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Var der nogen gang i ikke-nyere historie, hvor det var på mode at have flået tøj?

Var der nogen gang i ikke-nyere historie, hvor det var på mode at have flået tøj?


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I omkring de sidste 30 år har det været populært at have riflede jeans på. Var der noget lignende i historien, da flået eller på anden måde stærkt slidt tøj var populært og betragtes som moderigtigt?


Schweiz og tyskerne, 1500- og 1600 -tallet i form af Landsknecht, der fik en lovlig dispensation fra sumptuary (beklædnings) love til at være så fabelagtige. Der er et moderne rekreationssamfund, der har nogle farvebilleder af genskabt tøj draperet på mennesker, og en lang række billeder online, herunder nogle farveprint fra senere.

Fra Wikipedia https://en.wikipedia.org/wiki/Landsknecht

Tøj

Det, der gjorde Landsknechte så iøjnefaldende, var deres detaljerede kjole, som de adopterede fra schweizerne, men senere tog endnu mere dramatisk overskud. Maximilian I fritog dem for de gældende sumptuary love som en anerkendelse af deres "... korte og brutale" liv. Doubletter (tysk: Wams), bevidst skåret foran, bagpå og ærmer med skjorter og andet slid trukket igennem for at danne puffer af forskelligfarvet stof, såkaldte puffede og skårne; partikelfarvet slange (eller Gesses); jerkins (tysk: Lederwams); stadigt bredere flade baret-hatte (tysk: Tellerbarrets) med høje fjer; og brede flade sko, gjorde dem til mænd, der ikke kunne forveksles.


Jules-Amédée Barbey d'Aurevilly, i Du Dandysme et de Georges Brummel (Dandyismens anatomi, 1845) hævder, at franske dandies på hans tid plejede at bruge et stykke knust glas til at barbere stoffet af deres frakker, indtil de var næsten klare, og kunne bryde igennem. Hvis du vil tro ham. Jeg anser ham ikke særlig pålidelig, især da en foret jakke ikke kommer til at fungere sådan.


18 tøjstykker, der definerede 1980'ernes mode i Amerika

Som et resultat af forskellige sociale forskydninger og datidens generelle udvikling er 1980'ernes mode mindeværdig den dag i dag. Mange tøjstykker blev allestedsnærværende blandt den amerikanske befolkning gennem tiåret. Uanset om det var skræddersyning, farver eller størrelse på varen, er det let at se tilbage og huske, hvad der definerede mode i 1980'erne.


1850'erne

Kvinder

I 1850'erne var kvinders nederdele hvælvede og klokkeformede, understøttet af crinoline underkjoler. De havde ofte dybe flunser eller niveauer. Lange blomstrer og pantaloner trimmet med blonder var populære. Kapeljakker i lag, som var paisley-mønstrede sjaler. Dybt motorhætter blev slidt, og hår blev fejet ind i boller eller sidespoler fra en midterskille.

Mænd bar matchende frakker, veste og bukser, med frisurer præget af store fårekødsbrænder og overskæg, efter stilen angivet af prins Albert. Skjorter havde høje kraver og blev bundet om halsen med store sløjfer. Høj fastgørelse og tætsiddende frakke var også meget fashionable, selvom en ny stil kaldet sækfrakken (en lårlængde, løst monteret jakke) blev populær. Bowlerhatten blev opfundet omkring 1850, men blev generelt set som en arbejderhue, mens den var top -hatte blev begunstiget af overklassen.

Paisley kjole med sjal, designer ukendt

Kjole og sjal
Designer ukendt
1845-50
Storbritanien
Trykt uld, foret med hør
Museum nr. T.849-1974
Givet af fru Geoffrey Myers

Populariteten af ​​kashmir sjaler nåede sit højdepunkt fra 1840'erne til 1860'erne. Oprindeligt importeret fra Indien i slutningen af ​​1700 -tallet lavede britiske producenter vævede og trykte versioner i begyndelsen af ​​1800 -tallet baseret på de indiske designs. Et centralt motiv var boteh eller fyrretræet, det vi i dag kender som paisley. Dette design var populært som kjolestof. Dette eksempel blev trykt af firmaet Swaislands i Crayford i Kent og registreret på patentkontoret mellem juli 1845 og april 1847. Kjolens bodice har lodrette slidser fastgjort med knapper på hver side af midterfronten. Dette indikerer, at ejeren bar den, mens hun ammede sine børn.

Kjole i satin i silke kantet med fletning, med blonde -sjal

Kjole
Designer ukendt
1845-50
England
Silk satin foret med bomuld, kantet med børste fletning
Museum nr. T.856-1919

I slutningen af ​​1840'erne havde den brede udskæring lukket op til en høj, rund åbning. Taljen forblev lang og smal og endte med et punkt under taljen. Dette særlige eksempel er lavet af silkesatin, stribet i et komplekst arrangement af lilla, crimson, magenta, grå og hvid. Ærmerne begynder at udvide sig ved håndleddet til en let klokkeform. Denne kjole blev sandsynligvis fremstillet i midten af ​​1840'erne og derefter ændret cirka fem år senere for at imødekomme en stilændring. Ærmerne har fået indsat gores ved håndleddet for at bringe dem ajour med den nye mode.

Blokprintet ulddagskjole, designer ukendt

Kjole (nederdel og bodice)
Designer ukendt
1848-50
Storbritanien
Blokprintet uld, foret med bomuld og bodice udbenet med hvalben
Museum nr. T.797 & ampA-1913
Givet af herrerne Harrods Ltd.

Krøllestænger adskilt af bølgende linjer og et gitterværk af simuleret trimning pryder denne blokprintede ulddagskjole. De sarte rullende former på slyngerne afspejler den midt-viktorianske interesse for rokoko-design fra det 18. århundrede, som indbefattede rullende naturalistiske motiver og en livlig bevægelsesfølelse.

Mønsterets lodrette vægt passer til den fashionable udformning af overdelen, der er foldet over brystet til et V-formet punkt i taljen, mens dens lysere vandrette stribe supplerer nederdelets fylde. Mange kjoler på denne dato blev dekoreret med tilbehør af selvstof, der fokuserede øjet på stoffets mønster eller materialets rigdom samt den fashionable silhuet. På denne kjole dekorerer biasskårne strimler af stof de klokkeformede ender af ærmerne, og halsudskæringen, skuldersømmene, ærmehovedet og kanten af ​​lommen er omhyggeligt afsluttet med selvrør.

Dagskjole af moiré silke, cirka 1858. Museum nr. T.90 & ampampA-1964

Dagkjole (bodice og nederdel)
Designer ukendt
Omkring 1858
Storbritanien
Moiré silke trimmet med chenille og foret med silke med metalknapper og hvalbenstrimler
Museum nr. T.90 & ampA-1964
Givet af Miss Janet Manley

Denne iøjnefaldende dagskjole var en del af trousseauet tilhørende Miss Janet Gilbert. Det er smukt konstrueret i den nyeste stil, som det ville passe for en ung fashionabel kvinde, selvom dets uberørte tilstand tyder på, at det måske ikke var blevet slidt. Den er fremstillet af moiré silke og har en skinnende kruset glans fremhævet af det rige preussiske blå farvestof, påførte chenilleblomster og funklende metalknapper. Box plisseret tilbehør skiller sig ud i relief langs den nederste kant og sømme på de brede pagodeærmer og understreger deres bredde. Havde frøken Gilbert båret denne kjole, havde hvide 'engagementants' eller undersleeves klæbet til ærmegabene dækket hendes underarme, og en blondekrave kunne have dekoreret halsudskæringen.

Graciøse bevægelser og en perfekt silhuet blev fremmet ved indførelsen af ​​fjederstålbøjlede underkjoler i 1856, ofte omtalt som crinolines. Selvom de ofte blev latterliggjort i pressen for deres burlignende struktur og størrelse, blev de også hyldet som en velsignelse. De var effektive, lette, økonomiske og komfortable og sikrede, at kvinder kunne bære kjoler som denne uden at skulle kæmpe med lag varme og tunge underkjoler.

Armbånd af Pierre-Jules Chaise, emaljeret guld og diamanter

Armbånd med portræt miniaturer
Pierre-Jules Chaise
Omkring 1850
Paris
Emaljeret guld, rosé og brillantslebne diamanter, elfenben og perlemor
Museum nr. M.12: 1-3-1955
Efterladt af fru H. Digby Neave, barnebarn af hr. Og fru Ralli

Dette portræt viser en typisk frisure fra 1850'erne. Hår blev slidt skilt i midten og fejet løst over ørerne til en lav bolle på bagsiden.

