속되었습니다.[28] 1970년대 중반 여성들은 스웨터,[29] 티셔츠, 카디건, 기모노, 그래픽 티셔츠와 스웨터,[15] 청바지, 카키스, 가우초,[14] 노동자 옷, 빈티지 옷을 입었습니다.[12] 1976년경 캐주얼 패션은 파리의 농부룩을 채택했습니다. 여기에는 망토, 터번, 펑퍼짐한 스커트, 펄럭이는 소매가 있는 셔츠가 포함되었습니다.[12]
  • 1970년대 중반에는 액세서리를 일반적으로 착용하지 않았으며, 1950년대와 유사한 패션에 미니멀리즘적 접근을 채택했습니다. 가장 흔히 볼 수 있는 보석의 형태는 단순하고 얇고 눈에 거슬리지 않는 금목걸이였고, 때로는 은목걸이로, 10년 동안 남녀 모두가 피부에 착용했지만, 70년대 중반부터 실제로는 어디에나 있게 되었습니다. 흰색 푸카 조개 목걸이도 남녀 모두 착용했습니다. 작은 가죽 숄더백은 모든 곳에서 여성들이 착용했으며, 인기 있는 신발로는 메리 제인스, 딩고[30] 부츠와 프라이 부츠(종종 바지를 집어넣는 것)를 포함한 둥근 발가락이 있는 무릎 높이의 부츠,[31] 플랫폼 슈즈와 샌들, 발목을 감싸는 긴 줄이 종종 있는 쐐기 굽의 에스파드릴,[32] 버켄스탁스,[17][33] 파몰라레스, 로퍼 등이 있습니다.[12][15] 액세서리가 부족함에도 불구하고, 무드 링은 1970년대 중반에 큰 유행이었습니다.[34]

액티브웨어

  • 1975년부터 여성을 위한 깔끔한 올 아메리칸 액티브 웨어가 점점 인기를 끌게 되었습니다. 이 유행의 가장 큰 현상은 1975년 이후부터 유행한 점프수트였습니다. 점프슈트는 거의 항상 다리에 불이 붙었고, 소매는 완전히 민소매에서 극도로 긴 종 소매까지 다양했습니다.[12] 다른 스포츠웨어 트렌드로는 트랙슈트, 튜닉셔츠, 크롭탑, 튜브탑, 스웨트셔츠, 힙허그,[35] 로우라이즈 팬츠, 레저용 슈트 등이 있었습니다.[12][15] 이것은 1980년대까지 계속되었습니다.
  • 이 시기에는 액세서리의 중요성이 덜했지만 운동화와 테니스 머리띠를 포함한 매우 바람직한 액세서리 두 가지가 있었습니다.[15][35]

맞춤 스타일

  • 70년대 중반 이혼율이 높아지고 혼인율이 낮아지면서 여성들은 핵가족을 부양하기 위해 일을 할 수밖에 없었습니다. 여성의 점진적인 노동력 추가는 쇼핑 스타일과 패션을 변화시켰습니다. 일하는 여성들은 주말과 저녁에 쇼핑을 했습니다. 테일러드 재킷, 미디스커트, 핏 블라우스와 같은 여성화된 남성 비즈니스 정장은 그들이 "성공을 위한 드레스"로 선택했습니다.[36]
랩 드레스를 입은 젊은 여성.
  • 1975년을 기점으로 여성의 세미 정장은 더욱 맞춤화되고 날카로워졌습니다. 여기에는 두 개의 블라우스를 동시에 입은 여성, 여러 벌의 스웨터, 튜닉 드레스 아래의 바지, 그리고 긴 핏의 드레스 위에 입는 점퍼 등 많은 레이어드가 포함되었습니다. 1970년대는 또한 그 당시까지 미국 역사상 공개적으로 입었던 가장 추악한 드레스들을 보여주었습니다.[15] 이 스타일로 입는 다른 옷에는 스웨이드 코트, 완두콩 코트, 블레이저, 카울넥 스웨터, 펜슬 스커트, 백리스 드레스, 극저단 드레스, 팔라조 바지,[15] 튜브 드레스,[12] 이브닝 가운, 재킷 드레스,[16] 핀 스트라이프 바지 정장 등이 있습니다.[12][15] 1970년대 중반 여성 드레스는 파스텔 색상이 주를 이뤘지만, 아시아 패턴도 일반적이었습니다.[16]
  • 좀 더 격식을 차린 스타일을 위한 액세서리로는 하이힐(낮고 높은, 대부분 두꺼운 굽), 터번, 가죽 숄더백 등이 있었습니다.[15] 부츠는 1970년대 중반에도 인기를 이어갔습니다. 이 유행은 다른 스타일, 특히 웨지 힐(아마도 1970년대 중반 가장 인기 있는 여성용 신발)로 확대되었습니다. 부츠는 더 둥글고, 더 두껍고, 더 무거워졌고, 1970년대 초반보다 더 비쌌습니다. 1970년대 중반의 인기 부츠로는 웨지 부츠, 앵클 부츠, 플랫폼 부츠, 카우보이 부츠 등이 있었습니다.[27] 프랑스 디자이너 입생로랑의 A/W 오트쿠튀르 컬렉션 "오피움 컬렉션"은 중국 문화와 역사에서 영감을 얻었습니다.

디스코룩

스웨덴 모델 울라 존스 루렉스 홀터 상의에 플레어 팬츠를 매치한
  • 디스코 음악 장르는 1970년대 중후반에 독자적인 패션 열풍을 일으켰습니다. 젊은 사람들은 나이트클럽에 모여 몸을 과시하고 댄스 플로어 불빛 아래서 빛을 발하도록 디자인된 새로운 디스코 옷을 입었습니다. 디스코 패션은 사람이 만든 재료로 만든 멋진 옷을 특징으로 했습니다. 여성들에게 가장 유명한 디스코 룩은 허리가 신치된 무릎 길이의 드레스인 저지 랩 드레스였습니다. 다양한 체형과 사이즈를 자랑하며 낮에는 사무실로, 밤에는 나이트클럽과 디스코장으로 착용할 수 있어 매우 인기 있는 아이템이 되었습니다.[37]
  • 디스코 패션은 일반적으로 1960년대 초 의류에서 영감을 받았습니다. 여성들이 입는 디스코 옷에는 튜브 상의, 격리된 홀터넥 셔츠, 블레이저, 스판 짧은 반바지, 헐렁한 바지, 몸에 딱 맞는 스판 바지, 긴 허벅지 슬릿이 있는 맥시 스커트와 드레스, 저지 랩 드레스, 이브닝 드레스가 포함되었습니다.[16] 신발은 무릎 높이의 부츠부터 키튼 힐까지 다양했지만, 가장 흔히 신는 신발은 뒤꿈치가 두껍고 투명한 플라스틱으로 만들어진 신발이었습니다.

빅 룩 또는 소프트 룩

  • 1973년과 1974년에서 1978년 상반기까지 [38][39]확장된 70년대 중반의 대표적인 하이 패션 트렌드는 볼륨감이 큰 빅 룩 또는 소프트 룩으로 알려졌습니다.[40][41][42][43] 이것은 60년대 후반과 70년대[44][45][46] 초반의 대중적이고 캐주얼한 소작농 스타일의 느슨함과 규모의 증가, 그리고 안감과 패딩과 같은 내부 구조의 축소와 제거를 통해 비구조적인 룩 앤 필로 알려져 있는 것을 달성했습니다.[47][48][49][50] Introduced by designer Kenzo Takada in 1973,[51][52][53] carried further by Karl Lagerfeld in 1974,[54][55][56] adapted for the US[57] by Geoffrey Beene shortly thereafter,[58][59] and endorsed in silhouette the same year by the most influential designer of the time, Yves Saint Laurent,[60][61][62] it came to influence everyone[63] from Calvin Klein[64][65] to Mary McFadden[66] to Givenchy[67] to Perry Ellis, 아마도 그 외모의 가장 큰 미국 지수였을 겁니다.[68][69]
  • The Big Look relied on loose, billowy, oversized shapes;[70][71][72][73] comfortable, thin, gossamer-weight,[74] natural-fiber[75][76] fabrics like cotton gauze, crepe de chine, and challis,[77][78] often left naturally wrinkled;[79] a mostly neutral or earthtone, forest-tone, or wine-tone color palette, with prints small, muted, and often floral;[80][81] layering;[82][83] drawstrings,[84][85][86][87] wrapping/tying,[88] and rope-cords[89] as opposed to hardware like buttons, zippers, and belts;[90] capes, serapes, and shawls[91] more than structured coats;[92][93][94][95][96] oversized, unlined jackets and vests;[97][98][99] extensive use of hoods[100][101] and cowlnecks;[102][103] full sleeve cuts like raglan, dolman, batwing, and bishop;[104] big, rustic-textured sweaters;[105] blouson tops;[106][107] full, often ruffled blouses cut so large that they slid off the shoulder;[108][109][110][111] camisoles;[112] smock tops and smock dresses;[113][114][115] bubble dresses or bag dresses;[116] tent dresses;[117][118][119] full sundresses;[120][121] and mostly longer lengths in skirts, high-fashion versions generally ranging from mid-calf to ankle,[122] though mini-tunics and mini-blousons were also part of the picture.[123][124][125][126][127] 때때로 트임이나 슬래시가 모든 털실에서 다리를 보여주기 위해 허용됩니다.[128] 치마는 거의 전부 다 털로 되어 있었고,[129][130][131] 특히 집시 치마 또는 소작농 치마라고 불리는 층층이 있거나 털이 있는 버전이 인기가 있었습니다.[132][133][134] 치마는 또한 때때로 겹겹이 쌓여있고, 예를 들어, 꽃무늬 프린트의 상의 스커트 아래에 흰색 언더 스커트가 있었습니다.[135][136][137][138] 팬티 모양은 풀똥가리부터[139] 풀 컬트[140], 가우초부터[141] 종이 가방 반바지라고 불리는 풀반바지까지 다양했지만, 대부분은 풀, 주름, 드로스트링이 닫힌 허리부터 좁은 발목까지 가늘어졌고,[142] 그 당시에는 "페그드"라고 불렸던 스타일이었고,[143] 때때로 발목에서 너무 길게 잘라져서 뭉쳤습니다.[144] 도티스, 동물원, 하렘 팬츠도 자주 선보였습니다.[145][146][147] 편안함과 편안함은 이 시기에 유행어였으며,[148][149][150] 빅 룩의 어디에서나 볼 수 있는 롤업 소매에 반영되었습니다.[151][152][153]
  • 빅 룩과 함께 착용하는 액세서리는 최소한이었고,[154][155] 눈에 거슬리지 않는 삼베 목걸이와 같은 것들은 흙처럼 보이는 구슬 몇 개로 묶을 수 있고,[156] 숄 층을 하나로 묶을 수 있는 스틱핀과 벨트 대신 착용하는 테이즐 섬유 코드,[157][158] 끝이 튜닉 밑단과 스커트 층에 걸쳐져 있습니다.[159] 적절한 벨트를 착용했을 때, 가죽으로 된 경향이 있었고, 좁고, 때로는 더블 랩을 할 수 있을 정도로 길었습니다.[160] 다리 위에서 볼 수 있는 "레이어드 레그(layered leg)"라고 불리는 레이어링의 종류를 더 많이 찾아볼 수 있습니다: 두껍고 따뜻한 타이즈, 양말, 스타킹, 그리고 가을/겨울용 흙색 니트의 레그 워머,[161][162][163][164] 그리고 아마도 하얀 발찌와 때때로 심지어 샌들을 신거나 심지어 봄/여름에 신는 레이어드 코튼 양말까지.[165][166][167] Footwear was almost entirely either very bare sandals;[168][169][170][171] rope-soled, canvas espadrilles, often wrapping around the ankle;[172][173][174] or very full-shafted boots known as baggy boots or Cossack boots,[175][176][177][30] usually knee-high but in a range of heights from ankle to thigh,[178][179][180] crushed 룩이라고 불리는 발목의 수평 주름을 묶기 위한 포만감을 제공합니다. 이 시기에 종종 쌓이는 굽은 평평한 높이에서 높은 높이까지,[182] 쐐기부터 블록, 더 가늘어진 형태까지 다양한 형태일 수 있지만, 스틸레토는 결코 아닙니다.[183][184] 화장과 헤어스타일은 스모키 블러쉬가 일반적이었지만 자연스럽게 보이는 경향이 있었습니다.[185][186][187][188] 머리빗과 꽃을 머리에 꽂는 것은 널리 퍼져 있었지만,[189][190] 머리에 쓰는 것은 최소였고, 주로 겨울에[191][192][193][194] 가끔 입는 질퍽질퍽한 베레모나 니트 모자와 1978년 초 기울어진 짚 보트를 타는 사람들에게 잠깐 유행했습니다.[195]
  • 얇은 직물,[196][197] 미끄러져 나가는 몸의 볼륨, 스파게티 끈, 때때로 끈이 없는,[198] 그리고 스커트와 상의의 슬릿/슬래시는 몸을 어느 정도 드러낼 수 있지만,[199] 볼륨감 있는 모양과 여러 겹의 빅 룩은 어떤 사람들은 그것을 모양이 없고, 처지고, 구겨졌다고 불렀습니다.[200][201][202][203][204] 다른 사람들은 어려운 날씨에[205][206] 날라다니는 망토와 숄의 비실용성을 지적하고 이러한 스타일에 필요한 광범위한 직물을 사치스럽게 여겼습니다.[207][208] 그럼에도 불구하고, 그것의 편안함과 편안함은 여성들의[209][210][211][212] 삶에 적합했고, 남성 중심의 교태에 대한 그것의 거부는 그 당시의[213][214][215] 강력한 여성주의적 영향력을 반영했고, 몇 년 동안 하이[216][217] 패션을 지배하고 대중의 취향에도 영향을 미치는 결과를 낳았습니다. 그것이 이미 사회에 널리 퍼져 있던 천연 섬유와[218] 편안함을 향한 움직임의 결과처럼 보였기 때문입니다.[219][220]

1970년대 후반(1977-1979)

여유로운 모습

1979년에 두 명의 여성이 유행하는 튜브 상의를 입고 있고, 맨 왼쪽의 여성은 레이온 스트랩이 없는 드레스를 입고 있습니다.
  • 1977년, 대중 시장의 패션은 1974년부터 하이 패션에서 우위를 점했던 빅 룩이 대중에게 여과되면서 더욱 헐렁해졌습니다. 이것은 날씬한 몸매를 가진 여성들이 그것들을 뽐낼 수 없다고 불평하는 반면, 무거운 여성들은 헐렁한 옷이 그들을 더 커 보이게 한다고 불평함에 따라 많은 논란을 일으켰습니다. 이를 보완하기 위해 더 많은 피부를 보여주는 것이 유행하게 되었습니다. 그 결과 셔츠의 단추가 풀리고 소매가 말려지고 상의는 끈이 없고 투명하며 야성적입니다. 반짝이는 새틴과 골드 색상도 부족한 옷감을 보충하기 위해 사용되었습니다. 1977년까지 바지는 약간만 펄럭였고 때로는 전혀 펄럭이지 않았습니다.[15]
  • 1970년대 후반의 여성 패션에는 카울넥 셔츠와 스웨터, 바지 정장, 레저 정장, 트랙 슈트,[12] 타이트한 티셔츠와 함께 입는 선드레스,[11] 끈 없는 상의, 가디건,[15] 벨루어 셔츠, 튜닉, 로브, 크롭 탑, 튜브 상의, 자수 조끼와 청바지, 무릎까지 오는 스커트,[16] 헐렁한 새틴 팬츠,[12] 디자이너 청바지,[221] 컬트, 데이지 덕과 테니스 반바지.[15] 이것은 1980년대까지 계속되었습니다.
  • 액세서리로는 스카프, 금 장신구, 꽃, 앵클부츠, 1940년대 스타일의 모자(흔히 기울어진), 스키니하고 넓은 벨트, 보아, 팔찌형 장갑, 스파이크 힐 샌들, 노새, 발목이 묶이는 신발, 허리 신는 신발, 오비 랩 등이 있었습니다. 색상은 1970년대 후반에 브라운, 밝은 블루스, 탄, 그레이, 화이트 및 블랙과 같은 흙 같은 톤이 컴백하면서 패션에서 거의 완전히 사라졌습니다.[12][15]
  • 부츠에 대한 열광은 1970년대 후반까지 식었지만, 특히 겨울에는 여전히 인기가 있었습니다. 그때쯤이면 덜 화려해졌고, 대부분 검은색, 갈색 또는 버건디색으로 나옵니다. 가장 인기 있는 부츠는 무릎 높이 또는 송아지 중간 정도였으며 가죽, 스웨이드, 우레탄 또는 고무로 만들어졌습니다. 발가락은 둥글고 지퍼는 측면에 있었습니다. 발뒤꿈치는 보통 2-4인치에 불과했고, 때때로 발뒤꿈치는 평평하기도 했습니다. 여성들은 두꺼운 키튼 힐이 달린 무릎 높이의 부츠뿐만 아니라 웨지 힐과 앵클 부츠를 계속 신었습니다.[27]
  • 파키스탄, 아프가니스탄, 이란에서는 많은 진보적인 여성들이 짧은 치마를 입었고,[222][223] 히피 드레스를 꽃으로 인쇄했으며, 바지에 플레어를 입었으며,[224] 히잡을 쓰지 않고 공공장소에 나갔습니다. 파키스탄의 군사 독재, 아프가니스탄의 무자헤딘 정부, 그리고 아바야, 질밥, 니캅을 포함한 전통적인 보수적인 복장이 다시 등장한 1979년 이란 혁명 이후 이것은 바뀌었습니다.[225][226][227]

원피스 수영복

  • 1977년, 미국의 여배우 패러 포셋(Farrah Fawcett)은 원피스 수영복을 대중화했고, 이것은 다시 우편물에 대한 유행을 시작했습니다. 이것은 1970년대에 부활했을 때, 짙은 목선과 높은 절단 다리를 가진 섹시하고 타이트한 수영복으로, 비키니 대신 젊은 여성과 소녀들이 입었습니다. 하지만 이것이 후자를 완전히 대체한 것은 아닙니다. 이것은 1980년대까지 계속되었습니다.

