60s space age jewelry fashion10/5/2023 It is in very very fine condition with light wear. The necklace was lovingly carded for and kept. The metal is stamped in an arc of block letters Made in France. On the back of the color where the rods attach and on the back of the pendant, the necklace is signed in two places. The center of the pendant has a 2" diameter melted enamel glass disk in red, greed and black. From the center, two rods hang down that hold the 3.75 inch wide and 4.69 inch long abstract oval cut out pendant. The sides have long cut out for interest and to create a lightness to the collar. 88 of an inch wide and rounded on the ends to like on and off. Along with his space age clothes, he created small collections of large sculptural and hand made pieces of jewelry including this necklace. Cardin's space age collection was a history making turning point in fashion with lasting effects to today. T.358-1974.About A rare and excellent example of a hand made Pierre Cardin 1960s space age collection necklace. ![]() Knitted Circle evening dress, Zandra Rhodes, 1969, UK. This new direction was reflected in the fashions of Zandra Rhodes, Foale and Tuffin, and Yves St Laurent, all of whom demonstrated an interest in ethnic textiles. ![]() London's Kensington Market became a mecca for young people wanting to create their own alternative look, selling lots of colourful clothing, much of it sourced in India. Fashion leaders began to sport long, loose and layered outfits, inspired by second-hand, or 'vintage' styles, often from the late nineteenth century and the 1930s. The ideas and mix-and-match aesthetic of California's hippy movement crossed the Atlantic, giving people free rein to 'live different', and to sport clothing from a range of non-Western cultures. People moved towards Eastern culture for inspiration. With war in Vietnam and student uprisings in France, opinion-formers began to disapprove of Pop's materialistic sheen. Men enjoyed the newly granted freedom to be flamboyant, wearing suits accessorised with bright, bold shirts and high-heeled boots, and, increasingly, as clothes became more unisex, shopped in the same boutiques as women. Fashion sanctioned longer hair for both men and women, as well as a flared outline for trousers. © Victoria and Albert Museum, Londonīy the late 1960s, style had become quite theatrical. Silk ties with abstract designs in various colours, Emilio Pucci, 1960 – 75, Italy. Pucci's busily flamboyant designs prefigured the psychedelic patterns of the drug-fuelled counter culture. These were used for seemingly endless scarves and ties, as well as the loose-fitting dresses and pyjama suits whose outlines reflected a growing interest in ethnic style. The first designer to exploit a signature style for high-fashion licensing, Pucci created a range of colourful printed silks. He produced sophisticated clothing for the jet set, but his designs were far from conservative. Italian designer Emilio Pucci was also influential. Cardin, in particular, was excited by new materials including vinyl, silver fabrics and large zips, creating radical forms like his celebrated 'visor' hats. ![]() Pierre Cardin, Emanuel Ungaro and Yves Saint Laurent were among those European designers who successfully translated a couture aesthetic – producing bold, futuristic designs for young people who wanted everyday wear. Model wearing a Mary Quant dress, 1964, England. As committed to European-style clothes – characterised by high-impact colour and line – as they were to American soul and R&B music, Mods helped focus the tastes of young people everywhere, and inspired the look of bands like The Who, The Small Faces and The Beatles. The Beatniks and the Mods (an abbreviation of 'Modernists') were particularly influential early in the decade. The fashion industry quickly responded by creating designs for young people that no longer simply copied 'grown up' styles. Increased economic power fuelled a new sense of identity and the need to express it. At the dawn of the 1960s, young people's income was at its highest since the end of the Second World War. Paris remained the engine of the fashion industry with sophisticated haute couture garments produced in regular collections by the likes of Cristóbal Balenciaga and Hubert de Givenchy (the creator of Audrey Hepburn's iconic black dress in Breakfast at Tiffany's, 1961). In the 1950s, fashion was dominated by the tastes of a wealthy, mature elite.
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