Dette miniatureportræt er en del af et armbånd, der blev lavet til at tage portrætterne af hr. Pandeli Ralli og fru E. Ralli. Mr. Ralli optræder som klient i hovedbøgerne i Royal Goldsmith's R & ampS Garrard i 1838. Han købte et diamanthovedpynt for 200 £ og et matchende armbånd for 45 £.

Fotografi af uidentificeret sitter ved Horne & ampamp Thornthwaite, omkring 1850. Museum nr. PH.151-1982

Sitter
Horne & amp Thornthwaite (fotografer)
Omkring 1850
London
Museum nr. PH.151-1982

Dette fotografi, af en uidentificeret mandlig siddende, viser mænds kjole typisk for 1850'erne. Sitteren er iført en høj krave med høj hals og en enkelt brystet vest skåret lige over livet. Hans mørke slips er bundet om kraven med en lille sløjfe foran.

Han bærer en nyligt fashionabel sækfrakke, en lidt løsere pasform end den mere skræddersyede kjole. Sækfrakken ville blive stadig mere populær i løbet af de følgende årtier, oftest brugt til fritidsaktiviteter eller uformelle lejligheder.

Silke satin sko med båndroset, Latham

Sko
Latham
1855-65
London
Silke satin med rosetter, bånd og elastik
Museum nr. T.562-1913
Givet af herrer Harrods

Sko med høje hæle var næsten ikke-eksisterende i kvinders mode i første del af 1800-tallet. I stedet var simple flade satin hjemmesko eller 'sandaler' med en sløjfe eller roset i halsen og bånd eller elastiske sløjfer til at fastgøre dem om anklen alle raseri. I 1850'erne var hælen imidlertid begyndt at vende tilbage.

Dette elegante par blå og hvide lavhælede sko illustrerer, hvordan sandalformen udviklede sig. Overdelen i satin med firkantet tå og hals, dekorativ roset og elastikbånd minder alle om de fine flade sko i begyndelsen af ​​1800 -tallet. Men med tilføjelse af en lille hæl og noget stribet dekoration opdateres formen til noget mere i overensstemmelse med moderne smag.

Uldfrakke med fløjlsbeklædning, designer ukendt

Frakke
Designer ukendt
1845-1853, Amerikas Forenede Stater
Uld med silkefløjl, foret med uld
Museum nr. T.176-1965
Givet af kaptajn Raymond Jones

Denne frakke er et eksempel på mænds formelle dagtøj fra omkring 1850. Ærmerne er lange og stramme, kraven er bred, og fronten har en dyb fastgørelse for at vise vesten. Selvom jakken på denne dato blev mere og mere populær som formelt dagtøj, blev den afskårne frakke stadig brugt. Denne pels er kendt for at være blevet båret af William Pierson Johnes, en linnedhandler i New York City.

Promenade kjole af silke plys med frynser, designer ukendt

Promenade kjole (nederdel, bodice og kappe)
Designer ukendt
1855-7
Storbritanien
Silke plys trimmet med silke frynser og fletning, foret med silke og hvalben
Museum nr. T.324 & ampA & ampB-1977
Givet af Madame Tussauds

Luksuriøse fløjlskjoler udsmykket med frynser var yderst fashionable i løbet af 1850'erne. I 1857 meddelte 'Illustrated London News': 'Fringe var aldrig så stærkt efterspurgt som på nuværende tidspunkt ... Fringe kan siges at være den mest populære af alle pynt på en damekjole, det ser ud til at besidde kraften i at give lethed og smidighed til brugerens bevægelser. '

Når de påføres i rækker, simulerede frynser også flounces og fik nederdele til at se endnu bredere ud. I dette eksempel er bodice lavet med en baskisk, som var en separat forlængelse under taljen, der flakkede ud over hofterne. Nederdelen består af to lag, hvor det øverste lag strækker sig fra linningen til den femte række med frynser. Det nederste lag er fastgjort til et taffetaunderskørt. Dette fremhæver frynsens flunkede effekt og hjælper med at fordele vægten af ​​den tunge nederdel over det kuppelformede crinolinbur, som ville have været båret nedenunder.

Fotografi af Maharaja Duleep Singh i formel kjole, omkring 1850. Museum nr. PH.192-1982

Portræt af Maharaja Duleep Singh
Horne & amp; Thornthwaite
Omkring 1850
London
Albumtryk fra kollodion negativ
Museum nr. PH.192-1982

Dette er et portræt af Maharaja Duleep Singh, fotograferet af London -firmaet Horne & amp; Thornthwaite omkring 1850. Han er klædt og skægget efter den fashionable formelle engelske stil. Han bærer en mørk dobbeltbrystet frakke over en højknapet let vest. Hans kraver er stivede og opretstående, med et slips bundet i den karakteristiske 'fire-i-hånd'-stil, hvor hjørnerne af et foldet tørklæde skaber spidse vinger. Denne slipsestil var nyligt moderne i 1850'erne.

Fotografi af Richard Ansdell, af William Henry Lake Price

Portræt af Richard Ansdell, maler
William Henry Lake Price
1857
London
Album-sølv tryk på kort
Museum nr. E.1383-2000
Overført fra British Museum

William Henry Lake Price, selv maler og grafiker samt fotograf, har portrætteret sin medkunstner Richard Ansdell (1815-85) med de traditionelle værktøjer i sit erhverv og et stilleben sammensat af karakteristiske materialer fra genren i victoriansk tid.

Hans tøj er typisk for 'kunstnerisk' kjole, moderigtigt med datidens kunstnere og intellektuelle. Kunstnerisk kjole er kendetegnet ved løst passende tøj, lavet af almindelige, dæmpede stoffer farvet med naturlige farvestoffer, som de bar i bevidst kontrast til den stramme og stivede stivhed i victoriansk formel kjole.

Dette portræt blev første gang set på Photographic Society of London -udstillingen, der blev afholdt på South Kensington Museum (nu V & ampA) i februar og marts 1858. Dette var den første fotografiske udstilling, der blev afholdt på ethvert museum i verden.

Sommerkjole i trykt bomuld, designer ukendt

Dagskjole
Designer ukendt
Omkring 1858-60
Storbritanien
Trykt bomuld, trimmet med broderi
Museum nr. T.702-1913
Givet af herrer Harrods

Dette er et eksempel på en fashionabel sommerdagskjole fra slutningen af ​​1850'erne. Typisk for perioden er de fulde 'pagoda' -ærmer og bodice samlet fra skuldrene ned i den nedre front talje. Tiered nederdele var populære i 1850'erne. Stoffet blev trykt med en dekorativ kant udtrykkeligt til brug som lag af en kjole. Det var kendt af det franske udtryk 'à disposition'.

Creme satin tøfler, designer ukendt

Sko
Designer ukendt
Omkring 1850
Storbritanien
Satin tøfler med bånd, lædersål
Museum nr. T.272 & ampA-1963

Den sarte flade satin -tøfler med båndbånd blev først populær i løbet af det sidste årti af 1700 -tallet. Det betød et skridt væk fra det, der blev anset for at være de ekstravagante overdrev i slutningen af ​​det attende århundrede i retning af en enklere, renere kjolestil og fodtøj påvirket af klassisk antik.

I midten af ​​1800 -tallet var tøfler eller 'sandalsko' stadig udbredt, selvom de i 1850'erne stort set kun blev brugt til formelt slid i sort eller hvid. Dette par sko er et typisk eksempel på den stil. Den tynde lædersål og sarte overdel af silke og satin var relativt enkle og billige at producere. De kan derefter tilpasses med rosetter eller andre dekorative udsmykninger, hvis det ønskes. Disse blev simpelthen klæbet fast på et stykke gaze, som derefter blev syet fast ved halsen over toppen af ​​den eksisterende standardbue, der allerede var på plads.


