Fashion in the 1970
Style is independent of fashion. Those who have style can indeed accept or ignore fashion. For them fashion is not something to be followed, it is rather something to be set, to select from or totally reject. Style is spontaneous, inborn. It is the gloriously deliberate, unpremeditated but divine gift of the few.Spotlight on style, Vogue, 1 September 1976Pre-empting the moment when punk clashed with the Queen's Silver Jubilee, Vogue used the A-word. 'You'll be wearing a positive anarchy of costume both cleverer and simpler than anything you've worn in your life,' said Vogue in its first directive of the 1970s. 'You are one of a kind, unique in fashion. Forget rules - you make them, you break them.' Anarchy arrived after a process of wild experimentation, the shock of glam rock, the rise of platforms, the plummeting of skirts and the ultimate role reversal: men wearing make-up. The 1970s opened with a celebration of decoration and ended in a sinuous bodyline. Anarchy smeared under the surface, exploding mid-way, with a flash of perpendicular hair, safety pins and bondage trousers. By January 1970 one thing was clear: the spacesuit was not going to take off.In the summer of 1970 the miniskirt reached the point of no return
' Two years on, the body was taking shape, but clothes were still essentially voluminous. Vogue asked: 'Is this the last Labour government?'In December Vogue remembered Jubilee year and in the same issue featured the Queen wearing a pink Hardy Amies silk crepe dress and Frederick Fox bell hat. Halston, a great American minimalist, held court in the VIP room and had a list of socialite clients as long as him arm: Liza Minelli, Bianca Jagger and Marisa Berenson (great grand-daughter of Elsa Schiaparelli), all invariably dressed in his glamorous, understated gowns. Ossie Clark was making jumpsuits foe Mick Jagger. Vogue said: 'DISCO - the music that made audience stars - is now international, not only as a sound, but as a word and world in itself . In an interview before he hit the big time in September 1972, Vogue noted: 'Halston rarely uses the word design, he prefers the word make. In a club called The Blitz, a new style which involved piracy and pillaging, was being formed, cue the new romantics. In October 1971 Vogue's eyeview presented 'The Dress you can't date' sugar pink, silk. Bill Gibb's creations were wearable works of art, complete one-off that was beyond a seasonal timescale. ' Vogue viewed 'The 70s through the Looking Glass': 'this was the decade of onion dressing. Gibb worked with a team of knitters, weavers, painters and embroideries. Do you belong?'Fashion's sublime paradox occurred in the spring of 1977.
Common topics in this essay:
Frederick Fox,
Vogue A-word,
Zandra Rhodes,
Fanny Brice,
Margaret Thatcher's,
Bill Gibb's,
,
College Art,
Georgina Howell,
Yamamoto London,
royal college,
college art,
royal college art,
queen's silver jubilee,
safety pins,
vogue 1971,
london's king's,
zandra rhodes,
bondage trousers,
bianca jagger,
london's king's road,
king's road,
queen's silver,
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Acceptance Essays