더팬츠슈트

  • 1970년대 후반까지 이 바지 정장은 여성 임원들에게 허용되는 비즈니스 웨어가 되었습니다. 이것은 입생로랑의 "Le smoking" 턱시도가 담배에서 떨어지는 재가 미끄러져 나갈 수 있도록 디자인된 실크 옷깃이 달린 성공 덕분에 재킷을 깨끗하게 유지할 수 있었습니다.[228] 비즈니스 인사이더는 바지 정장을 입는 것이 패션이라기보다는 정치적 발언에 가깝다고 지적했습니다. "그래서, YSL 바지 정장을 입는 것은 그 착용자가 불손하고, 대담하며, 유행의 최첨단이라고 선언했고, 그들이 급부상하는 페미니스트 정치와의 조화를 암시하면서도, 르 스모킹은 효과적으로 "만약 남자들이 이것을 입을 수 있다면, 왜 나는 이것을 입을 수 없을까?"라고 요구했습니다. 직장에 여성들이 진출하는 것이 증가하면서, 그들은 그들이 엘리베이터를 함께 타는 사람들만큼 진지하고 강력하다는 것을 증명하는 새로운 상징을 찾고 있었습니다. 남성 중심의 작업 공간을 설득할 수 있는 유일한 해결책은 맞춤 정장을 복사하는 것이었습니다. 재킷은 짧고 모양이 좋거나 길고 날씬할 수 있습니다.
  • 애니 홀과 같은 영화들은 일상적으로 남성복을 입은 여성을 묘사함으로써 젠더 이상과 싸웠습니다. 이 영화는 10년 동안 큰 영감을 얻었고 성공으로 인해 패션에 계속 영향을 미치고 있습니다. 치마는, 입었을 때, 종종 무릎 길이였고, 다리에 미묘한 강조를 주는 앞트임이나 옆트임이 있을 수 있습니다. 전통적으로 남성적인 "비즈니스 슈트 스타일"의 모습을 상쇄하기 위해, 슈퍼맨의 마고 키더와 같은 여성들은 자신감 넘치면서도 여성스러운 모습을 유지하기 위해 모자, 하이힐, 재킷에서 튀어나온 러플, 커다란 보석 등을 실험했습니다.[229]

디자이너 청바지

"Baggies" (Baggy Jeans)

  • 1979년부터 1981년까지 인기 있는 스타일은 하이시한 허리와 엉덩이와 허벅지 사이를 완전히 절개한 청바지로 발목이나 바로 위에 부딪히는 좁지만 꽉 끼지 않는 옷자락으로 가늘어졌습니다.[239][240] 그들은 가을에 그들의 창작자인 페리 엘리스에 의해 "딤플"이라고 불리는 싱글 소매 턱 또는 플리츠를 통해 유행처럼 넓어진 어깨를 가진 촌스러운 모습의 스웨터와 짝을 이루었고,[241] 그들과 함께 신은 신발은 종종 모드 프리존,[242][243] 재즈 옥스포드 또는 평평하고 레이스가 달린 앵클 부츠에서 영감을 받은 낮은 콘 힐을 가진 하이 빔 펌프스였습니다.

어깨 패드

  • 1978년 가을을 맞아 스타일은 어깨 패드,[244] 더 촘촘한 스커트, 그리고 더 좁아진 허리 라인으로 더 곡선적이 되었습니다.[245][246][247] 결과로 나온 실루엣은 역삼각형이었습니다.[248][249][250] This change did not arise from women's demands, nor from what women on the street were wearing, the way miniskirts,[251][252][253][254] jeans,[255][256] pants,[257][258][259] hippie clothing,[260][261][262] office blazers,[263] and more comfortable undergarments[264][265][266] had in the 1960s and earlier '70s.[267][268][269] 수십 년 후, 이 시기의 커다란 어깨는 여성들이 직업 사다리를 타고 올라가면서 "힘" 모습을 주장하려는 시도의 일부였다고 주장되겠지만, 여성들이 이사실에 더 강력하게 보이기를 원했기 때문에 큰 shoulder의 룩은 나오지 않았습니다. 여성들은 이미 적절하지만 편안한 블레이저를 가지고 있었습니다. 어깨가 큰 모습은 거리의 여자들에게서 전혀 나오지 않았습니다. 그 엄청난 어깨를 두른 모습은 단지 디자이너들로부터 나온 것으로,[271][272] 그들은 1978년 가을에 그 모습을 보여주기 위해 뭉쳤고,[273] 몇몇은 말 그대로 3피트 넓이의 어깨를 선보였고,[274][275][276] 강한 저항이 있었습니다.[277][278][279] Since the clothes were less comfortable and more restrictive than the clothes of the '70s[280][281] and resembled too much the man-focused styles of the 1940s and '50s,[282][283][284] this shoulder-padded look was initially a hard sell to the public,[285][286][287][288] but some designers, notably Perry Ellis,[289] Norma Kamali,[290] Calvin Klein,[291] and Giorgio Armani,[292] 편안한 착용감을 유지하고, 여성들이 10년 동안 입던 간편한 옷의 약간 슬림화된 버전에 합리적인 proport의 어깨 패드를 추가함으로써 더욱 매력적으로 만들었으며, 이러한 접근 방식은 일반 대중들에게 긍정적인 반응을 얻었습니다. 많은 디자이너들이 80년대에 계속해서 정말 큰 어깨를 선보였습니다.[297][298] 하지만 여성들은 그것에 순응하는 것 외에는 선택의 여지가 거의 없었습니다.[299] 그래서 큰 어깨 패드는 1980년대에 일반적이고 특징적인 것이 되었습니다.[300] 다이너스티와 같은 TV 프로그램에서 정치 지도자부터 배우, 동료, 가족까지 모든 사람들에게서 볼 수 있습니다. 하지만, 70년대 말, 1978년과 79년에, 많은 대중들은 그것이 새로운 모습이 될 것이라는 메시지를 얻었지만,[301][302][303] 여전히 그것을 이상하게 여겼습니다.[304][305]
  • 처음에 이러한 스타일과 함께 신었던 신발은 1978년에, 지금은 약간 높은 굽과[306] 블랙과 메탈릭과 같은 좀 더 세련된 소재와 색상으로, 70년대 중반 내내 인기 있었던 매우 헐벗고 높은 굽의 샌들을 계속했습니다. 이것들은 종종 발목 끈이 있었고 발뒤꿈치가 밑으로 처지지 않고 바로 뒤로 떨어졌습니다. 1979년에는 80년대를 특징짓는 더 높은 진공청소기와 모호하게 1950년대처럼 보이는 펌프가 나타났는데, 종종 밝은 색상으로 나타나고 마우드 프리존이 도입한 아래쪽 폐색 콘 힐로 표시됩니다.[307] 1979년에는 개방형 토드 펌프가 특히 중점을 두었습니다. 1960년대 초부터 패션을 지배한 후, 무릎 높이의 부츠는 더 이상 디자이너가 [308]아닌 1950년대의 데미부츠와 유사하고 새로운 하이뱀프 펌프와 거의 구별할 수 없는 중간 송아지보다 높지 않고 일반적으로 발목 위로 올라가지 않는 부츠로 대체되었습니다.[309]

남자들

1970년대 초 (1970-1972)

피콕 혁명에서 영감을 받은 벨벳 네루 재킷과 기하학적인 프린트 스카프를 착용한 이란 왕자 레자 팔라비, 1973.

공작 혁명

메인 기사: 공작의 혁명

밝은색

  • 수십 년 만에 처음으로 비닐과 나일론과 같은 합성품을 포함한 원료와 직물이 크게 부족했습니다. 그 결과, 일상적인 디자이너들은 일을 단순하게 유지했습니다.[12] 1970년대 초반은 1960년대 후반 히피 패션의 연속이었습니다. 남자들에게 이것은 특히 벨 하의 청바지, 넥타이 염색 셔츠, 군용 잉여 의류를 의미했습니다.[13] 1970년대 초 남성복으로는 트위드 스포츠 재킷, 카키 치노, 크림색, 짙은 녹색, 베이지색, 하늘색의 통통한 스웨터, 스톰 코트, 타탄 재킷, 피코, 플란넬 셔츠, 플란넬 셔츠, [12]주름 바지, 야구 재킷, 코듀로이 바지, 코바늘이 달린 허리 코트, 줄무늬 풀오버 스웨터, 스웨터 조끼, 태슬, 벨트 카디건,[315] 그리고 힙허그.[35]
  • 1970년대 초 남성들에게 가장 인기 있는 액세서리는 집에서 만든 것으로 목걸이, 머리띠, 팔찌는 나무, 삼베, 꽃, 가죽, 조개껍데기, 돌, 인디언 구슬과 같은 천연 재료로 만들어졌습니다.[12] 남녀공용 히피 액세서리에는 머리띠, 플로피 모자, 흐르는 스카프가 포함되었습니다.[13] 1970년대 초 남성 신발에는 플립플롭, 옥스포드, 버켄스탁,[17] 플랫폼 슈즈,[316] 어스 슈즈,[18] 카우보이 부츠가 포함되었습니다.[315]

동양 패션

회색 중산복을 입은 마오쩌둥, 1972.

1970년대 중반(1973-1976)

글램록

격식을 차리지 않은 복장

70년대 중반 컨트리 음악 그룹 슬리핑 더 휠(Sleep at the Wheel)이 착용한 서양에서 영감을 받은 아웃핏입니다.
  • 1970년대 중반의 패션은 일반적으로 미국의 남성들에게 비공식적이었고 느긋했습니다. 대부분의 남자들은 단지 청바지, 스웨터, 그리고 티셔츠를 입었는데, 그것들은 그 당시에 더 정교한 디자인으로 만들어지고 있었습니다. 남성들은 플란넬을 계속 착용했고, 1975년부터 레저복은 점점 인기를 끌었고, 종종 금메달과 옥스포드 신발과 함께 입었습니다. 빈티지 의류, 카키색 치노, 작업복, 맨투맨, 가죽 코트, 올데님 의상 등도 젊은 남성들 사이에서 선호되었습니다.[12] 다른 트렌드로는 프린트 셔츠, 집업 카디건, 1950년대 패션에 대한 향수를 이용하여 판매된 웨스턴 셔츠, 버켄스탁,[17] 무드 링,[34] 레인코트 등이 있습니다.[315] 1972년경부터 1975년까지 착용된 많은 프린트 셔츠들은 키아나라고 불리는 약간 광택이 나는 마무리가 있는 실크 나일론이었고, [329]중간 너비의 칼라와 다양한 프린트, 사진 프린트, 예술 프린트 등으로 만들어졌습니다.[330] 수십 년 후, 이 키아나 셔츠들은 "디스코 셔츠"라고 불렸지만, 거의 모든 곳에서 입었기 때문에 그 당시에는 그렇게 불리지 않았습니다. 그들은 청바지와 코듀로이와 같은 캐주얼한 스타일과 더 드레시한 슬랙스와 레저 슈트를 동반했는데, 보통 넥타이를 매지 않고 윗 단추 몇 개를 열어두었습니다.
  • 1975년경, 미국 정장은 더 날씬해진 유럽 정장을 닮기 시작했습니다. 준유럽 정장이라는 이름의 이 새로운 모델은 패딩 처리된 어깨, 더 높은 팔 구멍, 더 작은 허리, 열린 패치 포켓, 그리고 바지와 재킷에 작은 플레어를 특징으로 했습니다.[12] 1976년, 남성들이 더 캐주얼한 바지와 함께 벨벳 턱시도 재킷을 입는 것이 유행이 되었고, 조끼는 다시 인기를 얻었습니다. 남성 바지에 더 작은 플레어나 플레어가 아예 없어지기 시작한 것은 올해였습니다.[12] 이것은 1980년대까지 계속되었습니다.
  • 브레즈네프의 러시아에서는 서양의 의복, 특히 양가죽 코트와 플레어 바지가 데탕트로 인해 쉽게 구할 수 있게 되었습니다.[331] 이전에는 청바지를 암시장에서 수입해야 했습니다.[332] 정치국원들은 1960년대의 검은색, 회색 또는 갈색 정장과 회색 아스트라칸 모자를 쓰고 코트 위에 늘어선 모피를 계속 입었습니다.[333]

하이패션 소프트룩

  • 1973년부터 1978년까지 여성복의 하이 패션이었던 빅 룩/소프트 룩은 1976년 조르지오 아르마니가 이끄는 [334][335][336][337][338]남성복으로도 확장되었는데, 그는 여성복의 선두를 따라 남성 재킷, 정장, 바지의 안감과 패딩을 없앴습니다. 소매와 바지 밑단까지도 쉽게 말거나 밀어 올릴 수 있을 정도로 쉽게 천연 섬유로 자르고 칼라도 올릴 수 있었습니다.[339] 칼라, 옷깃, 넥타이는 좁았고,[340][341] 넥타이는 착용했을 때, 종종 높게 끌어올리지 않고 낮게 매듭지어져 목을 쉽게 벌릴 수 있었습니다.[342] 바지는 곧은 다리였고, 때로는 테이퍼질 때도 있었고, 종종 부드러운 주름이 있었습니다.[343][344] 밴드 칼라 셔츠는 종종 룩과 함께 입었습니다. 이[345][346] 스타일은 1978년까지 하이패션 남성복에서 우위를 유지했고, 그 후 남성복은 다시 여성복의 선례를 따라 1979년에 새로운 빅숄더 룩을 채택했습니다. 그러나 소프트 룩의 푸시업 재킷 소매와 턴업된 칼라는 어깨가 더 크고 더 화려한 형태로 1980년대까지 계속될 것입니다.

1970년대 후반(1977-1979)

1977년 이 동독 디스코 파티에서 볼 수 있듯이 플레어 청바지와 바지는 남녀 모두에게 인기가 있었습니다. 독일의 사회주의 지역(1990년까지)에서, 정부는 그들 인구의 문화적 삶에 대한 서구의 영향을 매우 중요하게 여겼지만, 사실 많은 분야에서 그것들을 용인했습니다.