Indhold

Tidlige 1980'ere (1980–83) Rediger

Minimalisme Rediger

  • I begyndelsen af ​​1980'erne oplevede man en modreaktion mod de farvestrålende diskotekstiler i slutningen af ​​1970'erne til fordel for en minimalistisk tilgang til mode, med mindre vægt på tilbehør. I USA og Europa blev praktisk overvejet lige så meget som æstetik. I Storbritannien og Amerika var tøjfarver dæmpede, rolige og grundlæggende varierende nuancer af brun, brun, creme og orange var almindelige. [7]
  • Moderigtigt tøj i begyndelsen af ​​1980'erne omfattede unisex og kønsspecifik tøj. Udbredt mode til kvinder i begyndelsen af ​​1980'erne omfattede trøjer (herunder turtleneck, rund hals og v-hals) pelsforede pufferjakker tunikaer faux-pelsfrakker fløjlblazere trenchcoats (lavet i både falsk og ægte læder) [7] afgrøde toppe tubetoppe knælange nederdele (uden foreskrevet længde, som designere valgte at vælge) løse, flydende, knælange kjoler (med høje snit og lave udskæringer, varierende ærmelængder og fremstillet i en række forskellige stoffer, herunder bomuld, silke, satin og polyester) løse bukser med høj talje og broderede jeans i læderbukser og designerjeans. [7] [8] [9] Kvinders bukser i 1980'erne blev generelt brugt med lange sømme, og i 1981 var 70'ernes blussede jeans gået af mode til fordel for bukser med lige ben.
  • Fra 1980 til 1983 omfattede populært dametilbehør tynde bælter, knæhøje støvler med tykke kattehæl, sneakers, gelésko (en ny trend på det tidspunkt), [10] muldyr, sko med støvler og støvler, geléarmbånd (inspireret af Madonna i 1983), [11] sko med tykke hæle, små, tynde halskæder (med forskellige materialer, såsom guld og perler) og små ure. [7]

Aerobic dille Rediger

  • Fitness -dillen i 1970'erne fortsatte ind i begyndelsen af ​​1980'erne. Generelt streetwear til kvinder, der blev båret i begyndelsen af ​​1980'erne, omfattede revne sweatshirts, [12] strømpebukser, sweatpants, [13] og træningsdragter (især dem i velour). [7]
  • Atletisk tilbehør var en massiv trend i begyndelsen af ​​1980'erne, og deres popularitet blev i høj grad styrket af aerobic dille. Dette omfattede benvarmere, brede bælter, [13] elastiske pandebånd og sportssko kendt som 'sneakers' i USA [14] eller 'trainers' i Storbritannien. [15]

Professionel mode Rediger

  • I 1970'erne sluttede flere kvinder sig til arbejdsstyrken, så i begyndelsen af ​​1980'erne blev arbejdende kvinder ikke længere betragtet som usædvanlige. Som en måde at erklære sig selv på som ligestillede på arbejdsmarkedet begyndte kvinder at klæde sig mere seriøst på arbejdet. Populært tøj til kvinder på arbejdsmarkedet omfatter nederdele i knæ, brede ben, en matchende blazer og en bluse i en anden farve. Sko med hæl med killinger blev ofte brugt. [7] Formelle sko blev mere komfortable i løbet af denne periode, hvor producenter tilføjede såler, der var mere fleksible og støttende. [16] Skoene med moderat piggede hæle og relativt spidse tæer fra slutningen af ​​1970'erne forblev en modetrend.

Midten af ​​1980'erne (1984–86) Rediger

Lyse farver Rediger

  • Kvindemode i begyndelsen af ​​1980'erne blev mere farverig omkring 1982. Dette omfattede lange uldfrakker, lange flared nederdele, slanke miniskørter, let tilspidsede bukser og stigbøjler, designerjeans, [8] spandexcycling shorts, [17] ekstremt lange og omfangsrige trøjer, jumpsuits, pastelfarver, "off-the-shoulder" sweatshirts over stramme jeans, trenchcoats i læder, pelsfrakker, ekstremt store tørklæder, huer, læderhandsker og kjoler, der bæres med brede eller tynde bælter. Aerobic dille i begyndelsen af ​​1980'erne fortsatte ind i midten af ​​1980'erne, men tøjet blev mere farverigt, end det var før.
  • Kvindesko i midten af ​​1980'erne omfattede sandaler med remme, sandaler med kattehæl, pumps, balletlejligheder, bådsko, flade støvler og Keds. [7]
  • I 1980'erne viste den stigende popstjerne Madonna sig at være meget indflydelsesrig på kvindelige mode. Hun dukkede først op på dansemusikscenen med sit "street urchin" -look, der består af korte nederdele, der bæres over leggings, halskæder, gummiarmbånd, nethandsker, hårbuer, lange lag af perler, bleget, urørt hår med mørke rødder, pandebånd og blondebånd. I hendes "Like a Virgin" -fase efterlignede millioner af unge piger rundt om i verden hendes modeeksempel, der omfattede brassieres brugt som overtøj, enorme krucifikssmykker, blondehandsker, tylskørter og boytoybælter.
  • Handsker (undertiden snøret eller fingerløse) blev populær af Madonna, samt fiskestrømper og lag med perlerede halskæder. Korte, stramme Lycra eller læder miniskørter og rørformede kjoler blev også brugt, ligesom beskårne bolero-stil jakker. Sort var den foretrukne farve. Inden midten af ​​1980'erne havde det været tabu at vise et skred eller en bh-rem offentligt. En synlig undertøj havde været et tegn på social utugelighed. Med den nye modes mest ekstreme former ville unge kvinder opgive konventionelle yderbeklædninger til bustiers i vintage-stil med lace slips og flere store krucifikser. Dette var både en påstand om seksuel frihed og en bevidst afvisning af fremherskende androgyne mode.

Power dressing Rediger

  • Fjernsynets bedste sendetid Dallas og især Dynasti påvirket stadig mere store skulderpuder. Skulderpuder, populariseret af Joan Collins og Linda Evans fra sæbeoperaenDynasti var populære fra midten af ​​1980'erne til begyndelsen af ​​1990'erne. Dallasfremmer imidlertid fremvisning af rigdom med smykker og mousserende tøj. [18] I mellemtiden besøgte kvinders mode og forretningssko de spidse tæer og pigge hæle, der var populære i 1950'erne og begyndelsen af ​​1960'erne. Nogle butikker fyldte lærred eller satinbeklædte modesko i hvidt og farvede dem til kundens foretrukne farve, helst lyse farver.
  • I løbet af denne periode blev kvinder mere sikre på arbejdspladsen og forsøgte at komme videre i deres karriere. Disse kvinder ønskede at passe ind på højere ledelsesniveauer ved at efterligne et maskulint udseende gennem mode for at se mere dygtige ud. Derfor ville de bære bemyndigende beklædningsgenstande, der skildrede maskulinitet, og dermed få dem til at virke mere professionelle ved at passe ind hos det mandlige flertal. Dette ville blive opnået med egenskaber som bredere skuldre ved hjælp af polstring og større ærmer. [19] Andre varer omfattede kjoler, der blev slidt med tynde eller tykke bælter, plisserede eller almindelige nederdele, strømpebukser eller strømpebukser, over bukserne i ankellængden, der undertiden bæres med strømpebukser eller strømpebukser under, balletflade sko, lange trøjer, bådsko og sløjfe flade korte lange støvler,
  • En film af Lizzie Borden, Arbejdende piger, påvirket hvordan samfundet opfatter kvinder inden for forskellige felter og positioner, det indeholder også feminisme og emner om kapitalisme. Arbejdende piger er en uafhængig produktion udgivet i 1986 om dagligdagen for overklasseprostituerede i en lille Manhattan bordello. Hovedpersonerne i historien har baggrunde som kandidater fra Yale University og Law filmen gør det klart, at de ikke blev tvunget ind i feltet, men valgte det selv. Gennem hele filmen blev power dressing fremmet sammen med kvindernes evne til at tage kontrol over deres egen fremtid. [20] [21]
  • Efter det vestlige økonomiske boom i midten af ​​1980'erne havde den yngre generation en formindsket indflydelse på mode, da de havde mindre indflydelse på markedet. Hovedforbrugeren blev de ældre generationer, der var mere økonomisk stabile og var påvirket af internationale politiske nyheder. Thatcherisme blev fremmet i Storbritannien af ​​det britiske konservative parti. Den kvindelige leder af det britiske konservative parti, Margaret Thatcher, blev i sin power suit hurtigt et af 1980'ernes mest kendte symboler. Dragter, som Thatcher havde på, var normalt tonet i en farve med en matchende hat, jakke og nederdel, der ender under knæet. En bred skulder- og perlehalskæde var også en del af hendes almindelige påklædning. Hendes politiske stil var ligetil, effektiv og undertiden kritiseret som ikke empatisk nok. Men der er ingen tvivl om, at hendes udseende skildrede hendes evne, magt og autoritet, hvilket var en masse arbejdende kvinder i den æra, de ønskede. [22] [23]