운동복

  • 1970년대 후반까지 대부분의 남성과 여성은 일상복으로 스포츠 의류를 입고 있었습니다. 이것은 주로 트랙슈트, 점프슈트, 벨루어 또는 테리 천 셔츠(종종 스트라이프 및 로우컷),[12] 스웨터, 카디건, 맨투맨, 퍼퍼 조끼,[315] 플레어 진,[12] 일자 다리 진 및 칼라 셔츠, 긴 소매 및 짧은 소매 모두를 기반으로 했습니다. 이 무렵에 남자들이 셔츠를 잠그지 않은 채로 두는 것도 유행하게 되었습니다.[315] 이것은 1980년대까지 계속되었습니다. 70년대 후반, 길고 펑퍼짐한 칼라는 남성 패션의 주요 부분이 되었습니다.
  • 1970년대 후반의 액세서리에는 로우탑 운동화, 테니스 머리띠,[315] 푸카 조개 목걸이, 손목 밴드가 포함되었습니다.

디스코 스타일

  • 1977년부터 1979년까지 남성복은 디스코 스타일의 영향을 받았습니다. 남성들은 넓은 옷깃, 넓은 다리 또는 플레어 바지, 그리고 높은 허리 코트(미국 조끼)[347]가 특징인 세 벌의 정장(파우더 블루, 베이지, Saturday Night Fever에서 존 트라볼타가 입었던 것처럼 흰색, 갈색 폴리에스테르, 그리고 반짝이는 은빛 상어 가죽 등 다양한 색상으로 출시되었습니다. 디스코에서 비행사 선글라스의 인기에 영향을 받아, 많은 사람들이 비행사 모양의 안경을 썼지만 처방전이 명확한 렌즈를 착용했습니다.[348] 넥타이는 점점 더 넓어졌고, 셔츠 칼라는 길고 뾰족해졌습니다.[349]
1970년대 후반의 커플 프롬 남자들은 파우더 턱시도 여자들은 소매 드레스를 입습니다.

빅어깨

  • 1978년[350][351] 소수의 디자이너를 시작으로 1979년에 주요 트렌드가 된 70년대 말의 하이패션 남성복 디자이너들은 1978년 여성복에 첫 선을 보인 큰 어깨 패드를 [352]채택하여 재킷과[357] 정장을 입은 좁고 통풍이 안 되는 엉덩이[355][356] 부분이[353][354] 가늘어지는 과장된 패딩 어깨를 보여주었습니다. 다리가 곧거나 발목이 잘록한 바지와 함께 또한 때때로 스펜서나 벨롭 재킷처럼 짧고 박시한 재킷도 선보였습니다.[358] 여성복과 달리, 과장된 어깨는 셔츠에서 나타나지 않고 재킷과 코트에서만 나타났는데, 티에리 머글러와 같은 아방가르드 디자이너들 또한 때때로 복고풍의 미래지향적인 (1950년대 공상과학과 같은), 큰 어깨를 가진 우주 공간처럼 보이는 점프슈트를 선보였으며, 종종 트라푼토 스티칭으로 표시됩니다. 가장 아방가르드한 곳에서만 볼 수 있는 스타일 이러한 새로운 재킷 스타일의 옷깃과 넥타이는 처음에는 어깨 너비 증가를 강조하는 데 도움이 된다고 알려져 있지만,[359] 당시 가장 영향력 있는 남성복 디자이너인 조르지오 아르마니는 1940년대처럼 70년대 초반만큼 넓지는 않았지만, 비교적 빠르게 옷깃과 넥타이를 넓혔습니다.[360][361] 1970년대가 1980년대가 되면서 폭이 좁고 넓은 1940년대 옷깃과 넥타이를 동시에 볼 수 있었습니다. 그러나 1979년에 이러한 어깨가 큰 스타일은 이제 막 보이기 시작했고 아방가르드 사이를 제외하고는 아직 흔하지 않았습니다.

청춘패션

모드

테디 보이즈

전형적인 1970년대 중후반의 테드 장비, Shakin' Stevens가 착용한 것.
  • 1950년대에 대한 향수의 부활로 인해, 테디 보이 하위 문화는 1970년대 초에 영국에서 다시 나타났습니다. 라그가레라고 알려진 비슷한 로커빌리 하위 문화가 스웨덴과 독일에서 동시에 부활했습니다. 브로델 크리퍼, 배수관 바지, 볼로이, 드레이프 재킷은 일반적으로 대조적인 벨벳 칼라와 커프스가 인기가 있었습니다.[364] 1970년대의 테즈는 쇼와디와디 같은 글램 록 밴드의 영향을 받아 일렉트릭 블루, 표범 가죽 또는 브로케이드 허리 코트와 같은 밝은 색상을 입었고 브릴크림 대신 헤어 스프레이로 머리를 스타일링했습니다.[365] 1970년대 후반 테즈는 펑크 서브컬처와 모드 부흥주의자들의 숙적이 되었습니다.

히피즈

1971년 영국 록 밴드 킬링 플로어.
  • 1970년대 초와 중반에 가장 널리 퍼진 하위 문화 중 하나는 히피였습니다. 전형적으로 영국, 미국, 뉴질랜드의 중산층 젊은이들인 이러한 자유로운 사랑의 실천가들은 긴 머리, 넥타이 염색과 꽃의 힘을 모티브로 한 유니섹스 룩, 밥 딜런 모자, 쿠르타, 삼베 허리 코트, 바하 재킷, 벨 하의, 샌들, 그리고 여자 아이들을 위한 맥시 스커트를 좋아했습니다.[366] 1954년부터 1975년까지 베트남 전쟁에 미국이 적극적으로 개입했기 때문에, 미국 청소년들은 그들의 옷차림을 통해 반전 반문화적 표현을 하고 싶었습니다. 헌 군복과 남색 방울방울은 중고품점에서 흔히 구입한 뒤, 집에서 꽃자수와 화사한 색상의 평화상징 패치로 장식했습니다.[367] 부모님들이 선호하는 보수적인 아이비리그 패션에 대한 반응으로, 미국의 남녀 히피들은 남녀공용 스타일을 선호하는 디자이너 브랜드를 거부했고, 종종 자선 가게의 코듀로이, 대마, 빈티지 의류를 사용했습니다.[368] 비록 글램록이 70년대 중후반에 도시 지역에서 히피 운동을 대체했지만, 뉴에이지 여행자, 프릭신, 남바사 하우스 트럭[369] 및 서퍼와 같은 분파는 1990년대까지 계속되었습니다.

중금속

흑력

촐로스

1974년 로스앤젤레스 치카노 3회 우승.

펑크스

  • 펑크 록은 1970년대 후반 패션에 큰 영향을 준 음악 장르였습니다. 1970년대 펑크 패션의 상당 부분은 비비안 웨스트우드와 그녀의 파트너인 말콤 맥라렌의 디자인에 기반을 둔 것으로, 맥라렌은 430개의 킹스 로드를 점령하고 '렛 잇 록'이라고 부르는 미국의 빈티지 옷 가게 뒤쪽에 노점을 열었습니다. 1974년까지 430개가 이 가게의 이름을 '섹스(SEX)'로 이름을 바꾸었습니다. 맥라렌은 SEX를 '펑크 록으로 알려진 안식처 현상'이라고 표현했습니다.[384] 펑크는 런던에서 생겨났고, 미국으로 퍼졌습니다. 다양한 스타일적 영향들이 복합적으로 융합된 펑크는 런던의 거리와 뉴욕의 음악계에 뿌리를 두고 있습니다.[384] 스트리트 펑크 패션은 일반적으로 찢어진 옷, 검은색 터틀넥, 배수관 청바지, 타이트한 가죽 바지, 가죽 재킷(종종 체인, 스파이크, 스터드, 페인트로 장식), 금기된 이미지나 메시지가 있는 재킷과 셔츠, 강아지 목걸이, 안전핀, 킬트, 닥 마틴으로 구성되었습니다.[385] 옷에 들쭉날쭉한 밑단과 정교한 자수를 특징으로 하는 "New Wave"라는 덜 위협적인 펑크 스타일의 변형된 버전이 1980년대 초반 주류를 이루었습니다.[386]

1970년대의 미풍조

여성 헤어스타일

1970년대 여성들의 머리는 보통 긴 머리에 가운데 가르마를 매고 있었습니다.

10년의 대부분 동안, 여성과 10대 소녀들은 머리를 길게 하고 가운데나 옆으로 가르마를 탔는데, 이것은 1960년대 후반부터 이어받은 스타일이었습니다. 1970년대 초에서 중반의 다른 헤어스타일로는 물결 모양의 "집시" 컷, 레이어드 쉐그, 그리고 일반적으로 "날개"라고 불리는 "플릭" 스타일이 포함되었는데, 이 스타일은 관자놀이에서 머리카락을 작은 날개처럼 튕겨내는 것이었습니다. 이 외모는 TV 시리즈 찰리의 천사의 스타들에 의해 대중화되었습니다. 금발이나 "얼룩"머리도 인기가 많았습니다. 1977년, 펑크 가수인 블론디의 데비 해리는 긴 프린지(뱅)와 함께 착용한 어깨 길이의 염색한 백금 금발 머리로 새로운 유행을 일으켰습니다.

1970년대에는, 인기 있는 여성용 헤어스타일 중 하나를 만드는데 많은 시간이 걸리지 않았습니다. 아프로 헤어스타일, 셰기 헤어스타일, 깃털이 달린 헤어스타일(당시 "파라 포켓 헤어스타일"로 알려짐)을 포함한 이러한 헤어스타일은 이동 중에도 완벽하며 여전히 표현력 있는 스타일을 유지할 것이라고 말했습니다.[387] 미국과 다른 곳의 흑인들에게 아프로는 10년 동안 남녀 모두가 착용했습니다. 아프로가 주류에 진입하면서 아프리카계 미국인 미용 산업에서 아프로 향상 제품과 아프로 가발이 등장했습니다.[388] 이 가발은 하룻밤 외출을 위해 편리하게 제거하고 착용할 수 있는 더 대담한 룩으로 제작되어 광고되었습니다.[388] 흑인 여성들에게는 1970년대 다이애나 로스나 글로리아 게이너와 같은 디스코 디바들이 이를 채택하면서 디스코의 주요 요소가 되었습니다. 아프로스는 또한 백인들, 특히 유대계[389] 미국인들에 의해 때때로 펑크가 등장할 때까지 패션의 주축이었던 긴 생머리와 머리가 짧아지고 중앙 분할이 더 이상 모드가 아닌 "디스코 룩"의 대안으로 스포츠되기도 했습니다.

1970년대의 가장 상징적인 여성 헤어스타일은 거의 틀림없이 파라 포켓 헤어스타일입니다. 1976년 대중화된 이 헤어스타일은 많은 미국 여성과 소녀들에 의해 아주 많이 모방되었습니다. 파동, 컬 및 레이어를 통합했습니다. 주로 앞머리에 착용하지만 옆 부분에도 착용할 수 있는 스타일입니다. 더 스타일리시하게 만들기 위해 여성과 소녀들은 금발 줄무늬로 머리를 서리를 내립니다.[390]

남성 헤어스타일

스티브 맥퀸 구레나룻, 1972.
축구선수 조지 베스트는 1976년에 긴 머리를 했습니다.

1960년대부터 계속해서 덕테일과 퐁파두르 헤어스타일(당시 "엘비스 프레슬리 헤어스타일"로 알려짐)은 뉴욕과 같은 대도시의 젊은 이탈리아계 미국인과 멕시코계 미국인 남성들 사이에서 인기가 있었습니다. 많은 양의 기름이나 브릴크림은 보통 모발을 제자리에 유지하는 데 사용되었습니다. 1970년대 초와 중반은 지난 수년간의 사회적 규범에 저항하는 방법으로 일반적으로 남성의 머리카락이 길어진 것을 특징으로 합니다.[391] 구레나룻도 비슷한 시기에 입었습니다. 남성들에게 가장 인기 있는 헤어스타일 중 일부는 "Long and Luscious" 헤어스타일, 모드 헤어스타일, 그리고 스티브 맥퀸과 같은 액션 영웅들이 유행시킨 "버즈컷" 헤어스타일을 포함합니다. 1970년대 후반, 남자들은 선원들의 절단부터 버즈 컷, 그리고 덥수룩한 조각에 이르기까지 그 절단을 위해 노력했습니다. 이것은 주로 운동적인 모습을 위해 행해졌고, 구레나룻과 얼굴 털은 유행을 타지 않았습니다.

화장품과 화장품

주 기사: 1970년대 화장품
1972년 배우 카밀 키튼. 대부분의 10년 동안, 여성들은 낮에 가볍고 자연스럽게 보이는 화장을 선호했습니다.

1970년대의 화장품은 현대 여성의 모순된 역할을 반영했습니다.[392] 1900년 이후 처음으로 유일무이한 트렌드에 대응하기보다는 상황적으로 화장을 선택했습니다.[392] 이 시대의 두 가지 주요 비전은 미국 디자이너와 코스모폴리탄 잡지가 선보이는 주간의 "자연스러운 룩"과 유럽 디자이너와 패션 사진작가가 선보이는 성적인 매력의 저녁 미학이었습니다.[392] 주변부에서는 펑크와 글램도 영향을 미쳤습니다. 고전하던 화장품 업계는 새로운 마케팅과 제조 관행을 이용하여 재기를 시도했습니다.

이미지 갤러리

1970년대 패션 트렌드를 대표하는 이미지입니다.

  • The early 1970s' fashions were a continuation of the hippie look from the late 1960s.
    1970년대 초반의 패션은 1960년대 후반부터 히피 룩의 연속이었습니다.
  • Woman in miniskirt, 1970
    1970년 미니스커트를 입은 여자
  • A West German school girl with Schultüte in 1970, with a 'hippyish' outfit on.
    1970년 슐튀트와 함께 '히피시한' 옷을 입은 서독 여학생.
  • Swedish model Efva Attling in a "midi" dress, with Lars Jacob, Kings Road, London, 1971.
    1971 런던 킹스 로드의 라스 제이콥과 함께 "미디" 드레스를 입은 스웨덴 모델 에프바 애틀링.
  • Fashion models in Leipzig, GDR, 1972. One of the girls is modelling a "maxi" dress.
    라이프치히의 패션 모델들, GDR, 1972. 소녀들 중 한 명은 "맥시" 드레스를 모델로 하고 있습니다.
  • Argentine fashion shoot for bell-bottoms in 1972.
    1972년 아르헨티나의 벨보텀 패션쇼.
  • Siouxsie Sioux of the English punk group Siouxsie and the Banshees.
    영국 펑크 그룹 수족시 앤 더 밴시즈의 수족.
  • David Bowie in the early 1970s.
    1970년대 초의 데이비드 보위.
  • American First Lady Pat Nixon wears a shirt with the wide collar that was popular until the final years of the decade.
    미국 영부인 팻 닉슨은 10년이 끝날 때까지 인기 있었던 넓은 칼라가 달린 셔츠를 입습니다.
  • Girl in 1973 with a "flicked" hairstyle.
    1973년에 "플릭" 헤어스타일을 한 소녀.
  • Los Angeles high school students, 1973. The tousled, blond surfer hair was popular for young men in southern California.
    1973년 로스앤젤레스 고등학생들. 곱슬곱슬한 금발의 서퍼 머리는 남부 캘리포니아의 젊은 남성들에게 인기가 있었습니다.
  • Singer Billy Preston in 1974 wearing an Afro hairstyle.
    1974년 아프로 헤어스타일을 한 가수 빌리 프레스턴.
  • American casual attire, 1974.
    1974년 미국 캐주얼 복장.
  • British girls in 1975 in flared jeans
    1975년 플레어 청바지를 입은 영국 소녀들
  • British singer Rod Stewart, 1976.
    영국 가수 로드 스튜어트, 1976.
  • English girl in the mid-1970s wearing a wide-sleeved shirt, belted at the waist.
    1970년대 중반, 허리에 벨트를 맨 넓은 소매 셔츠를 입은 영국 소녀.
  • Two punks from the late 1970s
    1970년대 후반의 두 펑크.
  • Debbie Harry of Blondie in 1977.
    1977년 블론디의 데비 해리.
  • Susana Giménez wearing hotpants, 1977
    1977년 핫팬츠를 입은 수잔나 히메네스
  • Silk scarves were popular fashion accessories for women in the 1970s.
    실크 스카프는 1970년대 여성들에게 인기 있는 패션 액세서리였습니다.
  • Singer Barry Manilow wears his hair longish in the soft, layered style favoured by men in the 1970s.
    가수 배리 매닐로우(Barry Manilow)는 1970년대 남성들이 선호했던 부드러운 레이어드 스타일로 머리를 길게 늘어뜨립니다.
  • Punk pioneer Lene Lovich in 1979, with her trademark long plaited hair.
    펑크의 선구자인 레네 로비치는 1979년 그녀의 트레이드마크인 긴 땋은 머리를 가지고 있었습니다.
  • Alan Bennett in 1973, wearing a wide necktie
    1973년 알란 베넷은 넓은 넥타이를 매고
  • Frisbee player Ken Westerfield wearing draw string bell bottoms in the 1970s
    1970년대에 끈끈이 달린 벨 하의를 입은 프리스비 선수 켄 웨스터필드