Slutningen af ​​1980'erne (1987–89) Rediger

Forbrugervenlig mode Rediger

  • Fra 1987 til begyndelsen af ​​1990'erne var mini -nederdelen den eneste længde, der blev understøttet af modedesignere. Selvom nederdele af enhver længde var acceptable at have på i årene før, blev al opmærksomhed givet til den korte nederdel, især blandt teenagepiger og unge kvinder, der var iført strømpebukser, strømpebukser, leggings eller slouch sokker. Skulderpuder blev stadig mindre. [7] Tilbehør populært i Storbritannien, Frankrig og Amerika omfattede farvestrålende sko med tynde hæle, smalle flerfarvede bælter, baretter, snørehandsker, perlehalskæder og plastarmbånd. [7]
  • Dametøj i slutningen af ​​1980'erne omfattede jakker (både beskårne og lange), frakker (både klud og falsk pels), vendbare indvendige frakker (læder på den ene side, falsk pels på den anden), rugby sweatshirts, [7] sweaterkjoler , taffeta- og pufkjoler, babydukkekjoler, der bæres med capri -leggings eller cykelshorts, slouch -strømper og Keds eller Sperrys eller med uigennemsigtige strømpebukser og lejligheder eller uigennemsigtige strømpebukser og slouch -strømper, neon- eller pastelfarvede shortalls, denim pinafore kjoler, Keds, Sperrys , balletlejligheder, jumpsuits, overdimensionerede eller ekstra lange t-shirts trøjer sweatshirts bluser og button-down skjorter populært brugt med leggings og stigbøjlebukser, miniskørter, stretchbukser, koniske bukser, nederdele brugt med leggings, [24] [25] påklædte leggings outfit af leggings med en overdimensioneret v-hals sweater over en turtleneck, slouch sokker, Keds (sko) eller Sperrys og pandehår med et pandebånd eller hestehale og scrunchie, glade bukser (hjemmelavede bukser lavet i dristige designs med lyse farver) og uigennemsigtige strømpebukser. [7] Populære farver omfattede neonfarver, blomme, guld, pink, blues og lyse vine. (Alle, der kommer til dette websted, dette er en falsk, og dette er også falsk information, besøg ikke wiipedia) :)

Asiatisk mode Rediger

  • I Kina faldt den unisex -jakkesæt i Zhongshan [26] efter Mao Zedongs død, [27] fjernelsen af ​​Gang of Four og liberaliseringen af ​​handelsforbindelser og internationale forbindelser i midten og slutningen af ​​80'erne. Velhavende kinesiske kvinder begyndte igen at bære vestligt inspirerede mode, [28] inklusive røde eller gule miniskørter [29] foruden de mere typiske skjortekjoler, hvide plimsolls og dacronbluser. [30]
  • Slutningen af ​​1980'erne var også vidne til begyndelsen på den indo -vestlige mode og haute couturefashion i Indien, der i sidste ende ville få global anerkendelse i 90'erne. Farver som rød og hvid [31] var populære, ofte med indviklet broderi. Selvom de fleste kvinder fortsatte med at bære sareen, havde Bollywood -skuespillerinder også adgang til vestlige designeroutfits og lokalt designede beklædningsgenstande som Anarkali -ballkjolen. [32]
  • Japanske modedesignere Yohji Yamamoto, Rei Kawakubo og Issey Miyake startede en ny modeskole i slutningen af ​​1980'erne [33] kaldet "Japanese Avant-Garde Fashion", som kombinerede asiatisk kulturel inspiration med mainstream europæisk mode. Den japanske ånd og kultur, som de præsenterede for europæerne, forårsagede en moderevolution i Europa, som fortsatte med at sprede sig over hele verden. [34] Yamamoto, Kawakubo og Miyake omdefinerede begreberne dekonstruktion og minimalisme, der blev brugt i modedesign verden over [35] af banebrydende monokratiske, androgyne, asymmetriske og baggy looks. [36] Desuden var designs unisex, som var inspireret af designet af traditionel japansk kimono. Ifølge Sun, "Traditionelle japanske kimonoer har ikke strenge regler for herretøj eller dametøj, derfor har kimonoer for den grundlæggende stil lignende stil og dekoration til mænd og kvinder". [35] Geometriske diamantmønstre, vandrette striber, crinolines, lagdelte kimono -inspirerede bluser, kjoler lavet af et enkelt stykke stof, [37] thailandske fiskerbukser med drop -skridt, rumalderinspirerede laserskåret outfits, mesh, jakker med kanji -motiver og monokromatisk sort og hvidt tøj var almindeligt, ligesom brugen af ​​de traditionelle japanske farver rød, mizudori og sora iro. [38] I The Japanese Revolution in Paris Fashion beskriver Kawamura dette nye koncept: "[.] Traditionelt i det japanske samfund afsløres seksualitet aldrig åbenlyst, og denne ideologi afspejles i stilen af ​​kimono, især for kvinder, disse avant- garde designere rekonstruerede hele forestillingen om kvinders tøjstil, så de afslører ikke seksualitet, men skjuler det snarere ligesom kimonoen ". [39] De tre designere satte scenen for begyndelsen på postmoderne fortolkning fra dem, der designer tøj, der bryder grænsen mellem Vesten og Østen, mode og antimode, og moderne og antimodern. [39]

Tidlige 1980'ere (1980–83) Rediger

Sportstøj Rediger

  • I begyndelsen af ​​1980'erne havde mode bevæget sig væk fra det uplejede hippie -look og overdrevne diskotekstil i slutningen af ​​1970'erne. Atletisk tøj var mere populært end jeans i denne periode, ligesom mere dæmpede farver. Populære farver var sort, hvid, indigo, skovgrøn, burgunder og forskellige nuancer af brune, solbrune og appelsiner. Velour, fløjl og polyester var populære stoffer, der blev brugt i tøj, især skjorter med knapper og v-udskæringer. Løsere bukser forblev populære i løbet af denne tid, da de var ret brede, men lige, og strammere skjorter var især populære, nogle gange i en beskåret atletisk stil. Den brede offentlighed ville på dette tidspunkt bære tøj med lav vedligeholdelse med mere grundlæggende farver, da den globale recession på det tidspunkt holdt ekstravagant tøj uden for rækkevidde. [7] Også slidte var stribede rørstrømper undertiden båret med toppen foldet over slidt med shorts. Det var ikke ualmindeligt at se forældre især fædre iført dem sammen med deres børn.
  • Populært tøj i begyndelsen af ​​1980'erne, der blev båret af mænd, omfatter træningsdragter, [40] trøjer med v-hals, poloshirts i polyester og velour, sportstrøjer, jeans med lige ben, jeans rullet for at vise deres slap strømper, knapper i polyester, cowboystøvler, [41] huer og hættetrøjer. Omkring dette tidspunkt blev det acceptabelt for mænd at bære sportsfrakker og bukser til steder, der tidligere krævede jakkesæt. [7] I Storbritannien forblev børns bukser blusset, men kun lidt.

Ny bølgeindflydelse Rediger

  • Fra begyndelsen til midten af ​​1980'erne påvirkede post-punk og new wave-musikgrupper mainstream mandlig og kvindelig mode. Kommercielt fremstillede slanke dragter, tynde slips i læder eller dristige mønstre, stribede T-shirts, Members Only jakker, klubtøj, metalliske skjorter, cat eye-briller, hornrandbriller med farvestrålende stel, androgyn neonfarvet makeup, [42] og uberørte læderjakker blev bredt slidt. [43] Almindelige frisurer omfattede en kort quiff til mænd eller drillet stort hår til kvinder, og typiske unisex -farver til tøj inkluderet turkis, blågrøn, rød, neongul og hvid på en blå skærm.