참고 항목

참고문헌

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  21. ^ Livingston, Kathryn Zahony. "Fashion". The 1974 World Book Year Book: A Review of the Events of 1973. Field Enterprises Educational Corporation. p. 319. ISBN 0-7166-0474-4. Unmonumental accessories were the norm: golden chains, gold-button earrings, rhinestone clips...
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  23. ^ Howell, Georgina (1978). "1972". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 325. ISBN 0-14-004955-X. Shoes are preposterously high and vivid, the thick platform adding inches to already tall heels. Saint Laurent's rope-soled wedge espadrilles in primary colours lace up...and...there are...corksoled sandals.
  24. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1973 Britannica Book of the Year: Events of 1972. Encyclopaedia Britannica, Inc. p. 295. ISBN 0-85229-282-1. ...[C]lumsy wartime clogs, in shades of green, red, yellow, blue, or pink, were popular with the young crowd.
  25. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1973 Britannica Book of the Year: Events of 1972. Encyclopaedia Britannica, Inc. pp. 295–296. ISBN 0-85229-282-1. ...jeans rolled up to uncover multicoloured striped socks and...bright clogs.
  26. ^ Dullea, Georgia (19 December 1973). "The Youngsters Love Outrageous Socks: 'Why Have Drab Feet?'". The New York Times: 52. Retrieved 8 March 2022. [T]hey parade through the halls of Pleasantville (N. Y.) High School in what look more like gloves than socks. Toe Socks, the girls call them. For $3 a pair they get 10 different colored toes. 'Everybody around here loves them,' says Maria, regarding her rainbow of toes through Dr. Scholl's sandals and confiding that toe socks take getting used to...Mostly they're wearing them under their jeans...Nina Borie, a 17‐year‐old senior there, has swapped those cable knits that mother bought for socks striped in orange, yellow and green.
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  28. ^ Howell, Georgina (1978). "1973". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 329. ISBN 0-14-004955-X. There is an out-of-uniform uniform for students and school-leavers: floppy-brimmed hat, long straight hair, full-sleeved shirt or smock, and cotton skirt to the ground.
  29. ^ Morris, Bernadine (21 April 1974). "Clothes for Fall: Mostly Casual". The New York Times: 54. Retrieved 22 June 2022. A good portion of the styles are knitted. There are plenty of versions of the standard international daytime uniform: the sweater‐jacket over a flared skirt.
  30. ^ a b Klemesrud, Judy (17 February 1976). "In Pioneer-Style Boots, the Klutzy Look is Chic". The New York Times: 52. Retrieved 10 February 2022. ...[Knee-high] Frye boots are the 'hot boots' this season...They were wide and loose around the ankles...
  31. ^ "From the Sands of Morocco to the Sidewalks of New York". The New York Times: 56. 3 December 1975. Retrieved 8 March 2022. You'll find Mademoiselle and Glamour readers wearing jeans tucked into their Frye boots and Vogue and Harper's Bazaar readers wearing their pants with the more expensive Charles Jourdan boots.
  32. ^ Crenshaw, Mary Ann (30 June 1974). "Fashion". The New York Times: 34. Retrieved 8 March 2022. Classic Spanish espadrille is two-toned brown and orange canvas....A covered wedge makes an embroidered denim espadrille into a shoe....Sling‐back espadrille in navy canvas has open toe, platform sole....An acid green espadrille is set on a high, high sole, has leather ties.
  33. ^ Jones, Stacy V. (12 July 1975). "Laboratory Method is Utilized to Test Tires". The New York Times: 31. Retrieved 3 March 2022. Famolare, Inc., is manufacturing 150,000 pairs a month of its Get There shoes. The shoe has a sole trademarked Wave,...a positive shock‐absorbing heel that propels the walker and creates a fluidity of rolling motion. The wavy bottoms have attracted considerable attention in the shoe trade....The sole...has four waves, one under the heel, another under the toe, and two in between.
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  37. ^ Pendergast, Tom and Sarah (2004). Fashion, Costume and Culture. MI, USA: Thomson Gale. p. 933. ISBN 0-7876-5422-1.
  38. ^ Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 305. ISBN 0-670-80172-0. Designers and public alike grew tired of...classics and the 'big look' was introduced in the mid-seventies – loose, baggy, layered capes, smocks, tent dresses, leg-warmers and balaclavas – combined with the ethnic look.
  39. ^ Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?". The New York Times: 23. Retrieved 18 February 2022. [In 1973], the big look was unleashed by Kenzo Takada,...and it soon took the French capital by storm. Within months the avant-garde was turning up in loose dresses and big coats. A year later, Karl Lagerfeld refined it and gave it stature in his collection for Chloe. By last fall [1974], the streets of Paris and other cities in Europe with pretensions to fashion were dominated by loose dresses, big capes and flowing skirts. The voluminous look had arrived.
  40. ^ Morris, Bernadine (25 August 1974). "The Big Look". The New York Times: 285. Retrieved 10 February 2022. [S]tanding in the wings for fall is one of those momentous changes. It involves swashbuckling capes, blouses that blouse instead of cling, swirling skirts, voluminous coats, all wrapped up in acres of scarves.
  41. ^ Morris, Bernadine (1 January 1976). "70's Fashion: Sportswear at the Summit". The New York Times: 36. Retrieved 10 February 2022. Paris started the 'big look'—voluminous coats, tent dresses, smock tops. Longer skirts went along with it....By the fall of 1974, long skirts, boots and capes were established as the uniform of the chic...
  42. ^ Hyde, Nina S. (1 January 1978). "Fashion Notes". The Washington Post. Retrieved 10 February 2022. Fashion punch words from 1977 that carry into spring and summer 1978: softness, easy, loose, light....[I]t means loose fitting clothes in lightweight, unlined natural fabrics.
  43. ^ Hyde, Nina S. (10 March 1978). "Perry Ellis's Slouch Look, With Room to Think". The Washington Post. Retrieved 24 January 2024. 'It's a far cry from the tailored, stiff clothes that used to push the body. Now we need some room to move around in life, room to think. These clothes give you room to think,' [Perry Ellis] says.
  44. ^ Curtis, Charlotte (1 January 1971). "The Midi Laid an Egg in 1970, but It Did Hatch Other Fashions". The New York Times: 33. Retrieved 4 April 2022. ...the already popular gypsy‐ethnic look.
  45. ^ Emerson, Gloria (22 January 1969). "Italian Couture Short on Ideas, Long on Effects". The New York Times: 34. Retrieved 13 July 2023. The gypsy look...means a full, colorful skirt or a flounced one....[T]he gypsy idea is under way everywhere...
  46. ^ Morris, Bernadine (13 July 1970). "Madame Butterfly Look Flutters Through Rome Fashion Shows". The New York Times: 34. Retrieved 17 May 2023. ...[H]ippie girls have taken to long printed peasant skirts.
  47. ^ Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing". The New York Times: 48. Retrieved 10 February 2022. [T]he dresses are so voluminous. The yardage is immense. They're also quite long, baring not much more than the ankles. That's the length most of the clothes are around here....[A]ll inner construction, and practically all seams, have been eliminated. That means no linings, no interfacing, not even any turned‐under hems—the fabric has simply been cut off at the bottom. As a result, the clothes can be piled on top of each other, layer upon layer, without making the wearer look like a moving mountain. A cape, two coats and a dress worn ensemble is not unusual. Instead of cutting up fabrics into little pieces and sewing them torturously together, designers seem to be throwing them against the body and letting them flow.
  48. ^ Morris, Bernadine (31 March 1974). "Fashion is Quiet Now and Some Designers Say That's Just Fine". The New York Times: 56. Retrieved 4 April 2022. 'Young people don't care about seams,' [Calvin] Klein said. 'I stopped caring myself. I keep paring things down more and more. Clothes are less constructed today. That's what makes them more natural'.
  49. ^ Hyde, Nina S. (8 November 1977). "Plunging into a Billowy Spring". The Washington Post. Retrieved 4 April 2022. John Anthony insured the light weight of his clothes by developing two machines that eliminate hems, bindings, plackets and even linings.
  50. ^ Morris, Bernadine (10 February 1976). "Fashion's Fresh Approach: Free‐Flowing, Elegant and Gay". The New York Times: 32. Retrieved 4 April 2022. ...[T]he new clothes seem natural, as if they weren't designed at all, but just happened. The best of them just flow, moving effortlessly over the body, anchored gently by drawstrings or elasticized smocking.
  51. ^ Morris, Bernadine (4 April 1973). "Kenzo Displays His Imagination With a Fun-Filled Show in Paris". The New York Times: 38. Retrieved 31 December 2021. The models wore big, bulky sweaters over full dirndl skirts in gray flannel, tent dresses and tent coats and pleated dresses with embroidered white petticoats worn under them....[H]emlines ranged from below the knee to above the ankle...These long skirts have a certain kick to them. They're very full, even the flannel ones.
  52. ^ Salmans, Sandra (25 August 1974). "Seventh Avenue". The New York Times: 96. Retrieved 10 December 2021. ...[T]he Big Look...was pioneered in Paris a year ago [1973] by Kenzo Takada...with absurdly large skirts and coats....[T]he look features long skirts, dropped shoulders, dolman sleeves and large armholes, blouson jackets, blowing capes, and loose dresses–all laid on with layers of fabric.
  53. ^ Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 337. ISBN 0-670-80172-0. Kenzo anticipated a major change this winter by creating a full, circular skirt, easily caught by the wind...The replacement of the short, kicky skirt by the longer, fuller style was the most important change in the silhouette...The new coat and cape shapes were also looser, fuller and longer – the hemline was anywhere from 3 inches below the knee to the ankle. This voluminous, unconstructed style was christened the 'Big Look'.
  54. ^ Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing". The New York Times: 48. Retrieved 10 February 2022. The difference with Lagerfeld's things is that all inner construction, and practically all seams, have been eliminated. That means no linings, no interfacing, not even any turned‐under hems—the fabric has simply been cut off at the bottom.
  55. ^ Hyde, Nina S. (29 March 1977). "Paris Looks: Casanova to Puss 'n' Boots". The Washington Post. Retrieved 10 February 2022. It was Lagerfeld who first took the shaping and the linings out of clothes...He also removed hemlines entirely to make clothes lighter and more easily layered....'[Y]ou cannot go back to lined clothing, because...clothes today must be light and loose'.
  56. ^ Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 300. ISBN 0-670-80172-0. ...Fendi...employed Karl Lagerfeld to design their fur range and he changed the whole silhouette of modern furs....Lagerfeld insisted that the underside of the pelts be stripped down to the very thinnest layer needed to support the pile, and by softening and treating the underside, made it unnecessary to line the garment.
  57. ^ Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life". The New York Times: 28. Retrieved 7 November 2022. The winds of change are rustling through the workrooms of Seventh Avenue, blowing away the skinny, skimpy, body‐clinging clothes of the past ten years. In their place are voluminous tops, widely flaring skirts, longer hemlines.
  58. ^ Morris, Bernadine (26 November 1977). "The Loose Look is Easing into Spring". The New York Times: 36. Retrieved 4 April 2022. Geoffrey Beene is in a sense the father of the look, having started with it several years ago and perfected the effortless handling of cloth so it flows over the body in a gentle, easy manner.
  59. ^ Morris, Bernadine (27 June 1974). "Coty Awards Go To Halston and Beene". The New York Times: 52. Retrieved 4 April 2022. None of [Beene's coats] are lined and all inner construction has been removed....'[I]n spite of their new bulk, they actually weigh less....It's the first direction of the seventies, I believe,' he said.
  60. ^ Livingston, Kathryn Zahony. "Fashion". The 1975 World Book Year Book: Events of 1974. Field Enterprises Educational Corporation. p. 328. ISBN 0-7166-0475-2. ...Yves Saint Laurent with his beltless Naïve Chemise gave the [Big Look] the stamp of haute couture.
  61. ^ Peake, Andy (2018). "The New Ease in Fashion". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 113. ISBN 978-0-7643-5499-1. ...[I]n 1974,...Saint Laurent created a Russian-themed collection....Saint Laurent's collection featured full skirts that fell below the knees, thick sweaters, capes, quilted gold jackets, velvet and satin knickerbockers, long fur coats and matching fur hats, and a new, and very distinctive, style of knee-length fashion boot...loose-fitting...
  62. ^ Freund, Andreas (8 August 1976). "The Empire of Saint Laurent". The New York Times. p. 87. Retrieved 18 February 2022. The noise about Saint Laurent's big silhouette and folkloric look served to enhance his reputation...
  63. ^ Morris, Bernadine (23 April 1977). "Designers Softly Changing the Way Women Will Dress". The New York Times: 48. Retrieved 15 March 2022. An enormous change is taking place in the clothes now being introduced...Not nearly so visible as shifting, by a yard or so, the length of a dress or switching a good proportion of the female population from skirts into pants, the new trend nevertheless has a tremendous influence on the shape of clothes....The significant element is softness, expressed in the character of the fabrics employed and the lack of stiffness in the construction....[I]t is permeating the majority of the collections.
  64. ^ Livingston, Kathryn Zahony. "Fashion". The 1975 World Book Year Book: Events of 1974. Field Enterprises Educational Corporation. p. 328. ISBN 0-7166-0475-2. In the United States, Calvin Klein was cheered for his wearable, toned-down, Americanized versions [of the Big Look].
  65. ^ Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion". The New York Times: 225. Retrieved 10 December 2021. A year ago [1976], Klein, who has the ability to sense what women want before they know it, designed a fall collection that...had...a lot of longer, fuller skirts and looser tops. Everything was softer, less tailored.
  66. ^ Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everybody". The New York Times: 65. Retrieved 31 December 2021. One of the big changes in [Mary McFadden's] current collection is a loosening of the rather strict, austere McFadden silhouette. That means there are more bloused bodices, somewhat fuller skirts and even various layering effects.
  67. ^ Morris, Bernadine (15 August 1976). "Fashion: Paris Report". The New York Times: 179. Retrieved 18 March 2022. Hubert de Givenchy loosened up a bit, turning out a peasant style or two.
  68. ^ Duka, John (2 July 1978). "Fashion Profile". The New York Times: SM6. Retrieved 31 December 2021. Last year [1977]..., Ellis was one of the major interpreters of the 'Slouch Look,' his own name for such designs as loose‐fitting, voluminous tops with raglan sleeves draped offhandedly over tapered pants cut too long so that they bunched at the ankles. He followed this with gutsy, oversized, bulky knit sweaters that hung down to mid‐thigh.
  69. ^ Donovan, Carrie (12 November 1978). "Why the Big Change Now". The New York Times: SM226. Retrieved 15 November 2021. Perry Ellis...turned out some of the most extreme of the layered, piled-on 'big' looks...
  70. ^ Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 339. ISBN 0-670-80172-0. 'Much too big is the right size,' as Kenzo put it. He produced larger-than-life, loose, casual clothes – smocks, tent dresses and huge striped dungarees.
  71. ^ Morris, Bernadine (9 May 1974). "The Closet May Seem Too Little This Fall". The New York Times: 52. Retrieved 10 March 2022. Voluminous. Massive. Wide. Flowing. These are the words to describe the new clothes that are emerging...Voluminous capes. Wide coats and jackets. Big, flowing skirts.
  72. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. Everything is very big – jackets, dresses, skirts, blousons, vests, sweaters, tunic, coats...Big dresses are selling, so are all the blousons.
  73. ^ Morris, Bernadine (27 October 1977). "Sunshine from Paris: Billows and Blousing". The New York Times: 69. Retrieved 16 March 2022. Forget about clothes that fit snugly. They simply aren't a part of today's scene.
  74. ^ Hyde, Nina S. (28 March 1977). "The Long and Short (Fat and Thin) of Paris Fashions". The Washington Post. Retrieved 11 March 2022. One rule for all the very full clothing is that the fabric must be done in the lightest weight possible.
  75. ^ Hyde, Nina S. (1 January 1978). "Fashion Notes". The Washington Post. Retrieved 10 February 2022. ...[A]nything natural always feels better, often lasts longer...
  76. ^ Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everyone". The New York Times: 65. Retrieved 31 December 2021. ...[Perry Ellis] uses linen, hopsacking and even hemp for his loose jackets, full skirts and big shirts...
  77. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. Many of the clothes are cotton, in bantam weights so that they are as un-bulky in all their layers, as cool for hot weather, [and] as see-through and sexy as big and blousy clothes can possibly be.
  78. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. Handkerchief linen is...a favored fabric...[D]esigners are using muslin, ramie, cotton, burlap, eyelet and silk, both raw and refined—all in natural colors or the whitest of whites.
  79. ^ Hyde, Nina S. (19 June 1977). "Fashion Notes". The Washington Post. Retrieved 24 March 2022. No one in New York is wasting energy ironing clothes this summer. The look is rumpled, worn fresh from the washer and dryer by both men and women.
  80. ^ Hyde, Nina S. (13 November 1977). "Comings and Goings at Studio 54". The Washington Post. Retrieved 4 April 2022. The best prints are on the fragile side,...like Calvin Klein's rosebud prints, the tiny stripes at Cathy Hardwick and Geoffrey Beene's geometric pin-dots and plaids.
  81. ^ Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76". The New York Times: 50. Retrieved 10 March 2022. In addition to solid color cottons, tiny flower prints are popular...
  82. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. Everything is lightweight, unconstructed and layered. Starting with the shortest garment, the levels of layering at France Andrevie, for example, build up like this: a vest over a jacket over a tunic over a big skirt over a pair of pants. Wear it all or any combination of parts.
  83. ^ Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions". The New York Times: 48. Retrieved 31 December 2021. Over [a] T‐shirt, [Perry Ellis] will place a cotton shirt, a hooded khaki sweater, and a quilted cotton coat...He likes sleeves rolled up and feels that two pairs of socks, one baggy, give the proper contrast to the flouncy [underskirts].
  84. ^ Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion". The New York Times: SM39. Retrieved 10 February 2022. Voluminous is the word for the prevailing shapes, applying to coats, capes and the dominant smock dress. The fullness is gathered in by drawstrings and if you don't happen to have one handy, you can tie a belt or a piece of string around your waist and pull up your dress a bit so it blouses.
  85. ^ Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants". The New York Times: 33. Retrieved 10 March 2022. All you need to keep in step with fashion these days is a bit of string. A pair of shoelaces will do. Or a length of wool yarn, the kind used to tie packages or ponytails....You twist your string around the pants just above the anklebone, pull the fabric out a bit so it blouses, and you have it—the new puffy look.
  86. ^ Morris, Bernadine (28 October 1976). "Paris Collections: Everything Seems to Tie in Nicely". The New York Times: 69. Retrieved 27 March 2022. Missoni...uses a series of drawstrings to change the shape of her clothes, sometimes dramatically. Necklines open or close, sleeves are drawn up or left to flutter, halters turn into one‐shoulder designs.
  87. ^ Cunningham, Bill (1 March 1989). "Designers of the World, Unite!". Details. New York, NY: Details Publishing Corp. VII (9): 201. ISSN 0740-4921. Beene used an actual laundry bag as the prototype for his 1976 collections, tying it at the waist or above the breast as a loose strapless dress.
  88. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. There's also a lot of wrapping and tying. Some clothes look like nothing more than a scarf that's been wrapped around the body...Sundresses often have matching scarves as big as shawls.
  89. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. ...[T]he new shirt...fits loosely and looks freshest when worn over, rather than tucked into, a full skirt and belted with rope.
  90. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. It's a bad year for the button makers and the zippers manufacturers since many things pull over the head or wrap loosely around the body.
  91. ^ Hyde, Nina S. (30 October 1977). "A Vested Interest". The Washington Post. Retrieved 24 March 2022. ...[W]omen are into buying and wearing shawls as fast as they can be found...
  92. ^ Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 336. ISBN 0-670-80172-0. Capes or shawls were shown in all the fashion capitals, often with Cossack or toggle styling.
  93. ^ Nemy, Enid (22 September 1975). "Shawls: A Most Important Accessory for Fall". The New York Times: 38. Retrieved 4 April 2022. ...[F]ashion's most important accessory this fall—the shawl....In addition to shawls, there's a resurgence of scarves and ponchos ...Whether it be shawl, scarf or poncho..., the news is in the size. It must be big; the closer it gets to a blanket, the more effective it becomes in the fashion picture....[T]he shawls...will add a...layer to the ubiquitous layered look.
  94. ^ Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern". The New York Times: 41. Retrieved 27 March 2022. Coats are not the kind of fashion one hears much about these days...A poncho or a blanket is usually considered sufficient coverage for those who shiver in the show.
  95. ^ "Fall Signals, A Fashion Essay by Avedon". Vogue. USA: 78. 1 July 1977. For coat, read: big poncho, big cape, big shawl, serape, djellabah...
  96. ^ Hyde, Nina S. (3 September 1978). "Uniform of the Day: Class Dress". The Washington Post. Retrieved 1 March 2022. [Deeda Blair's winter 1977] 'uniform' was an Yves Saint Laurent costume of a cashmere skirt, wool blouse, cape and shawl,...which she always wore with dark red boots.
  97. ^ Hyde, Nina S. (30 October 1977). "A Vested Interest". The Washington Post. Retrieved 24 March 2022. The new [vests] are huge and man-sized, unlined and totally shapeless....Like the vest, the big jacket is shapeless, and often unlined so it hangs very loose. The big vest is often worn under these jackets with an oversized shirt.
  98. ^ Hyde, Nina S. (1 November 1977). "Paris Fashion in the Fall: Big is Best". The Washington Post. Retrieved 24 March 2022. Jackets are never neat and trim, but oversized to give softness and a relaxed look with sleeves pushed up, the collar turned up, and a muffler often tied around the neck.
  99. ^ Mulvagh, Jane (1988). "1977". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 359. ISBN 0-670-80172-0. Perry Ellis presented big, slouchy, unlined tweed jackets, worn with the sleeves rolled up, over brushed-cotton dirndl skirts.
  100. ^ Mulvagh, Jane (1988). "1976". Vogue History of 10th Century Fashion. London, England: Viking, the Penguin Group. p. 353. ISBN 0-670-80172-0. Miyake...presented a series of nomad's tunics and hooded dresses, as did Basile.
  101. ^ Hyde, Nina S. (30 March 1977). "Saint Laurent: Alive and Well". The Washington Post. Retrieved 24 March 2022. The new [cape] is a steal from the Tunisian shepherds with a tasseled hood.
  102. ^ Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 339. ISBN 0-670-80172-0. ...[C]owlnecks completed the loose look.
  103. ^ Morris, Bernadine (19 April 1977). "Seventh Avenue Softens Up". The New York Times: 77. Retrieved 17 March 2022. Dirndl skirts in corduroy or herringbone tweed, velour sweatshirts, cowlneck sweaters and culottes are among [designer Liz Claiborne's] list of clothes...
  104. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977. Encyclopaedia Britannica, Inc. p. 382. ISBN 0-85229-342-9. ...romantic tops with drawstring necklines and billowing sleeves caught in at the wrist...
  105. ^ Hyde, Nina S. (8 November 1977). "Plunging into a Billowy Spring". The Washington Post. Retrieved 4 April 2022. ...textured knit sweaters always very loose with sleeves pushed up or rolled up and very casual.
  106. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977. Encyclopaedia Britannica, Inc. p. 382. ISBN 0-85229-342-9. The basic trend in Paris, London, and New York was the bloused overjacket or blouson.
  107. ^ Hyde, Nina S. (1 November 1977). "Paris Fashion in the Fall: Big is Best". The Washington Post. Retrieved 24 March 2022. Big blousons show up in leather as well as knits and wool...
  108. ^ Morris, Bernadine (15 August 1976). "Fashion: Paris Report". The New York Times: 179. Retrieved 4 April 2022. ...[Yves Saint Laurent] showed billowing peasant blouses...
  109. ^ Morris, Bernadine (9 March 1977). "Camisole: Summer's Uniform". The New York Times: 58. Retrieved 17 March 2022. The flouncy off‐the‐shoulder top and the strapless tube are running strong...[T]he off-the‐shoulder peasant blouse tends to...flop around...
  110. ^ Dorsey, Hebe (27 January 1977). "From Paris: Skirting the Issue With Ruffles and Flourishes". The Washington Post. Retrieved 17 March 2022. The newest items were blouses – a soft, Pierrot-ruffled one...
  111. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978. Encyclopaedia Britannica, Inc. p. 378. ISBN 0-85229-362-3. ...jeans were paired...with soft, full-sleeved silk blouses with plunging necklines.
  112. ^ Morris, Bernadine (9 March 1977). "Camisole: Summer's Uniform?". The New York Times: 58. Retrieved 17 March 2022. [T]he camisole promises to explode as one of the most ubiquitous fashions when the weather warms.
  113. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1975 Britannica Book of the Year: Events of 1974. Encyclopaedia Britannica, Inc. p. 300. ISBN 0-85229-303-8. ...[I]n the fall [of 1974] the dress finally reentered the scene. With volume at the height of fashion, it looked very different....often like an overdress or a smock, cut with deep kimono armholes and hardly any seams...
  114. ^ Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 339. ISBN 0-670-80172-0. Kenzo...produced...smocks, tent dresses and huge striped dungarees...The loose smock dress was also found at Rykiel, Muir, Saint Laurent, Burrows and Calvin Klein.
  115. ^ Morris, Bernadine (7 August 1975). "Reporter's Notebook: In Paris, Beating the Heat and the Pavement". The New York Times: 53. Retrieved 10 March 2022. ...[I]t was not unusual to see a woman in a long, loose, smock‐like dress maneuvering on a bicycle or a motor bike...
  116. ^ "The Big Bag Dress". The New York Times: 35–37. 31 July 1977. Retrieved 17 May 2023. Everybody is talking about the 'new' fall dress....It's as big, as blousy, as shapeless as a gunnysack, and it's worn as loose as a bubble, or caught somewhere with a belt....The big dress bloused up into a blouson bubble top. With a shawl thrown over one shoulder it's an excellent example of the new big look.
  117. ^ Hyde, Nina S. (16 November 1978). "The Spring Uniform". The Washington Post. Retrieved 4 April 2022. ...[T]he warm-weather uniform was a big tent dress with minimum underpinnings...
  118. ^ Evans, Eli N. (24 August 1975). "The Emperor's Fall Clothes". The New York Times: 213. Retrieved 24 March 2022. [T]he tent dress...surely ranks as the most democratic garment out of Paris in decades.
  119. ^ Klemesrud, Judy (27 August 1975). "The Dress Called the 'Droop': A Success Story Despite It All". The New York Times: 29. Retrieved 24 March 2022. On a recent sunny day on Fifth Avenue, the droops [tent dresses] were out in droves, completely concealing even the shapeliest woman's protrusions and inversions.
  120. ^ Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76". The New York Times: 50. Retrieved 10 March 2022. ...[T]he women of Paris are swinging along the streets in the most comfortable, cool easy fashion anyone can remember. It's a billowing sunback dress, made out of any kind of cotton fabric ...It requires little or no undergarments, it could double for a maternity dress...The prototype had a taut band at the bustline, thereby eliminating the need for a bra, and was loose everywhere else.
  121. ^ Morris, Bernadine (12 October 1976). "Fashion, Straight from the Shoulder". The New York Times: 52. Retrieved 4 April 2022. Geoffrey Beene introduced the strapless mode in sundresses a few seasons back and was...pleased with its effortless look...He points out that many women have become accustomed to going without bras, thus obviating the need for torturous undergarments....'What's marvelous about the new strapless dresses is you tie yourself into them the way you tie a scarf—it's the freest way of dressing,' [Grace Mirabella] explained. 'Once you get into them, you never think about them again'...
  122. ^ Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 337. ISBN 0-670-80172-0. [T]he hemline was anywhere from 3 inches below the knee to the ankle.
  123. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977. Encyclopaedia Britannica, Inc. p. 383. ISBN 0-85229-342-9. Some of the blousons were so inflated that they turned into mini-tunics, needing only matching socks over tights to complete the outfit.
  124. ^ Morris, Bernadine (3 May 1977). "Hemmed Up". The New York Times: 52. Retrieved 24 March 2022. The word 'miniskirt' is never invoked. 'Tunic' is actually more appropriate for the new short styles, many of which can be worn over pants or skirts as well as tights.
  125. ^ Morris, Bernadine (28 November 1976). "Paris Report". The New York Times: 237. Retrieved 10 March 2022. [The mini']s most dramatic form is the voluminous smock that Kenzo devised, always belted at the hips. But other designers showed shirts as dresses...
  126. ^ Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern". The New York Times: 41. Retrieved 4 April 2022. Lagerfeld...made the question of skirt length irrelevant. He showed them all, from very short to very long....What is very apparent about the dresses is their fullness....They're smocklike affairs...If they're short, you can see the boot tops. The boots come up over the knee...
  127. ^ Morris, Bernadine (28 March 1977). "Paris: Free-Flowing Excitement and Short Skirts". The New York Times: 26. Retrieved 22 June 2022. ...[S]hort skirts...also turned up in the...collections. They usually take the form of bulky sweaters, tunics over tights, ribbed stockings, boots, leggings...
  128. ^ Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern". The New York Times. Retrieved 27 March 2022. Skirts are big and roomy, but then they are also split so that legs show.
  129. ^ Morris, Bernadine (1 August 1976). "Paris Glorified the Peasant, Yes, But That's Not All". The New York Times: 52. Retrieved 11 March 2022. ...[T]he world will be swirling in dirndl skirts...
  130. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. ...[T]he skirt of the year is the dirndl. It ranges from moderately full to quite full, it's calf‐length or a bit longer, and it's balanced by fullness at the top.
  131. ^ Morris, Bernadine (23 October 1974). "Enthusiasm in Paris Over State of Fashion". The New York Times: 50. Retrieved 11 March 2022. Chloé...is big on dirndl skirts...
  132. ^ Tolbert, Kathryn (18 August 1974). "Fashion is Big in Japan – If It's French, British or American". The New York Times: 44. Retrieved 10 March 2022. ...[M]id‐calf peasant‐style dresses are the choices of college students and working girls...
  133. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977. Encyclopaedia Britannica, Inc. pp. 382–383. ISBN 0-85229-342-9. ...the favorite – the gypsy skirt. As three-tiered, gathered petticoat skirts undulated along city sidewalks, the streets seemed to be alive with gypsies...The London streets had their share of gypsy skirts, often in hand-blocked Indian cottons...
  134. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978. Encyclopaedia Britannica, Inc. p. 378. ISBN 0-85229-362-3. Transparent cotton voile was preferred for huge skirts with petticoat tiers and lingerie tucks.
  135. ^ Morris, Bernadine (4 April 1973). "Kenzo Displays His Imagination With a Fun-Filled Show in Paris". The New York Times: 38. Retrieved 31 December 2021. [Kenzo's] dresses with embroidered white petticoats worn under them.
  136. ^ Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everyone". The New York Times: 65. Retrieved 31 December 2021. There's usually an underskirt in a blending natural tone, worn with the full skirt.
  137. ^ Morris, Bernadine (21 November 1976). "Fashion Designers: Names You Should Know". The New York Times: 68. Retrieved 10 March 2022. Skirts in one or the other pattern are piled on top of each other, as many as three at a time...
  138. ^ Morris, Bernadine (7 April 1976). "Saint Laurent Was Hailed and Adored; For Kenzo, Tumult and Frenzy". The New York Times: 47. Retrieved 16 February 2022. [Yves Saint Laurent's] skirts are hiked up to show petticoats.
  139. ^ Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life". The New York Times: 28. Retrieved 7 November 2022. Geoffrey Beene's distinctive pants with pleats at the waist and full, but not flared, legs, introduced a while back, were so well received they've been developed in everything from flannel to crepe for fall.