Preppy look Rediger

  • Som reaktion på punk-mode i midten af ​​slutningen af ​​1970'erne, [9] var der et tilbagefald til 1950'ernes Ivy League-stil. Denne genoplivning blev definitivt opsummeret i en enormt populær paperback udgivet i 1980: Den officielle Preppy -håndbog. Populært preppy -tøj til mænd omfattede Oxford -skjorter, trøjer, turtlenecks, poloshirts med krave, [9] khaki -bukser, argyle -strømper, kjolebukser, Hush Puppies Oxford -sko, brogues, seler, seersucker eller stribede linnedragter, corduroy og kabelstrik trøjer, der ofte blev brugt bundet om skuldrene. [44]

Midten af ​​1980'erne (1984–86) Rediger

Miami politi/Magnum P.I. look og Michael Jacksons indflydelse Rediger

  • I midten af ​​1980'erne inkluderede populære tendenser uldsportfrakker, Levi 501'er, hawaiianske skjorter, skaldragter, håndstrikkede trøjer, sportstrøjer, hættetrøjer, flannelskjorter, vendbare flanelveste, jakker med inderside quiltet, nylonjakker, guldringe, spandexcycling shorts, [17] cowboystøvler, [41] og khaki bukser med hakkede sømme. [7]
  • Midten af ​​1980'erne bragte en eksplosion af farverige stilarter i herretøj, foranlediget af tv -serier som f.eks Miami politi og Magnum, P.I.. Dette resulterede i tendenser som t-shirts under dyre jakkesæt jakker med brede, polstrede skuldre, hawaiianske skjorter (suppleret med sportsfrakker, ofte med topsyede revers til et "skræddersyet" look) og (i modsætning til det lyse skjorte) jakker, der ofte var grå, solbrune, rust eller hvide. Easy-care micro-suede and corduroy jackets became popular choices, especially those with a Western style. was also a big influence of teenage boys' and young men's fashions, such as matching red/black leather pants and jackets, white gloves, sunglasses and oversized, slouch shouldered faded leather jackets with puffy sleeves.

Power dressing Edit

  • Men's business attire saw a return of pinstripes for the first time since the 1970s. The new pinstripes were much wider than in 1930s and 1940s suits but were similar to the 1970s styles. Three-piece suits began their decline in the early 1980s and lapels on suits became very narrow, akin to that of the early 1960s. While vests (waistcoats) in the 1970s had commonly been worn high with six or five buttons, those made in the early 1980s often had only four buttons and were made to be worn low. [45][46] The thin ties briefly popular in the early '80s were soon replaced by wider, striped neckties, generally in more conservative colors than the kipper ties of the '70s. Double breasted suits inspired by the 1940s were reintroduced in the 1980s by designers like Giorgio Armani, Ralph Lauren, and Anne Klein. [45][46] They were known as 'power suits', and were typically made in navy blue, charcoal grey or air force blue. [45][46][47]

Tropical clothing Edit

  • As an alternative to the power suit, the safari jacket, Nehru suit and Mao suit remained popular in Australia, South Africa, India, China, and Zaire, where it was known as an Abacost[48] and worn with a leopard print hat resembling the Astrakhan cap. At the same time, young African dandies known as sapeurs rebelled against the post-decolonisation government's suppression of Western fashions [49] by investing in expensive designer suits from Italy and France and listening to the soukous music of Papa Wemba. [50] This continued until the kleptocratic dictator Mobutu's deposition and death in the late 1990s, when the outbreak of a civil war in Zaire resulted in the sapeurs' disappearance until the 2010s. [51]
  • In Hawaii, Aloha shirts and Bermuda shorts were worn on Aloha Fridays. By the end of the decade, when the custom of casual Fridays had spread to the US mainland, this outfit had become acceptable as daily Hawaiian business wear. [52] Elsewhere in the Caribbean and Latin America, especially Mexico, Ecuador, Colombia, [53] and Cuba, men wore the guayabera shirt for semi-formal occasions in imitation of the presidents Fidel Castro and Luis Echeverria. [54]

Late 1980s (1987–89) Edit

Doc Martens Edit

    were dark shoes or boots with air-cushioned soles that were worn by both sexes in the 1980s. They were an essential fashion accessory for the skinhead and punk subcultures in the United Kingdom. Sometimes Doc Martens were paired with miniskirts or full, Laura Ashley- style dresses. [55] They were an important feature of the post-punk 1980s Gothic look which featured long, back-combed hair, pale skin, dark eyeshadow, eyeliner, and lipstick, black nail varnish, spiked bracelets and dog-collars, black clothing (often made of gabardine), and leather or velvet trimmed in lace or fishnet material. Corsets were often worn by girls. British bands that inspired the gothic trend include The Cure, Siouxsie and the Banshees, and The Cult. This trend would return in the 1990s.

Parachute pants Edit

Parachute pants are a style of trousers characterized by the use of ripstop nylon or extremely baggy cuts. In the original tight-fitting, extraneously zippered style of the late 1970s and early 1980s, "parachute" referred to the pants' synthetic nylon material. In the later 1980s, "parachute" may have referred to the extreme bagginess of the pant. These are also referred to as "Hammer" pants, due to rapper MC Hammer's signature style. Hammer pants differ from the parachute pants of the 1970s and early 1980s. They are typically worn as menswear and are often brightly colored. Parachute pants became a fad in US culture in the 1980s as part of an increased mainstream popularity of breakdancing. [56]

    became a mainstream fashion for male teenagers. Jelly or thin metal bracelets (also known as bangles) were very popular in the 1980s, and would be worn in mass quantities on one's wrist. Designer jewelry, such as diamonds and pearls, were popular among many women, not only for beauty, but as symbols of wealth and power.
  • At the beginning of the decade, digital watches with metal bands were the dominant fashion. They remained popular but lost some of their status in later years. Newer digital watches with built-in calculators and primitive data organizers were strictly for gadget geeks. Adult professionals returned to dial watches by mid-decade. Leather straps returned as an option. By the late 1980s, some watch faces had returned to Roman numerals. In contrast, one ultramodern status symbol was the Movado museum watch. It featured a sleek design with a single large dot at twelve o'clock. The Tank watch by Cartier was a fashion icon that was revived and frequently seen on Cartier advertisements in print. Rolex watches were prominently seen on the television show Miami politi. Teen culture preferred vibrant plastic Swatch watches. These first appeared in Europe, and reached North America by the mid-1980s. Young people would often wear two or three of these watches on the same arm. [citat nødvendig]
  • In the first half of the 1980s, glasses with large, plastic frames were in fashion for both men and women. Small metal framed glasses made a return to fashion in 1984 and 1985, and in the late 1980s, glasses with tortoise-shell coloring became popular. These were smaller and rounder than the type that was popular earlier in the decade. Throughout the 1980s, Ray-Ban Wayfarers were extremely popular, as worn by Tom Cruise in the 1983 movie Risky Business. [citat nødvendig]
  • Miami politi, in particular Sonny Crockett played by Don Johnson, boosted Ray-Ban's popularity by wearing a pair of Ray-Ban Wayfarers (Model L2052, Mock Tortoise), [57] which increased sales of Ray Bans to 720,000 units in 1984. [58]

Robert Smith of the Cure based his gothic look from Siouxsie Sioux's and being a guitarist in her band.

Heavy metal Edit

  • In the first half of the 1980s, long hair, leather rocker jackets (biker jackets) or cut-off denim jackets, tight worn-out jeans, and white, high trainers (sneakers) and badges with logos of favorite metal bands were popular among metalheads, and musicians of heavy metal and speed metal bands. However by the mid 1980s the success of the glam metal scene had influenced the style worn by many mainstream metal fans. In addition to the traditional denim and leather look, mainstream heavy metal bands began to dress in more bright, colourful and theatrical clothing similar, in many ways, to the glam rock look of the 1970s. This included items such as spandex, platform boots, leg warmers and many different types of often spiked or studded leather accessories. In addition to this the long hair popular with metal fans was often worn teased. Makeup became popular with many metal bands as well often worn onstage for theatricality however many bands also began wearing makeup offstage also. The mainstream glam metal image of the mid to late 1980s was often criticised by many underground metal fans as being too 'effeminate'. The mainstream glam metal (later called 'hair' metal) style would decline during the later half of the decade but would remain popular until the grunge movement in the early 1990s. In the second half of the 1980s, the original denim and leather clothing style was popular among musicians and fans of more extreme and niche (often underground) metal bands – thrash metal, crossover thrash, early black metal, and early death metal bands. It was popular particularly in the United States, but there were also large regional scenes in Germany, England, Canada, and Brazil. Although these styles of extreme metal would begin to adopt contrasting images during the ensuing decade.
  • By the late 1980s, acid-washed jeans and denim jackets had become popular with both sexes. Acid washing is the process of chemically bleaching the denim, breaking down the fiber of material and forcing the dye to fade, thus leaving undertones of the original dye evidenced by pale white streaks or spots on the material. This became associated with the afformentioned heavy metal trend (called "hair metal" in later decades for the large frizzy coiffures worn by both male and female enthusiasts). Severely bleached and ripped jeans, either manufactured purposely or done by hand, become a popular fashion trend, being a main component of glam metal music acts such as Poison.
  • The Japanese equivalent of glam metal, known as visual kei, emerged during the mid to late 80s and incorporated punk, goth and new wave influences. [59] Brightly dyed, androgynous hair was common among shock rock bands like X Japan, together with studded leather borrowed from fetish fashion, traditional Geisha or Japanese opera inspired makeup, drag, [60] and stylized 18th century fop rock costume such as frilly shirts, tall boots and long coats. [61]