  140. ^ Morris, Bernadine (19 April 1977). "Seventh Avenue Softens Up". The New York Times: 77. Retrieved 17 March 2022. [Liz Claiborne] makes her culottes shorter than her dirndl skirts, stopping just below the knee so the hem meets the boot top.
  141. ^ Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants". The New York Times: 33. Retrieved 10 March 2022.
  142. ^ Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life". The New York Times: 28. Retrieved 7 November 2022. Daytime pants tend to be straighter and trimmer than they have been to balance the bigger tops...
  143. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. Pants are around in every possible length as long as they are not man-tailored but rather soft. They are always baggy at the top, tapered to the ankle.
  144. ^ Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions". The New York Times: 48. Retrieved 31 December 2021. [Perry Ellis's] clothes have a totally relaxed look, exemplified by the tapered pants which he cuts too long so they bunch up over the ankles.
  145. ^ "From the Sands of Morocco to the Sidewalks of New York". The New York Times: 56. 3 December 1975. Retrieved 8 March 2022. [M]annequins trooped out wearing Valentino's ballooning harem pants in striped silk, Issey Miyake's jumpsuit with wide-as‐a‐tent pants caught in at the ankle,...and Marc Bohan's parachute pants....Oscar de la Renta came up with a much‐admired spring collection of gauzy, striped and Moroccan‐looking harem pants...
  146. ^ Morris, Bernadine (28 November 1976). "Paris Report". The New York Times: 237. Retrieved 10 March 2022. ...[T]rousers...are...longer, billowing Zouave pants. Then there's another category of pants that wraps and ties like the Indian dhoti or diapers.
  147. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. Among the assortment in pants styles are the dhotis and sarouls (Moroccan draped pants), both of which look a bit like droopy diapers as they wrap between the legs, harem pants, and bloomers of all sorts.
  148. ^ Morris, Bernadine (26 November 1977). "The Loose Look is Easing into Spring". The New York Times: 36. Retrieved 4 April 2022. ...[C]omfort is indeed the keynote to clothes today. It is the reason for the loose fit, the lack of construction, the elimination of hemlines, the concentration on gossamer‐weight fabrics.
  149. ^ Morris, Bernadine (13 January 1978). "Fashion: A Look at the Simple Truth". The New York Times: B4. Retrieved 9 January 2022. With a generation of office workers and executives going to work in T-shirts and blue jeans, formality in fashion was becoming a thing of the past....[I]t is possible for a woman to go anywhere, including black‐tie dinners, in a shirt and pants....Simplicity is the rule, and there's no need for a woman to clutter her closets with a lot of clothes...It is part of the simplification of life that comes under the heading of modernity. So is the fact that most clothes are soft and unstructured as well as interchangeable.
  150. ^ Morris, Bernadine (1 January 1976). "70's Fashion: Sportswear at the Summit". The New York Times: 36. Retrieved 10 December 2021. [T]he 1970's will be marked by clothes divided into many easy pieces that can be added to or subtracted from, according to the weather, personal preferences and the feeling of the moment.... Construction will continue to be simplified so that clothes become increasingly less bulky and more flowing. The style of the 1970's is low on artifice, high on a natural look. Casual is the operative word.
  151. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. ...[I]f sleeves are too long, you push them up on jackets, blouses, shirts, dresses – whatever. (Even if they fit perfectly, you push them up.)
  152. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. ...[T]he newest‐looking jackets are nothing more than oversized shirts worn open and with the sleeves rolled up. Those rolled‐up sleeves are important on all kinds of blouses and shirts...
  153. ^ Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions". The New York Times: 48. Retrieved 31 December 2021. [Perry Ellis] likes sleeves rolled up...
  154. ^ Hyde, Nina S. (11 December 1977). "Fashion Notes". The Washington Post. Retrieved 24 March 2022. There was remarkably little jewelry shown, except...the bangle bracelets at several designers and the ethnic necklaces at Yves Saint Laurent. At Geoffrey Beene and elsewhere, jewelry was replaced by silk flowers strung on a long silk cord.
  155. ^ Hyde, Nina S. (8 May 1977). "Full Bloom". The Washington Post. Retrieved 24 March 2022. Suddenly it seems right to leave your jewelry in the drawer and start wearing flowers. Flowers on the lapel update last year's blazer. Flowers in the hair, around the neck, at the wrist or the ankle are appropriate with the new softer clothes...
  156. ^ "Fall Signals, A Fashion Essay by Avedon". Vogue. USA: 78. 1 July 1977. ...a necklace of silver threads with a stone hung on it, or chunks of glazed terra-cotta slipped through a macramé cord...
  157. ^ Nemy, Enid (5 January 1977). "Discoveries". The New York Times. Retrieved 24 March 2022. [S]tickpins are big this season...
  158. ^ Barmash, Isadore (20 December 1977). "Sales in Most Areas Up by 10% to 15%". The New York Times: 61. Retrieved 24 March 2022. What was selling well? 'Stickpins with the antique look,' replied C. Hal Silver, chairman of Kaufmann's, one of Pittsburgh's largest stores.
  159. ^ "Fall Signals, A Fashion Essay by Avedon". Vogue. USA: 78. 1 July 1977. ...a belt that's a length of patterned knitting to wrap and wrap and knot at the waist, or a long rope of yarn twisted with bronze metallic...
  160. ^ "Fashion Things for Spring". The New York Times: SM12. 15 January 1978. Retrieved 4 April 2022. The new spring accessories are as soft...as the clothes they accompany: long leather belts that can be wrapped around and across the body in unconventional ways...
  161. ^ Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion". The New York Times: SM39. Retrieved 10 February 2022. ...[L]egs are invariably clad in heavy ribbed tights, leg warmers and boots.
  162. ^ Hyde, Nina S. (9 October 1977). "Fashion Notes". The Washington Post. Retrieved 24 March 2022. Everything else is layered for warmth this fall: Why not legs?...Legs get a foothold against the cold with layers that start with pantyhose, add legwarmers...and finish with knee socks or anklets.
  163. ^ Crenshaw, Mary Ann (2 November 1975). "Fashion: Lesser Boots". The New York Times: 273. Retrieved 4 April 2022. The look of a shorter boot, topped (often) by thick, ribbed stockings—and sometimes even knee socks over those—gives an entirely new proportion...
  164. ^ Crenshaw, Mary Ann (12 October 1975). "Fashion". The New York Times: 279. Retrieved 10 February 2022. Fashion's leg warmers come in wonderful patterns, in solid colors for more subdued warmth, and can be worn thigh‐high over tight pants (by the very young) or pushed low over boots or shoes. Some of the best leg warmers are hand‐knit and ethnic‐patterned.
  165. ^ Hyde, Nina S. (8 May 1977). "Fashion Notes". The Washington Post. Retrieved 4 April 2022. One signature of the Paris fashion trendies that has started to show up in New York is wearing socks with sandals and espadrilles.
  166. ^ Hyde, Nina S. (19 June 1977). "Fashion Notes". The Washington Post. Retrieved 24 March 2022. ...sandals, both flat and high heels worn with anklets...
  167. ^ Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions". The New York Times: 48. Retrieved 31 December 2021. [Perry Ellis]...feels that two pairs of socks, one baggy, give the proper contrast to the flouncy [underskirts].
  168. ^ Hyde, Nina S. (16 November 1978). "The Spring Uniform". The Washington Post. Retrieved 4 April 2022. ...[T]he warm-weather uniform was a big tent dress with...flat or high-heeled scandals.
  169. ^ "Fashion Things for Spring". The New York Times: SM12. 15 January 1978. Retrieved 4 April 2022. ...bare, tiny‐strapped sandals with delicate ties at the ankles...
  170. ^ Morris, Bernadine (22 February 1977). "What's Afoot in Shoes for Next Winter?". The New York Times: 26. Retrieved 24 March 2022. ...[H]eels are almost inevitably paired with naked strap arrangements...
  171. ^ Morris, Bernadine (14 August 1976). "U.S. Shoe Companies are Getting a Foot Back in the Door". The New York Times: 38. Retrieved 10 March 2022. Diane Von Furstenberg's shoes for Golo are mostly open sandals, high‐heeled or flat...
  172. ^ Morris, Bernadine (7 August 1975). "Reporter's Notebook: In Paris, Beating the Heat and the Pavement". The New York Times: 53. Retrieved 10 March 2022. ...[E]very second woman was wearing shoes with...laces around the ankle. Many were a kind of espadrille...
  173. ^ Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants". The New York Times: 33. Retrieved 10 March 2022. Christine Herskowitz, heading toward Central Park with a group of friends, simply tied the laces of her espadrilles around the legs of her pants [to achieve]...the puffed pants look.
  174. ^ Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76". The New York Times: 50. Retrieved 10 March 2022. ...[T]he cotton sundress prevails on the Left and Right Banks in Paris this summer....[S]houlder bags and espadrilles are the usual accompaniment.
  175. ^ Livingston, Kathryn Zahony. "Fashion". The 1975 World Book Year Book: Events of 1974. Field Enterprises Educational Corporation. p. 328. ISBN 0-7166-0475-2. ...high-heeled, baggily crushed boots were essential to the Big Look.
  176. ^ Donehoo, Patricia A. "Fashion". The Americana Annual 1975: An Encyclopedia of the Events of 1974. Grolier Incorporated. p. 248. ISBN 0-7172-0206-2. Boots became the important foot fashion in 1974, possibly because they paired off so well with the voluminous capes and skirts....The new riding-type boots with their wider outlines and soft crushed ankles provided just the right note.
  177. ^ Peake, Andy (2018). "The New Ease in Fashion". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. pp. 113–115. ISBN 978-0-7643-5499-1. Saint Laurent's [1974 Russian-themed] collection featured...a new, and very distinctive, style of knee-length fashion boot....[T]he new boot was loose-fitting, touching the leg rather than clinging to it, and falling in extravagant folds as the soft leather crushed around the ankle....[T]he new boots quickly became known as 'Cossack boots'...In 1975, the New York Times was referring to the style as the 'Boot of the Year.'...[T]his was by far the most common style of fashion boot from the mid-1970s...'Baggy boots' is how the U.K. fashion press and mail-order catalogs were referring to them in 1974 and 1975...
  178. ^ "Great New Fall Boots". Harper's Bazaar. 1 July 1977. Boots go everywhere, and to all lengths, from ankle to thigh. ... 'The length of boots is based on the proportion of the clothes they are to be worn with ...' – Yves Saint Laurent. Over-the-knee tan suede-and-calf boot ... [w]ith leather thongs to tie high or low, tight or loose ... [b]y Yves Saint Laurent. ... Mid-calf luggage boot in calf leather ... [b]y Yves Saint Laurent...
  179. ^ Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion". The New York Times: SM39. Retrieved 10 February 2022. ...[L]egs are invariably clad in heavy ribbed tights, leg warmers and boots. Over‐the‐knee and calf‐high are the newest heights for boots, but they do not exclude anything in between.
  180. ^ Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern". The New York Times: 41. Retrieved 27 March 2022. The legs are clad in ribbed tights and over‐the‐knee boots...
  181. ^ Morris, Bernadine (23 October 1974). "Enthusiasm in Paris Over State of Fashion". The New York Times: 50. Retrieved 10 February 2022. Every French woman has apparently spent $100 for her high‐heeled, modishly crushed boots, the knee‐high tops of which are concealed by her flaring calf‐length skirt. All this is sheltered, as often as not, by a voluminous coat, cape or coat with a capelet top.
  182. ^ Peake, Andy (2018). "The New Ease in Fashion". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Group. p. 115. ISBN 978-0-7643-5499-1. ...[T]he new boot featured stacked heels in material like wood.
  183. ^ Morris, Bernadine (28 July 1973). "Couture Scorecard: Good is Quite Good". The New York Times: 28. Retrieved 16 March 2022. ...[T]he heels aren't the spindly, needle‐like variety that caught in subway grates. They're thick enough to look sturdy.
  184. ^ Morris, Bernadine (22 February 1977). "What's Afoot in Shoes for Next Winter?". The New York Times: 26. Retrieved 24 March 2022. David Evins, the doyen of shoe designers, is proud of his newest heel, which he terms 'perfectly balanced.' It looks more stiletto‐like than it actually is, due to its shape, which is almost straight at the back.
  185. ^ Hyde, Nina S. (13 November 1977). "Comings and Goings at Studio 54". The Washington Post. Retrieved 4 April 2022. Makeup on the runway...remains very natural looking.
  186. ^ Hyde, Nina S. (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction'". The Washington Post. Retrieved 1 March 2022. [During the looseness of the Big Look, Saint Laurent] says,...'[W]omen...didn't bother with cosmetics'.
  187. ^ Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion". The New York Times: 225. Retrieved 10 December 2021. The current fashion is to let nature take its course and to let the hair hang, or kink, the way it wants.
  188. ^ Taylor, Angela (15 April 1974). "The Make-up Experts, Each With Tricks to Reveal". The New York Times: 37. Retrieved 24 March 2022. The shop's favorite rouge for everyone is a tawny brown one...
  189. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. ...[C]lothes call for shining, natural‐looking hair. adorned, if at all, with fragile flowers or...combs.
  190. ^ "Fashion Things for Spring". The New York Times: SM12. 15 January 1978. Retrieved 4 April 2022. ...a couple of wooden combs in loosely tied hair....
  191. ^ "The Year". The New York Times: 236. 28 July 1974. Retrieved 24 March 2022. Berets won almost unanimous approval with fashion designers for fall...
  192. ^ Morris, Bernadine (7 July 1974). "Formal to Casual: Accessories, Too, Follow the Trend". The New York Times: 38. Retrieved 24 March 2022. The most popular...is the beret....Hair fluffs out around the edges or is completely concealed within, as in the second most popular hat: the knitted cap.
  193. ^ Donehoo, Patricia A. "Fashion". The Americana Annual 1975: An Encyclopedia of the Events of 1974. Grolier Incorporated. p. 248. ISBN 0-7172-0206-2. The St. Laurent rolled-brim knit cap was so sought-after that it was copied at every price.
  194. ^ Hyde, Nina S. (1 November 1977). "Paris Fashions in the Fall: Big is Best". The Washington Post. Retrieved 10 December 2021. Hats, pulled down to the eyebrows..., are...knit caps with tiny rolled edges.
  195. ^ "Summer Skimmer: The Old Straw Hat". The New York Times: C10. 31 May 1978. Retrieved 24 March 2022. ...[T]he straws in the spring breeze indicate that this summer's hot hat is the old favorite that goes by the name of skimmer, boater or sailor.
  196. ^ Hyde, Nina S. (8 November 1977). "Plunging into a Billowy Spring". The Washington Post. Retrieved 4 April 2022. What is on view here is an assortment of loose, uncomplicated, sexy clothes in the lightest-weight cottons, silks and wools, all very see-throughable and clearly meant to be seen-through to the little or no underwear underneath.
  197. ^ Morris, Bernadine (26 November 1977). "The Loose Look is Easing into Spring". The New York Times: 36. Retrieved 4 April 2022. Because the fabrics are thin and supple, the clothes are indeed sexy, though it's not the blatant sort of sexiness that comes from tight skirts...
  198. ^ Sweetinburgh, Thelma. "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978. Encyclopaedia Britannica, Inc. p. 378. ISBN 0-85229-362-3. Free-moving, soft, blousy, strapless tops were gathered by a cord at breast level...
  199. ^ "The New Romanticism". The New York Times: 246. 6 March 1977. Retrieved 24 March 2022. Skin is revealed by rolled-up sleeves, shirts left unbuttoned, blouses that slide off the shoulder, see‐through fish nets and sundresses.
  200. ^ Hyde, Nina S. (24 October 1977). "Thinking Big for Spring". The Washington Post. Retrieved 7 February 2022. It is a good year for the fat and the pregnant, since no clothes are ever too full, yet a better year for the skinny, since everything, unless well cut in light fabrics – tends to make you look as huge as Versailles even when you are not.
  201. ^ Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?". The New York Times: 23. Retrieved 18 February 2022. On the other hand, there are complaints from women, especially those on the dumpy side, who find big clothes too hard to handle or too overwhelming and worry that they make them look pregnant or at any rate conceal their figure. Men are inclined to agree, particularly on the last point.