Punk Edit

  • Throughout the 1980s, the punk style was popular among people aged 18–22. Characterized by multi-colored mohawks, ripped stovepipe jeans, worn band tee-shirts, and denim or leather jackets. This style was popular among people who listened to punk music such as The Sex Pistols, and later, (despite the band's self-proclaimed rock'n'roll image) Guns N' Roses. Usually the denim jackets (which became an identity of the group) were adorned by safety pins, buttons, patches, and several other pieces of music or cultural memorabilia. Oftentimes, fans of the punk style would take random bits of fabric and attach them to their other clothes with safety pins. This soon became a popular way of attaching clothing, and it is now known as "pin shirts" with young women. The shirts are, essentially, rectangular pieces of fabric that are pinned on one side with safety pins. In the 1980s, a dressed down look (e.g. buzzed hair, T-shirts, jeans and button up shirts) was also very popular with people involved in punk rock, more specifically the hardcore punk scene. The Circle Jerks frontman Keith Morris said "Some of those punk rock kids they interviewed were a little over the top, but the thing historically is – the L.A./Hollywood punk scene was basically based on English fashion. But we had nothing to do with that. Black flag and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or submarine shop." [62] Punk dress was not simply a fashion statement. It epitomized a way of thinking and seeing oneself as an individual cultural producer and consumer. In this way, punk style led many people to ask further questions about their culture and their politics. [63]

New Romantic Edit

  • The origins of the New Romantic and new wave fashion and music movement of the mid 1980s are often attributed to the Blitz Kids who frequented the club Blitz in London, especially David Bowie. Bowie even used the Blitz's host Steven Strange in his music video for Ashes to Ashes. [64] It is also important to note that the New Romantics and those involved with the punk scene had inspired each other because of the concentration of influential individuals going to the same clubs and having the same friend circles. [64] Vivienne Westwood & Malcolm McLaren were also directly involved in the movement, such as dressing the members of Bow Wow Wow. The band leader and later solo artist, Adam Ant, and Westwood had highly influenced each other as well (Adam Ant being one of the leading icons of the New Romantics). [65] Westwood's first runway collection, Pirates AW 1981-2 is often cited as a New Romantic collection which was both influenced by and highly influential to the movement. The garments in Pirates had asymmetrical necklines, flowy pirate shirts and breeches. [66] The collection was very well received by critics and buyers. [67] However, the designer's interference in the originally DIY fashion wasn't taken well by some of the participants, such as Boy George who left Bow Wow Wow to form his own band (Culture Club) and who cited one of the reasons for leaving as the way Vivienne Westwood wouldn't let him dress himself. [65]
  • The Blitz Kids described the movement as a retaliation to punk [68] due to it becoming too violent and unsavory crowds such as neo-Nazis and skinheads deciding to jump on that aesthetic bandwagon. [64] It was also a way to forget their relative poverty following the economic recession and the Winter of Discontent. [68] Features of New Romantic clothing varied from individual to individual, although these generally highlighted the implied individualism, creativity and self-expression of the movement, besides its continued adherence to the DIY ethic of punk. [64] It was inspired by different cultures and time periods, films, film noir, and theatricality. Men often wore dramatic cosmetics and androgynous clothing, including ruffled poet shirts, red or blue hussar jackets with gold braid, silk sashes, tight pants, shiny rayonwaistcoats, and tailcoats based on those worn during the Regency era. Women, too, were very theatrical in terms of makeup and style, and often favoured big hair, fishnet gloves, corsets, crushed velvet, and elements of Middle Eastern and gypsy clothing. [65]

Rockabilly Edit

  • In the early 1980s, the Teddy Boy look was popular in the UK among fans of groups like the Stray Cats, Crazy Cavan, Levi and the Rockats, or Shakin Stevens. Common items of clothing included drape jackets (generally in darker shades than those of the 1970s), drainpipe trousers, brothel creepers, bolo ties, white T-shirts, baseball jackets, hawaiian shirts, and black leather jackets like the Schott Perfecto. Common hairstyles included the quiff, pompadour, flat top, and ducktail.
  • The French rockabilly scene of the early to mid 80s was closely linked with the street punk subculture, had a large black and Arab following, and was involved with antifascistsquaddism. [69] The Black Dragons identified themselves with the leather jacket wearing greaser antiheroes, rebels and outcasts, and often fought the neonaziskinheads. [70]

Rude boys and skinheads Edit

  • Following on from the mod revival of the late 70s, the UK witnessed a revival of rude boy and skinhead fashion due to the popularity of ska punk, Oi!punk rock, rocksteady, and two tone music during the winter of discontent. In the early 80s, slim fitting mohair, tonic and houndstooth suits [71] were popular, together with basket weave shoes, polo shirts, sta-prest trousers, Doc Martens, braces, Harrington jackets and pork pie hats popularized by bands like the Specials, UB40, the Bosstones, and Madness. [72] In response to the racism of white power skinheads, 1980s rude boys wore checkerboard motifs to signify that both black and white people were welcome. Crew cuts and buzzcuts were worn by both sexes, [73] and girls often incorporated hair bangs in a partially shaven style known as a Chelsea mohawk. [74] In Brighton, the Skins of the 1980s fought the outlaw bikers and rockabilly guys, as the Mods and Rockers had previously done in the 60s.

Casuals Edit

  • The football casual subculture first appeared in the UK around 1983, when many ex-skinheads began dressing in designer clothing and sportswear to blend into the crowd and avoid police attention at football games. Popular clothing for English and Scottish casuals included Burberry coats, Stone Island, Lacoste, Ben Sherman and Fred Perry polo shirts, tracksuits, [75]bomber jackets, Adidas or Nikesneakers, Fila or Ellesse jackets, flat caps, baseball caps, soccer shirts, and scarfs or bobble hats in their club's colours. [76] Although shaved heads[77] [self-published source?] remained the most common haircut, some fans also wore undercuts, Caesar cuts, mod haircuts, and short mullet haircuts. During the late 80s, Casuals mostly listened to acid house, new wave music, and later indie rock[78] or Madchester[79] but a hip-hop influenced offshoot of the subculture, known as chavs, appeared during the late 1990s and early 2000s. [80][81]

Skaters Edit

  • In Russia, [82] Australia, East Germany, [83] and America, the skater subculture reached the height of popularity in the mid 80s. Unlike the hippie and surfer influenced skaters of the 70s, the skaters of the 80s overwhelmingly preferred sportswear and punk fashion, especially baseball caps, red waffle plaid shirts, sleeveless T-shirts, baggy pants or Jams[84] shorts resembling pajamas, [85] checkered wristbands, striped tube socks, and basketball shoes like Converse All Stars and Vans. Brightly colored T-shirts became fashionable by the end of the decade, often featuring psychedelic eyes, skulls, Ed Roth inspired cartoon characters, palm trees, iron crosses, or the logos of skateboard brands like Stussy, [86]Tony Hawk, Mooks or Santa Cruz. [87] The longer surfer hair was replaced with edgy hardcore punk and street punk inspired styles like the bowl cut or Hitler Youth haircut.