  202. ^ Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76". The New York Times: 50. Retrieved 10 March 2022. For many American visitors, the look hardly represented French chic at its highest. The cottons had a tendency to get rumpled. The dresses frequently looked tired. 'I don't care what you call it, it looks like a house dress,' a buyer for a New York store insisted.
  203. ^ Hyde, Nina S. (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction'". The Washington Post. Retrieved 1 March 2022. 'For a long time,...,' [Saint Laurent] says, 'There was an exaggerated looseness to clothes, and women looked like "parachutes." They lost control of their movements. They began to be too easy and relaxed'.
  204. ^ Morris, Bernadine (13 April 1979). "French Ready-to-Wear: The Ever-Changing Message". The New York Times: A12. Retrieved 17 May 2023. ...[F]ashion followers...adopted the loose, unconstructed look and their clothes flowed all over their chairs...
  205. ^ Hyde, Nina (6 April 1981). "Costumes from Classics". The Washington Post. Retrieved 4 April 2022. ...[C]apes...pose...problems....Carrying a purse when wearing a cape isn't an easy maneuver, and heaven forbid you should have to carry a bundle home from the Safeway.
  206. ^ Dullea, Georgia (9 October 1977). "Suited Up to Storm the Boardroom". The New York Times: 82. Retrieved 4 April 2022. ...[S]hawls get all tangled up in briefcases...
  207. ^ Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 342. ISBN 0-670-80172-0. In France the Secretary for the Condition of Women...criticized the Big Look as a waste of material...
  208. ^ Morris, Bernadine (25 August 1974). "The Big Look". The New York Times: 285. Retrieved 1 December 2021. The ecology‐minded added it was 'unpatriotic to use all that fabric' in the face of shortages, or at least rising prices.
  209. ^ Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?". The New York Times: 23. Retrieved 18 February 2022. What women have found appealing is the freedom of the full shapes, which offer no restraint on wide strides and easy movements.
  210. ^ Klemesrud, Judy (27 August 1975). "The Dress Called the 'Droop': A Success Story Despite It All". The New York Times: 29. Retrieved 24 March 2022. 'Utility—that's the best thing about these dresses,' said Charyn Simpson, a 22‐year‐old fashion designer who was wearing a blue denim tent dress,...'You can do gardening in them, or sit on the floor at a concert in them.'
  211. ^ Mount, jr., Roy (1 January 1979). "Fashion". The New York Times: 18. Retrieved 8 December 2021. In the 1970's...[s]portswear emerged as the dominant theme, implying a relaxed fit and considerable versatility, since most clothes were made in interchangeable parts....For a number of years, it offered a serviceable way of dressing, geared to active women's lives, adjusting to vagaries of climate, adapting easily to travel requirements. As the sportswear onslaught continued, clothes lost their linings and interfacings, becoming softer, looser, less structured. Almost everything became as comfortable to wear as a sweater.
  212. ^ Donovan, Carrie (27 November 1977). "Fashion". The New York Times: 243. Retrieved 17 March 2022. What the new fashion is saying is Take a whole new look at yourself. Celebrate your body and do away with anything that stiffly confines it.
  213. ^ "The New Fuller Figure". The New York Times: 113. 7 December 1986. Retrieved 28 May 2022. In the 1970's, great numbers of women said, in effect, 'to hell with fashion,' and hid in flat or baggy, loose clothing.
  214. ^ Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 342. ISBN 0-670-80172-0. Since the silhouette was entirely figure-concealing, some heralded these comfortable clothes as a triumph of feminist dressing.
  215. ^ Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing". The New York Times: 48. Retrieved 10 February 2022. ...[Karl Lagerfeld's] new clothes vaguely recall the way suffragettes dressed in pre-World War I days but that's because the dresses are so voluminous. The yardage is immense.
  216. ^ Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 342. ISBN 0-670-80172-0. ...[B]y 1976 the Big Look – large, layered, peasant-inspired dressing – dominated Vogue...
  217. ^ Larkin, Kathy (1979). "Fashion". 1979 Collier's Yearbook Covering the Year 1978. Crowell-Collier Publishing Company. pp. 249–251. [1978] began with women submerged under layers of soft shapeless clothing (unlined, unconstructed jackets, loose shirts and vests, and skirts spreading wide...)....The well-dressed woman started the year wearing soft, billowy, layered styles...
  218. ^ Cunningham, Bill (1 March 1987). "The Collections Spring Forward". Details. New York, NY: Details Publishing Corp. V (8): 102. ISSN 0740-4921. ...[T]he test tube fiber revolution that exploded after World War II...was largely abandoned during the revival of natural fiber in the Seventies.
  219. ^ Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everybody". The New York Times: 65. Retrieved 31 December 2021. In just one year, Perry Ellis has won a considerable reputation as a designer of casual clothes for the woman who, 10 years ago, might have lived in a commune. Today, she's grown up, but she prefers natural fibers, natural colors and clothes that look meant to be lived in.
  220. ^ Morris, Bernadine (15 January 1972). "Her Wrap Dresses Resemble Kimonos". The New York Times: 16. Retrieved 15 September 2022. 'I used to use a lot of construction, but I can't do that anymore – people want to feel free,' [designer Hiroko] explained...
  221. ^ "Designer Jeans". Retrieved 7 July 2014.
  222. ^ "This is how Iranian women dressed in the 1970s before the Iranian Revolution". Thevintagenews.com. 8 June 2016. Retrieved 5 December 2017.
  223. ^ "Afghanistan Style in The '20s Through '70s: Photographs Show A Lost, Fashionable Time". HuffPost. 10 October 2013. Retrieved 24 September 2018.
  224. ^ Paracha, Nadeem F. (4 December 2015). "Pakistan's contrary years (1971–1977): A cultural history of the Bhutto era". Dawn. Retrieved 5 December 2017.
  225. ^ "16 Images of Pakistan's Swinging 1970s – SHUGHAL". Shughal.com. 6 March 2017. Archived from the original on 9 October 2016. Retrieved 5 December 2017.
  226. ^ "Take a look at these amazing photos of Iran before the revolution". Business Insider UK. Retrieved 5 December 2017.
  227. ^ Sarkar, Monica (7 April 2015). "Unveiled: Afghan women past and present". CNN. Retrieved 24 September 2018.
  228. ^ "The Fascinating History of Women Wearing te". Allure. Retrieved 22 April 2018.
  229. ^ "1970s Fashion: Styles, Trends, Pictures & History". retrowaste.com. Retrieved 22 April 2018.
  230. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. [S]tatus jeans, with a designer label prominent on the rear pocket, are strictly an invention of 1978. And a hot sales ticket as well.
  231. ^ McEvoy, Marian (28 May 1978). "Fashion". The New York Times: SM13. Retrieved 5 October 2023. Today, jeans are going through yet another evolution. Influential designers are putting their stamp on them. Such well‐known names as Calvin Klein, Ralph Lauren, Donna Karan of Anne Klein, Charlotte Ford and Gloria Vanderbilt have turned their respective attentions to these most durable and enduring of garments....This summer, there are...jeans with big designer labels on the waistbands...
  232. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. 'It's the label cachet and the chance for customers to get a designer label at a fairly reasonable price,' says Kal Ruttenstein, fashion director of Bloomingdale's. Ruttenstein isn't sure precisely when the jeans 'took off,' but he figures it was right after he returned from seeing the new collections in Paris in November. 'And it all happened so fast we didn't know what hit us,' he says. He's convinced that status jeans will be around for a while, but wouldn't hazard a guess as to how long.
  233. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. ...[D]esigner jeans are such big business that Bloomingdale's has created a department called "Pure Jeanius," and similar departments have opened in stores across the country.
  234. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. [Calvin Klein's jeans] started selling fast the minute they hit the stores, and are now being turned out at the rate of 50,000 pairs per week....The company expects to push out 100,000 per week.
  235. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. They boast labels including Calvin Klein, Gloria Vanderbilt, Geoffrey Beene, Ralph Lauren, Cacharel, Maurice Sasson, Yves Saint Laurent and Pierre Cardin, with Scott Barrie, Thierry Mugler, Stephen Burrows, Bill Blass and many more still to come.
  236. ^ Morris, Bernadine (16 September 1979). "Jeans: Skinny is Out, Baggy In". The New York Times: 74. Retrieved 3 March 2022. [T]he idea was to get jeans as skinny as stove‐pipes or cigarettes.
  237. ^ Hyde, Nina S. (30 December 1978). "The Top of the (Bottom) Line". The Washington Post. Retrieved 10 February 2022. ...good fit, narrow leg...[Designer] Maurice Sasson...has taken his jeans to the very narrow 12-inch width, 'just wide enough to fit over the boot,' he says.
  238. ^ Hyde, Nina S. (8 October 1978). "Fashion Notes". The Washington Post. Retrieved 3 March 2022. [T]he hottest single seller to step out in a long time is the Candie, a cha-cha heel on a plastic sole held in place only by a wide leather vamp. Shoe Scene has sold 3,200 pairs in two stores; the maker, El Greco, has sold 2 million pairs in three months....[Girls] wear them with their jeans...They are sexy and...they are comfortable. Because of the molded sole the heel isn't as high as it looks.
  239. ^ Elkins, Ann M. "Fashion". The Americana Annual 1980: An Encyclopedia of the Events of 1979. Grolier Incorporated. p. 218. ISBN 0-7172-0211-9. Another new trouser making its appearance...was the 'baggie,' which featured fullish pleating below a wide waistband tapering to a narrow pegged leg.
  240. ^ Morris, Bernadine (16 September 1979). "Jeans: Skinny is Out, Baggy In". The New York Times: 74. Retrieved 3 March 2022. The new watchword for jeans is 'baggy.'...[B]aggy jeans are fun to wear at the moment.
  241. ^ Duka, John (3 January 1982). "Designing an Empire". The New York Times: 20. Retrieved 31 December 2021. [Perry Ellis's] dimple-sleeve jackets, baby cable-knit sweaters and cropped pants...have been copied by many of the smart manufacturers...
  242. ^ Hyde, Nina S. (12 December 1979). "Maud Frizon, the Designer Behind the Colorful Cone Heels". The Washington Post. Retrieved 12 February 2022. [L]ower cone heels [are]...happening now because of the inventive shoe shapes of Maud Frizon.,
  243. ^ Hendelson, Marion. "Fashion". Funk & Wagnalls New Encyclopedia Yearbook 1981: Events of 1980. New York: Funk & Wagnalls, Inc. p. 172. ISBN 0834300362. By late spring [1980], the jazz shoe, a flat-heeled laced shoe, was introduced and well accepted.
  244. ^ Morris, Bernadine (30 March 1978). "Milan: Wide Shoulders, Bulky Jackets, Leathers". The New York Times: C6. Retrieved 24 March 2022. The biggest change is not in the length of skirts but in the breadth of shoulders. Many jackets and coats, as well as some tunics to be worn under them, are not only widened but padded.
  245. ^ Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978. Crowell-Collier Publishing Company. pp. 249–252. In women's fashion, 1978 was a year of great change. It began with women submerged under layers of soft shapeless clothing...But the year ended with the same women shedding layers to emerge with a revamped fashion silhouette reminiscent of the 1940's, a look characterized by broad, even padded shoulders, tight waistlines, and shorter, straighter skirts.
  246. ^ Livingston, Kathryn. "Fashion". World Book Year Book 1979: Events of 1978. Chicago, Illinois, USA: World Book-Childcraft International, Inc. p. 331. Fashion took a dramatic turn midway through 1978. The casually loose, free-flowing silhouettes of the early part of the year suddenly slimmed down. There was a growing sense of structure. The paring away of volume meant sharper tailoring and a clearer definition of the figure. Broad shoulders loomed above belted waists, hip-rounding skirts, and pegged pants....Shoulder pads were resurrected, as were...severe, tailored business suits...
  247. ^ Halasz, Robert (ed.). "Fashion". The Illustrated Columbia Encyclopedia Year Book 1979: Events of 1978. Chicago, Illinois, USA: Standard Educational Corporation. p. 315. The Big Look is out but big shoulders are in...Slim skirts and ankle-length pegged pants were shown with...padded tops...Dressy was in and gypsies, peasants, and hippies were definitely out.
  248. ^ Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?". The New York Times: 70. Retrieved 15 November 2021. The newest look is that of an isosceles triangle standing on its point, tapering from squared shoulders to narrow skirt or pants.
  249. ^ Halasz, Robert (ed.). "Fashion". The Illustrated Columbia Encyclopedia Year Book 1979: Events of 1978. Chicago, Illinois, USA: Standard Educational Corporation. p. 315. The new shape, in its most extreme European form, was likened to an inverted wedge. American buyers and journalists took to calling it 'the Joe Namath look' and comparisons were made to Joan Crawford's Adrian styles of the 1940's.
  250. ^ Duka, John (2 July 1978). "Fashion Profile". The New York Times: SM6. Koko Hashim, vice president of Neiman‐Marcus [says]...'There has been an enormous change in the silhouette, a broadening of the shoulders and narrowing of the hips—what we call the triangle...—that requires a reeducation of the consumer'.
  251. ^ Morris, Bernadine (6 April 1977). "Mini Skirts Make Maximum Impact in Paris". The New York Times: 66. Retrieved 4 April 2022. ...[T]he mini emerged naturally from the social conditions of the 1960's...
  252. ^ Mulvagh, Jane (1988). "1957-1967". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 238. ISBN 0-670-80172-0. ...[T]he mini skirt...was born on the streets among art students and Mods.
  253. ^ Morris, Bernadine (25 August 1974). "The Big Look". The New York Times: 285. Retrieved 10 February 2022. Starting with the swinging young in London in the early nineteen‐sixties, the miniskirt spread to Paris and then to this country where season after season matrons and manufacturers gleefully subtracted an inch or two from hemlines. By the end of the decade more knees and thighs were visible than at any point in civilized society and everybody felt young.
  254. ^ Morris, Bernadine (4 August 1981). "Couture: Styles of Splendor". The New York Times: C6. Retrieved 1 December 2021. ...[T]he couture tried...to mimic street fashions...during the miniskirt years.
  255. ^ Hyde, Nina S. (24 March 1981). "Fashion: After Jeans...What?". The Washington Post. Retrieved 6 March 2022. ...[J]eans universalized the pants look for women.
  256. ^ Dubois, Ruth Mary. "Fashion: Blue Jeans". The Americana Annual 1974: An Encyclopedia of the Events of 1973. Grolier Incorporated. p. 243. ISBN 0-7172-0205-4. Blue jeans have taken a long walk on the fashion scene. After miles in the mass market they have arrived...in the realm of high fashion. This progression is contrary to the usual course of fashion, which customarily starts at the top and sifts down.
  257. ^ Morris, Bernadine (15 June 1975). "Fashion". The New York Times: SM11. Retrieved 4 April 2022. Designers who sought vainly to pry women out of their pants uniforms have given up the fight.
  258. ^ Morris, Bernadine (25 August 1974). "The Big Look". The New York Times: 285. Retrieved 10 February 2022. [In the early 1970s,] everyone settled down to wearing pants. Younger women who had never parted from their blue jeans bleached them lovingly, embroidered them with care. Less casual types wore pants suits.
  259. ^ "Fashion View". The New York Times: SM6. 30 December 1979. Retrieved 10 December 2021. Pants and jeans took over the scene...[T]hey suited the quiet, realistic mood of the time...Pants also carried with them the important impression of ease, of not trying too hard, and of freedom—crucial preoccupations of the early 70's...
  260. ^ Mulvagh, Jane (1988). "1967". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 293. ISBN 0-670-80172-0. The hippy movement...originated in the Haight-Ashbury district of San Francisco [and] made its own contribution to...fashion...
  261. ^ Bender, Marylin (9 December 1969). "The Fashion Decade: As Hems Rose, Barriers Fell". The New York Times: 63. Retrieved 24 April 2023. It was a decade in which the...rich stole their fads from hippies who rejected materialism.
  262. ^ Heathcote, Phyllis W. "Fashion and Dress". Britannica Book of the Year 1971: Events of 1970. Encyclopaedia Britannica, Inc. p. 324. ISBN 0-85229-158-2. ...[T]he influence of the hippie movement could not be ruled out. The exotic prints..., the jacquard and patchwork effects, the general look of casual softness with swathed heads and flowing draperies, peasant, gypsy, and 'granny' looks,...bright wool ponchos..., the vogue for fantastic...jewelry, the long hair – all could be traced to the hippie syndrome.
  263. ^ Morris, Bernadine (9 September 1971). "Key Word in Sportswear – Blazers". The New York Times: 38. Retrieved 28 February 2022. Sportswear...is...the next step in the trend to informal dressing that has resulted in pants being worn to business offices and shorts being worn on city streets....The answer to 'What is sportswear?' could almost be 'blazers'...
  264. ^ Morris, Bernadine (27 February 1983). "The Directios of the Innovators". The New York Times: 132. Retrieved 4 April 2022. The first to go were the girdles and panty girdles that always served a dual function: to hold in the figure and hold up the stockings. Spurred by the women's liberation movement and a sense of symmetry, bras also vanished. So did slips, petticoats and, for many women, underpants.
  265. ^ Mulvagh, Jane (1988). "1965". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. pp. 242, 282. ISBN 0-670-80172-0. p. 242: Underwear changed: girdles and corselettes were replaced by the mini brief and Gernreich's 'no-bra' bra. Eventually the brassière was discarded altogether. p. 282: Brassières were cumbersome, unnatural and totally unsuited to the clothes women were now wearing.
  266. ^ Morris, Bernadine (6 February 1971). "The Romans Didn't Waste Any Time About Shorts". The New York Times: 18. Retrieved 4 April 2022. You couldn't wear...shorts...in the streets...20 years ago [1951]...because women all had heavy foundation garments on...
  267. ^ "Fashion View". The New York Times: SM6. 30 December 1979. Retrieved 10 December 2021. Take the anti‐establishment 60's...: the untamed manes of the flower children, the faded jeans of the affluence‐rejecting hippies, the discarded bras of the women's liberation movement, the knee‐freeing skirts..., and the street‐imitating gear of the radical chic...share...an antifashion attitude that became...powerful and pervasive...
  268. ^ Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion". The New York Times: 225. Retrieved 10 December 2021. 'When we were told to give up our miniskirts for midis,' [Gloria Steinem] says, 'there was a semi‐conscious boycott on the part of American women. We were fed up with being manipulated. We now wanted to make our own decisions on hundreds of things, not have them handed down from on high.'...What women wanted and bought were separate items—sweaters, shirts, jackets—to put together themselves as they saw fit. Those 'separates' went with pants.
  269. ^ Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 298. ISBN 0-670-80172-0. ...[W]orking or older women reacted against fads by demanding classics and many designers focused on this market....[I]t was these understated classics that became the mainstay of the fashion industry.
  270. ^ Dullea, Georgia (9 October 1977). "Suited Up to Storm the Boardroom". The New York Times: 82. Retrieved 11 February 2022. ...Wall Street women are...wearing...tailored jacket[s]...
  271. ^ Duka, John (13 November 1978). "Paris is Yesterday". New York. Vol. 11, no. 46. pp. 111–112. Retrieved 11 December 2021. [I]f [Paris designers] have their way, American women will be wearing big, big, big padded shoulders...
  272. ^ Mount, jr., Roy (1 January 1979). "Fashion". The New York Times: 18. Retrieved 15 November 2021. Were designers so carried away by one of fashion's golden ages that they simply didn't notice how women had changed? Did they simply run out of ideas?
  273. ^ Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978. Crowell-Collier Publishing Company. pp. 249–252. ...[D]esigners in Milan, Paris, and New York showed fall ready-to-wear collections that almost simultaneously reached the same conclusion....broad-shouldered fashions, the pared-down look of fewer layers, and the neater waist...huge shoulders, puffed sleeves to emphasize width further...[T]he fashion message was clear: Broad shoulders were in.
  274. ^ Mulvagh, Jane (1988). "1979". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 364. ISBN 0-670-80172-0. A hard, constructed, uncompromising silhouette prevailed: padded shoulders, sometimes three feet wide...
  275. ^ Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 345. ISBN 0-670-80172-0. Mugler...present[ed]...three-foot-wide shoulders...
  276. ^ Duka, John (13 November 1978). "Paris is Yesterday". New York. 11 (46): 112. Retrieved 11 December 2021. At Andrevie...shoulders were almost three feet wide.
  277. ^ Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?". The New York Times: 70. Retrieved 15 November 2021. [W]hen the padding becomes too mammoth, when the proportions are better suited to a quarterback than an office worker,...it becomes absurd. And, of course, if you add a padded coat to a padded jacket over a padded blouse, the effect can be grotesque. A lot of grotesque effects were seen on the runways...
  278. ^ Hyde, Nina S. (11 April 1979). "Not-So-Ready-to-Wear Clothes". The Washington Post. Retrieved 7 February 2022. 'What has been appearing on stage has nothing to do with women today,' said a very distressed Koko Hashim of John Wanamaker's in Philadelphia, before the YSL show. 'Customers will be so turned off by the pictures they see they will retreat happily back to their blazers. And that is not good for business.'
  279. ^ Donovan, Carrie (6 May 1979). "Fashion View: American Designers Come of Age". The New York Times: 254. Retrieved 4 April 2022. ...[F]ashion buyers and the press returned home saying such things as 'Paris isn't real,' 'It's too costumey'...[M]any Paris designers are not in tune with the times, and have therefore abdicated their fashion leadership...
  280. ^ Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?". The New York Times: 70. Retrieved 15 November 2021. Stiffer clothes to come?...The shoulder treatments were...a symptom of what might become a problem: the interest of designers in stiffer, more constructed clothes.
  281. ^ Morris, Bernadine (12 July 1978). "Seek Not the Past, Let It Arrive". The New York Times. p. C12. Retrieved 4 April 2022. ...[A]s ontogeny recapitulates phylogeny, so padded shoulders can introduce a recycling of pointy shoes that kill, skinny skirts that make it necessary to mince, not walk, and a lot of unseen boning and wiring...
  282. ^ Mount, jr., Roy (1 January 1979). "Fashion". The New York Times: 18. Retrieved 15 November 2021. Fashion has changed its course, from free‐flowing and easy to structured and contrived....Instead of evolving naturally from the kinds of clothes women have been wearing, the...styles have skipped back over several decades of fashion. They've landed somewhere in the middle of the 1940's, carrying obsolete notions of glamour, sophistication and hard‐edged chic as excess baggage....In many cases, the ease that had made clothes so comfortable was eliminated....[S]houlder pads...added another element of restraint. Linings and stiffer constructions began to reappear....The results have been called sexy by admirers; detractors call the clothes tawdry.... They have succeeded in evoking an epoch in which many women, perhaps the majority, were delighted to dress as sex objects.
  283. ^ Morris, Bernadine (30 January 1979). "Paris Couture: A Glance Backward at the Silver Screen". The New York Times: C5. Retrieved 14 March 2022. You wouldn't believe what Paris has in store for you... Well, some of you might, those who haven't changed their style for 30 years....padded shoulders with such sharp edges that they look as if they could cut your hand.
  284. ^ Hyde, Nina S. (25 October 1978). "Hourglass for Spring". The Washington Post. Retrieved 4 April 2022. ...[T]he looks all seem like you've been there before – in the 1950s....'If my mother saw these clothes, she would consider them quite matronly and dated,' says [Bernie] Ozer [of Associated Merchandising Corp]...Stockings with seams are modern? 'I guess if you have never gone through the business of trying to keep them straight, it seems like an amusing idea,' says Gerry Stutz [of Henry Bendel]. 'I really hate to start that again'...
  285. ^ Buck, Genevieve (2 October 1985). "Shoulders: The Intimate Story". Chicago Tribune. Retrieved 4 April 2022. ...[In] the late '70s...really big shoulders reappeared, this time...broader than ever. Reactions to the doorway-wide affairs generally ranged from 'not for me' to 'never!'
  286. ^ Hyde, Nina S. (11 April 1979). "Not-So-Ready-to-Wear Clothes". The Washington Post. Retrieved 7 February 2022. ...[M]any [buyers] had trouble selling exaggerated shoulders...'I can't see women getting into cars with shoulders so broad,' said Wendall Ward, vice president of Garfinckel's...At one point during the five-day marathon of fall ready-to-wear shows, Robert Sakowitz, president of Sakowitz (Houston), asked Val Cook of Saks-Jandel, 'Do you know a good book store in Paris?...I want to buy a stack of Bibles,' he explained. 'I think we will all need to do a lot of praying to sell these clothes'.
  287. ^ Hyde, Nina S. (9 April 1979). "Broad Shouldered Paris". The Washington Post. Retrieved 3 March 2022. 'If you had tried to sell big shoulders in a store this winter, you wouldn't touch them for spring,' insists Val Cook, of Saks-Jandel, about the padded-shoulder styles, some of which looked like the model had forgotten to remove the hanger before putting on the dress.
  288. ^ Hyde, Nina S. (10 November 1978). "Beyond 'Retro'". The Washington Post. Retrieved 4 April 2022. What much of the fashion industry has done is try to make something old work in today's lifestyle. And it just won't do.
  289. ^ Donovan, Carrie (6 November 1978). "The New Look: Hit or Miss?". The New York Times: 58. Retrieved 15 November 2021. [A]nything and everything of Perry Ellis's breezy designs with exaggerated almost pillow‐padded shoulders has been a run‐away best seller in stores all over the country, with usually cautious store executives using words like 'fabulous' and 'unbelievable' to describe their success.
  290. ^ Duka, John (11 July 1978). "Norma Kamali is Heading Out on Her Own". The New York Times: C2. Retrieved 10 December 2021. Norma Kamali...has become famous for her parachute dresses, sexy, shirred bathing suits, pegged, draped skirts...and...padded shoulders.
  291. ^ Donovan, Carrie (12 November 1978). "Why the Big Change Now". The New York Times: SM226. Retrieved 15 November 2021. This fall, [Calvin Klein] narrowed [his clothes]...and added a bit of shoulder padding.
  292. ^ Morris, Bernadine (4 April 1978). "In Milan, the Classic Prevailed Over the Romantic". The New York Times: 28. Retrieved 10 December 2021. Armani's...gift for fall is a long-jacket suit with military shoulders...It accompanies pants, skirts or culottes and it sometimes has epaulets....[S]oftening agents take the curse off the military look....It has broad, padded shoulders...
  293. ^ Morris, Bernadine (19 October 1979). "At Paris Showings, Both Creativity and Confusion". The New York Times: A20. Retrieved 16 March 2022. The mammoth shoulder pads shown a year ago [1978] are one of the disasters. Only Claude Montana has repeated them. Still, a bit of padding exists in almost all collections and there is a lot going on at the tops of sleeves to broaden the tops of clothes without distorting the body.
  294. ^ "Fashion in the 1970s". retrowaste.
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  296. ^ Hyde, Nina S. (20 September 1979). "Fashion: Shoulder It". The Washington Post. Retrieved 7 February 2022. ...[A]s the exaggerated showpieces were translated into saleable styles – with the broadened shoulder tapering to the waist and hemline – women responded positively.
  297. ^ Hyde, Nina S. (25 October 1978). "Hourglass for Spring". The Washington Post. Retrieved 4 April 2022. ...[I]f you thought padded shoulders would pass with the football season, you are wrong. There are various degrees of padding, but clearly the broad-shouldered look has a wide following.
  298. ^ Donovan, Carrie (31 March 1985). "Fashion: Feminine Flourishes". The New York Times: 80. Retrieved 9 March 2022. Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette...
  299. ^ "Fashion View". The New York Times: SM6. 30 December 1979. Retrieved 18 March 2022. The brisk, capable look of the wide-shouldered silhouette suited the mood of women who wanted to convey just that image: in control and 'together'.
  300. ^ McColl, Patricia (17 March 1985). "Paris Takes a Wide View". The New York Times: 69. ...[S]houlders [are] now [1985] proportioned to sports-page, rather than fashion-page, dimensions...Customers...don't seem to be bothered by the exaggerated shoulders. After all, they make the waist and hips look smaller.
  301. ^ Duka, John (13 November 1978). "Paris is Yesterday". New York. 11 (46): 113. Retrieved 11 December 2021. [W]hy are the French making these crazy clothes?
  302. ^ Hyde, Nina S. (11 September 1978). "A Turnout with Designs on the Opera". The Washington Post. Retrieved 1 March 2022. There was a slide show from Paris ready-to-wear collections,...But most of the guests were simply not ready for such high-fashion profundities as palace-guard or storm-trooper outfits. There were guffaws...Opera Guild chairman Mrs. Edward Bruce...did bring home one padded-shoulder jacket this season, she said, which her husband made her take back.
  303. ^ Hyde, Nina S. (16 September 1978). "Fall Fashion Blitz: The Show's the Thing for Washington Stores". The Washington Post. Retrieved 27 March 2022. The new broad-shouldered, retro-glamor clothes, military looks and black leather that most customers are seeing for the first time are considered quite shocking....Dorothy Vineburgh, an active volunteer in town, [says], 'No way will I wear those shoulder pads....I want to find something elegant and comfortable.' Richard Krolick, staff director of a congressional committee, wasn't quite so kind. 'It's like World War II,' he said after one benefit this week. 'They have got to be kidding.'...[C]ustomers aren't loving all the clothes and the shows aren't generating large sales...
  304. ^ Hyde, Nina S. (15 April 1979). "Fashion Notes". The Washington Post. Retrieved 3 March 2022. From the runway, the push is on for big shoulders and suits, but...what was being worn by the audience at the Paris shows? Lots of Calvin Klein-looking clothes, easy sportswear separates, and a lot of the comfortable clothes the designers seem to be working awfully hard to replace.
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  307. ^ Elkins, Ann M. "Fashion". The Americana Annual 1980: An Encyclopedia of the Events of 1979. Grolier Incorporated. p. 218. ISBN 0-7172-0211-9. ...pumps, the shoe of the year. The most important shoe shape, the pump came in every color and every style – D'Orsay, sling, opera, spectator – all with a higher, narrower heel, often cone-shaped...
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  335. ^ Steck, Duncan G. "Fashion". 1979 Collier's Yearbook Covering the Year 1978. Crowell-Collier Publishing Company. p. 252. The trend in menswear for 1978 was to an open, flowing look – loose shirts, looser, sometimes shapeless pants, sweaters, and loosely tied scarfs. The word used most by commentators at fashion shows was 'soft.'...Almost all the designers picked up the new loose and flowing silhouette....Several designers...were taking out shoulder padding, letting the [jacket] waist out, and...letting the suit settle over the contours of the body without imposing a preselected silhouette.
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  339. ^ La Ferla, Ruth (21 October 1990). "Fashion: Sizing Up Giorgio Armani". The New York Times: 55. Retrieved 10 December 2021. [Armani's] career has been punctuated by a series of radical gestures, beginning with the unconstructed blazer of the mid-1970's – his epochal creation....The blazer, a calculatedly rumpled affair, featured sloping shoulders, narrow lapels, baggy pockets and an attenuated line. More importantly, it was endowed with a mobility previously unknown in men's suit jackets, except on Savile Row. It had the kind of comfort found only in sports clothing, which he achieved in part by stripping out much of its cumbersome lining and padding.
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  342. ^ Costin, Stanley H. "Fashion and Dress". 1979 Britannica Book of the Year. New York, USA: Encyclopedia Britannica. p. 379. ISBN 978-0-85229-362-1. Young men began wearing their jackets with the collar turned up, the shirt left unbuttoned at the neck, and the tie knotted at 'half mast'.
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  346. ^ Hyde, Nina S. (1 January 1978). "Fashion Notes". The Washington Post. Retrieved 10 February 2022. Fashion punch words from 1977 that carry into spring and summer 1978: softness, easy, loose, light....For men, it is a break from stiff seams and sturdy linings...(I)t means loose fitting clothes in lightweight, unlined natural fabrics.
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  351. ^ Morris, Bernadine (28 July 1978). "Paris Couture Collections End With a Salute to Tradition". The New York Times: A12. Retrieved 16 March 2022. Gilbert Feruch's...men's jackets...taper from broad shoulders and deep armholes to fit snugly at the hips.
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외부 링크

위키미디어 커먼즈에는 1970년대 패션과 관련된 미디어가 있습니다.