Rap and hip hop Edit

    had been worn as casual wear before, but for the first time they became a high-priced fashion item. Converse shoes were popular in the first half of the 1980s. In 1984, Nike introduced the first ever Air Jordan sneaker, the Air Jordan 1 (named for basketball player Michael Jordan). Although most believe this shoe was banned by the NBA due to the sneaker being too flashy and distracting, others believe it was actually, the predecessor, the Nike Air Ship that was under scrutiny. [88] Nike used this controversy between Air Jordan and the NBA to market the sneaker. The Air Jordan 1 was released in the royal blue color way to the public in 1985 and was an immediate success, still retaining its value in the fashion world today. [89] Soon, other manufacturers introduced premium athletic shoes. sneakers were also a successful brand of the decade, becoming popular among teenage boys and young men. [citat nødvendig] The growth of pop-culture and hip-hop influence allowed group Run-D.M.C. to make the Adidas Superstar (commonly known as the shell toe) one of the most sought-after shoes of the 1980s. Following their single "My Adidas", Adidas reportedly gave them $1 million endorsement deal. [90] Nike had a similar share of the market, with the Air Max and similar shoes such as the Air Force One which was released in 1982. High-tops, especially of white or black leather, became popular. Other sportswear brands released popular shoes - Reebok had the Reebok Pump, Converse released the Cons and New Balance had the Worthy 790.
  • In the early 1980s, long and white athletic socks, often calf-high or knee-high, were worn with sneakers. As the decade progressed, socks trended shorter, eventually topping out just above the height of the shoe. [citat nødvendig] Run-D.M.C. and other hip-hop groups also influenced the apparel industry. Wearing track suits and large chains necklaces, they popularised sportswear brands such as Fila, Puma, Reebok, Nike, Avia and Adidas. [91] Individuals in the culture also frequently wore bucket hats, oversized jackets and t-shirts, and high contrast colors. [92] Fashion in hip-hop was a way to surpass the poverty that surrounded the community. [93]
  • According to Chandler and Chandler-Smith (2008), rap and hip-hop were not one specific style, but rather a mix between high-end luxury fashion and what was on the street. [94] Harlem designer and shop-owner Dapper Dan embodied this concept by redesigning luxury products and making them available to those who wouldn't typically associate themselves with it. Dapper Dan was most famous for deconstructing a Louis Vuitton garment and turning it into his signature jacket. He reconstructed garments for many music icons and celebrities in the 1980s before getting shut down by lawyers in the early 1990s. [95] This interest in luxury apparel expanded past Dapper Dan - American fashion brands Tommy Hilfiger, Ralph Lauren, and Nautica were expanding rapidly and embraced by hip-hop culture as an indicator of status. [91]
  • Ensembles featuring the Pan-African colors - green, yellow and red, and red, black and green - became popular among African Americans, as did kente cloth. In the urban hip-hop communities, sneakers were usually worn unlaced and with a large amount of gold jewelry, as well as head wraps. [citat nødvendig]

Preppy Edit

  • Wealthy teenagers, especially in the United States, wore a style inspired by 1950sIvy League fashion that came to be known as "preppy." Preppy fashions are associated with classic and conservative style of dressing and clothing brands such as Izod Lacoste, Brooks Brothers, and Polo Ralph Lauren. [96] An example of preppy attire would be a button-down Oxford cloth shirt, Ascot tie, cuffed khakis, and tasseled loafers, Keds, Boat shoes, or ballet flats. Throughout the 1980s and 1990s, preppy fashions featured a lot of pastels, turtleneck sweaters for girls, knee high socks sometimes turned down or folded over at the top with above the knee length skirts and dresses and polo shirts with designer logos. Other outfits considered "preppy" included cable knit cardigans or argyle pattern sweaters tied loosely around the shoulders, [97] dress shorts with knee socks, dressed up leggings outfits from the mid 80's on which consisted of leggings with an oversized v-neck sweater over a turtleneck, slouch socks, Keds (shoes) or Sperrys, and bangs with a headband band or ponytail and scrunchie. The European equivalent, known as Sloane Rangers, dressed similarly but frequently incorporated tweed clothBritish country clothing, burberrymackintoshes, mustardcorduroy pants, rain boots, padded hairbands, and ancestral jewellery such as pearl necklaces. [98]

Women's hairstyles Edit

Although straight hair was the norm at the beginning of the decade, as many late-1970s styles were still relevant, the perm had come into fashion by 1980.

Big and eccentric hair styles were popularized by film and music stars, in particular among teenagers but also adults. These hairstyles became iconic during the mid 1980s and include big bangs worn by girls from upper elementary, middle school, high school, college and adult women. There was generally an excessive amount of mousse used in styling an individual's hair, which resulted in the popular, shiny look and greater volume. Some mousse even contained glitter.

Beginning in the late 80s, high ponytails, side ponytails, and high side ponytails with a scrunchie or headband became common among girls from upper elementary, middle school, high school, college and adult women.

Men's hairstyles Edit

By 1983, short hair had made a comeback for men, in reaction to the shag and mod haircuts of the mid to late 70s. The sideburns of the 1960s and 1970s saw a massive decline in fashion, and many guys wore regular haircuts and quiffs. Beards went out of style due to their association with hippies, but moustaches remained common among blue collar men.

From the mid 1980s until the early 1990s, mullets were popular in suburban and rural areas among working-class men. This contrasted with a conservative look preferred by business professionals, with neatly groomed short hair for men and sleek, straight hair for women. Some men also wore bangs in styles such as regular frontal or side swept bangs but they were not as big as women or girls bangs. Hairsprays such as Aqua Net were also used in excess by fans of glam metal bands such as Poison.

During the late 80s, trends in men's facial hair included designer stubble.


3 That Dark Eye Makeup Egyptians Wore

The Egyptians produced so much art in their time that you can almost certainly reproduce your average Egyptian fresco from memory with a pencil and paper -- everyone in profile, standing around and staring out with one giant eyeliner-ringed eyeball.

There was a practical purpose behind the distinctive Egyptian chic. It turns out that the Egyptians' affinity for eyeliner served the same purpose as the black smears on a modern football player's cheekbones -- it helped to reduce glare from the oppressive desert sunlight.

Not only was the Egyptian desert bright enough to begin with, but as we've pointed out before, the pyramids were originally covered in a white limestone coating so that every venture outside your hut was like someone shining a spotlight directly into your eyes for 10 hours. Slapping a thick layer of black gunk around their eyes was a minor but welcome relief from the constant light assault the Egyptians were subjected to.

Also, see those little cone things on their heads? They really served as the Egyptian method for dealing with the fact that they all reeked like nothing you could imagine. The lifestyle of a desert environment comes prepackaged with the reality that most of your daily activities are going to revolve around contact with somebody else's sweat. The cones were actually composed of animal fat and perfume, which would melt during the day and produce an aroma to offset their intolerable stench.

Related: 5 Old (And Odd) Origins Of Common Fashions


S PRING SUMMER CLOTHES THAT ARE OUT OF STYLE FOR S PRING 2021

Finally the list of clothes that are out of fashion for s pring summer 2021. And yes, I made sure to put all the clothes that are out of style for s pring summer 2021 on the list even though my heart almost broke when I had to write s kinny leather pants .

But better one tear now than a pond of tears and walk of shame later when realising you are not dressed in style, right?

Anyway, here is the list of all the clothes that aren’t fashionable for s pring summer 2021.

Ps. If you are from Australia, New Zealand, South Africa or South America, you can skip this part and scroll down to the list of clothes that aren’t fashionable for winter 2021. Well, unless you are somehow traveling to Europe, the US, Asia or North Africa this season.


Del 1

– Well, I prefer casual clothes – simple and comfortable. A pair of jeans and a shirt would be perfect. I am not really the fashionable type. But of course, I also dress up for special occasions.

-Climate affects people’s clothing. I live in the tropics, so people in my country usually wear clothes with light fabrics. We also wear light-colored clothes. Til casual attire, a pair of jeans eller short pants og a shirt for men or blouse for women are common.

-I am not much worried about it actually. I prefer wearing simple yet presentable clothes.

-Well, I dislike wearing untidy og eccentric clothes. Example would be tearing or ripped jeans. I also avoid clothes with flashy colors or those that are too stunning.

5. Do you think people behave differently in different kinds of clothes?

-Yes, I think people behave differently when they wear different clothes. For example, one who wears formal clothes may portray an image of being professional and confident. Wearing casual clothes, on the other hand, makes us look comfortable and relaxed.

6. What kind of clothes do people wear to work in your country?

-Those who work in the corporate wear either smart casual eller business/formal attire on a regular work day. Some employees such as teachers have uniforms. Other workers are allowed to wear casual clothes to works.

Del 2

Describe someone you know who dresses well. You should say

  • who they are
  • how you know them
  • what kind of clothes they wear

and say why you like the way they dress.

Let me talk about a friend who dresses very well. Her name is Tina. We are of the same age and she is currently a professor in a prestigious university in my country. Although she is not in the fashion industry, she dresses fashionably. She is tall, not very slim and is very attractive.

She has been my friend since high school. I get to see her from time to time as she also lives in my neighborhood. We also spend time together with friends especially on weekends.

Actually, she doesn’t have a specific dressing preference eller style. I think she bases her attire on the weather as well as on occasions and events, I usually see her wearing light colored dresses og high-heeled shoes when she goes to work. She also wears formal clothes. She is fond of accessories which looks fashionable. Her footwear always matches her dress. I think she has a huge collection of clothes, shoes and bags as I rarely see her wearing the same set after some time. I see her wear casual clothes too but they don’t look plain or boring on her.

I think she can carry herself very well in any kind of dress. Hun looks comfortable no matter what her attire is. She always looks clean and tidy. I like her style because she doesn’t dress extravagant or offensive. She always looks professional and presentable.

Part 3

Clothes and fashion are not that important to me. I always prefer comfortable clothes but making sure that I’d look presentable and clean. I am more of being practical in choosing what I wear.

  1. How different are the clothes you wear now from those you wore 10 years ago?

Well, I can say that there hasn’t been much change with the clothes I wear now with that of about 10 years ago. I still wear the regular jeans and shirt for casual days or formal clothes on business events. But, I think since the trend has changed, the kind of these basic clothing has also changed for me, especially when it comes to the style of the jeans and shirts. I used to wear straight-cut jeans but nowadays, I wear contemporary style such as slim-fit clothes.

At times, I think the clothes we wear may show part of our personality or status. For example, clothing may determine the kind of job a person has. For some, it may be a tool for expression. Some could be stylish and fashionable which may reflect their personality as being creative.


Getting in Touch With Their Feminine Side

The lines between genders had begun to blur in the late '60s, a trend on display at Woodstock. Men with long hair are commonplace today, but in the '60s it was considered a feminine look, and a form of rebellion. At Woodstock, many of the long-haired dudes added flowers to their hair, or lacy pastel headbands, or wreaths of flowers. No one questioned their masculinity -- instead, it was viewed as a gesture to peace and understanding.


The ༼s Fashion Revival is Coming, and There's Not a Damn Thing You Can Do About It

It seems like only yesterday that Tumblr exploded with pictures of Courtney Love in babydoll dresses and barettes, Clueless-style miniskirts and Mary Janes, and grungy Sassy editorials—thus heralding the ➐s revival. Not long before that, though, people virkelig hated the idea of this decade's fashion making a comeback. (Remember when "mom jeans" was such a pejorative term it inspired a Live Saturday Night sketch? Fast forward to 2017, when fast-fashion sites proudly offer hundreds of mom jeans to choose from.) But in a short period of time, plenty of other seminal ➐s items have been elevated from embarrassing-relic status to trendy: Birkenstocks, bodysuits, flannels, Docs—the list goes on. Now, this decade is still very much with us but trends—or rather, the people who follow them—are fickle beasts, which means that what seemed cutting-edge a few years ago is starting to feel. well, a little basic now that every tween in the mall is wearing a choker and crop top. So, what's a cool kid to do? Pick an even more-maligned era of fashion to emulate, of course!

Lately, we've noticed the fascination with the ➐s creep into the early 2000s, at all echelons of relative influence: Bella Hadid now basically lives in a very Aaliyah-inspired uniform (teeny sunglasses and low-slung track pants), while the Vetements x Juicy Couture collab—complete with butt-rhinestones—is sold out damn-near everywhere. And it's really, virkelig happening on Instagram, where "Every Outfit on Sex and the City," "Pop Culture Died in 2009," and a host of Paris Hilton-obsessed accounts wave the flag for the aughts revival. Trust us: this is the next wave, whether you like it or not.

Of course, we can't blame you for feeling a little resistance if all you remember of the era is its pubic bone-baring low-riders, its floppy newsboy caps, or, heaven forfend, its endless scarves-as-tops (basically this entire Christina Aguilera outfit, you're welcome for bringing it back to your consciousness). But we promise: there's a better way to embrace 2000s fashion. We ID nine trends worth rescuing from the early-aughts graveyard. Read on for your guide to re-embracing millennial fashion in a way that's cooler than "Dirrty"-era X-tina. (That may synes impossible, but stay with us.)


Menswear

In the early 1970s, men’s fashion tried to emphasize a tall, lean figure. Turtlenecks, slim-fitting shirts, and tight-fitting flared pants all worked to popularize the silhouette. Milford-Cottam writes,

“Wide belts with large buckles focused the eye on the centre of the torso, making broader bodies appear slimmer. Over the top, a sleeveless waistcoat or jerkin, a classic single-breasted sports jacket in tweed, denim, or corduroy, or a blouson jacket in leather or synthetic fabric was usually worn” (37).

Shirts and trousers were tighter than they’d ever been and the long hair popularized by the hippies in the late 1960s continued to be widespread.

Just as womenswear embraced elements of menswear, men’s fashion also became more gender-neutral in the 1970s (Fig. 21). “Fashion had reached a new level of gender equality, particularly in informal wear,” says Milfrod-Cottam (40). Tight t-shirts, jeans, shirts and sweaters were worn by both men and women and some skinny men even opted to wear women’s clothing instead of men’s.

Fig. 18 - Norman Green. Men's Suit Jackets, 1970s. Marker, watercolor. New York. Frances Neady Collection of Original Fashion Illustrations. Source: SPARC Digital

Fig. 19 - Jours de France. Jours de France Fashion, 1974. Mo. Source: Flickr

Fig. 20 - Photographer unknown. All Made to Mix, 1970. James Vaughan. Source: Flickr

Fig. 21 - Penneys. Distinctive Collection of His'n'Hers Styles, 1970s. James Vaughan. Source: Flickr

Fig. 22 - Lee. The All-Together Separate-Lees, May 1976. SenseiAlan. Playboy Magazine. Source: Flickr

Though more informal looks were increasingly acceptable, suits were still required by many. The traditional suit reflected the prevailing styles with slim-fitting jackets and flared trousers, often with wide lapels. However, while suits and tuxes were still required, they also came in new materials like patterned velvet (Fig. 19).

However, there were new varieties that provided less formal versions. All materials were utilized, resulting in plaid and denim suits (Fig. 20, 22). The safari suit (Fig. 23), popularized by Roger Moore as James Bond, was a popular option in the summer. The light-colored suit was worn belted and had large patch-pockets. It came many variations of long- or short-sleeves and pants or shorts. It was an alternative to the suit for slightly less formal occasions.

Similarly, the leisure suit was a less formal option. These suits were made in lightweight fabrics and came in pastel colors. However, while the safari suit was seen on the suave James Bond, the leisure suit was often made of synthetic fabrics and seen as a cheap alternative: “As leisure suits were often perceived as being poorer quality, cheaper and made in obviously synthetic fabrics, they became considered somewhat vulgar, or at best comical” (Milford-Cottam 38).

As the decade progressed, the dominant silhouette for menswear began to widen again. Milford-Cottam writes, “Towards the end of the decade, double-breasted suits with wider shoulders and narrower legs and lapels began to come into fashion” (38). Just as womenswear would see shoulders widen in the 1980s, men’s suits also saw shoulders widen as the 1970s inched towards the eighties.

Fig. 23 - Pierre Cardin (French, 1922-). Leisure Suit, 1974. Linen. New York: The Metropolitan Museum of Art, 1982.276.1a–c. Gift of Edward Villiotti, 1982. Source: The Metropolitan Museum of Art

Fig. 24 - Billedbladet NÅ/Arne S. Nielsen (Norwegian). The Sex Pistols (Sid Vicious left, Steve Jones center, and Johnny Rotten right) performing in Trondheim, 1977. Riksarkivet (National Archives of Norway). Source: Flickr

Fig. 25 - Photographer unknown. Bob Marley live in concert in Zurich, Switzerland at the Hallenstadium, May 30, 1980. Source: Wikipedia

In the mid-1970s, some men and women in London began to shock with the anarchic Punk style. This style spread somewhat throughout Europe and North America, but its bedrock was in London and the UK with Vivienne Westwood and Malcolm McLaren spreading the style, like those in figure 26, with their shop Seditionaries. The style consisted of tight black pants, leather jackets and Doctor Marten boots. Laver writes of the Punk style, “Clothes were slashed and ripped, embellished with safety pins, zips and studs. T-shirts were printed with aggressive anarchistic slogans” (271). British band The Sex Pistols were a high profile Punk band that helped to popularize the style as fans ripped their clothing and created their own homemade version of the clothes seen on the band (Milford-Cottam 7, Fig. 24).

Just as womenswear saw a rise in athletic wear as leisurewear, so too did menswear. Tracksuits and running shoes were worn as every day casual wear. Bob Marley was an early adopter of this style, wearing tracksuits and soccer jerseys on stage for his concerts (Laver 272, Fig. 25). While tennis and golf clothes had long been acceptable casual wear, it wasn’t until the 1970s that more athletic-looking styles were seen as everyday fashion.

Fig. 26 - Malcolm McLaren Vivienne Westwood (British, 1941-, 1946-2010). Sweater, 1978. Wool. New York: The Metropolitan Museum of Art, 2018.805. Purchase, Friends of The Costume Institute Gifts, 2018. Source: The Metropolitan Museum of Art



Kommentarer:

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  2. Vimi

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  3. Jushura

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