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wunderschön
mondäne
silberne
"SMARAGD"-OHRHÄNGER*
Die Ohrhänger sind auf der Brisur sowie um den "Smaragd" mit vielen "Brillis" besetzt.
der "Smaragd" hat eine imposante Größe von ca. 8 x 8 mm.
Die Brisuren sind gepunzt mit S925.
Vom Stil her erinnern sie an die Zeit des Art Deco,
gehen aber auch als "klassisch" oder Sixties Style durch, finde ich.
"Smaragd" und "Brillis" sind leider keine Echten, dafür sind die Ohrhänger aber auch etwas preiswerter :)
getragen, aber noch sehr guter Zustand
Siehe die Fotos, die wesentlicher Teil meiner Artikelbeschreibung sind!
Details:
Größe: ca. 32 mm Länge, Breite ca. 14 mm, ca. 8 x 8 mm "Smaragd"
Material: Silber, Imitationen von Smaragd und Brillant, Material unbekannt
Punze: S925
Gewicht: ca. 6,20 Gramm
1960s in fashion
In a decade that broke many
traditions, adopted new cultures, and launched a new age of social movements,
1960s fashion had a nonconformist but stylish, trendy touch.[1] Around the
middle of the decade, new styles started to emerge from small villages and
cities into urban centers, receiving media publicity, influencing haute couture
creations of elite designers and the mass-market clothing manufacturers. Examples
include the mini skirt, culottes, go-go boots, and more experimental fashions,
less often seen on the street, such as curved PVC dresses and other PVC
clothes.
Mary Quant popularized the not mini
skirt, and Jackie Kennedy introduced the pillbox hat;[2] both became extremely
popular. False eyelashes were worn by women throughout the 1960s. Hairstyles
were a variety of lengths and styles.[3] Psychedelic prints, neon colors, and
mismatched patterns were in style.[4]
In the early-to-mid 1960s, London
"Modernists" known as Mods influenced male fashion in Britain.[5]
Designers were producing clothing more suitable for young adults, leading to an
increase in interest and sales.[6] In the late 1960s, the hippie movement also
exerted a strong influence on women's clothing styles, including bell-bottom
jeans, tie-dye and batik fabrics, as well as paisley prints.
American fashions in the early years
of the decade reflected the elegance of the First Lady, Jacqueline Kennedy. In
addition to tailored skirts, women wore stiletto heel shoes and suits with
short boxy jackets, and oversized buttons. Simple, geometric dresses, known as
shifts, were also in style. For evening wear, full-skirted evening gowns were
worn; these often had low necklines and close-fitting waists. For casual wear,
capri trousers were the fashion for women and girls.[citation needed]
Bikini
Publicity photo of Frankie Avalon and
Annette Funicello for Beach Party films (c. 1960s). Funicello was not permitted
to expose her navel.
The bikini, named after the nuclear
test site on Bikini Atoll, was invented in France in 1946 but struggled to gain
acceptance in the mass-market during the 1950s, especially in America. The
breakthrough came in 1963, after rather large versions featured in the surprise
hit teen film Beach Party, culminating with the Beach party film genre.
The rise of trousers for women
The 1960s were an age of fashion
innovation for women. The early 1960s gave birth to drainpipe jeans and capri
pants, a style popularized by Audrey Hepburn.[7] Casual dress became more
unisex and often consisted of plaid button down shirts worn with slim blue
jeans, comfortable slacks, or skirts. Traditionally, trousers had been viewed
by western society as masculine, but by the early 1960s, it had become
acceptable for women to wear them every day. These included Levi Strauss jeans,
previously considered blue collar wear, and "stretch" drainpipe jeans
with elastane.[8] Women's trousers came in a variety of styles: narrow, wide,
below the knee, above the ankle, and eventually mid thigh. Mid-thigh cut
trousers, also known as shorts, evolved around 1969. By adapting men's style
and wearing trousers, women voiced their equality to men.[9]
Mid 1960s (1963–1966)
Space Age fashions
Astronaut Look (Vienna)
Space age fashion first appeared in
the late 1950s, and developed further in the 1960s. It was heavily influenced
by the Space Race of the Cold War, in addition to popular science fiction
paperbacks, films and television series such as Star Trek: The Original Series,
Dan Dare, or Lost In Space. Designers often emphasized the energy and
technology advancements of the Cold War era in their work.[10]
The space age look was defined by boxy
shapes, thigh length hemlines and bold accessories. Synthetic material was also
popular with space age fashion designers. After the Second World War, fabrics
like nylon, corfam, orlon, terylene, lurex and spandex were promoted as cheap,
easy to dry, and wrinkle-free. The synthetic fabrics of the 1960s allowed space
age fashion designers such as the late Pierre Cardin to design garments with
bold shapes and a plastic texture.[11] Non-cloth material, such as polyester
and PVC, became popular in clothing and accessories as well. For daytime
outerwear, short plastic raincoats, colourful swing coats, bubble dresses,
helmet-like hats, and dyed fake-furs were popular for young women.[12] In 1966,
the Nehru jacket arrived on the fashion scene, and was worn by both sexes.
Suits were very diverse in color but were, for the first time ever, fitted and
very slim. Waistlines for women were left unmarked and hemlines were getting
shorter and shorter.
French actress Brigitte Bardot wearing
a transparent top and a feather boa, 1968
Footwear for women included low-heeled
sandals and kitten-heeled pumps, as well as the trendy white go-go boots.
Shoes, boots, and handbags were often made of patent leather or vinyl.[citation
needed] The Beatles wore elastic-sided boots similar to Winkle-pickers with
pointed toes and Cuban heels. These were known as "Beatle boots" and
were widely copied by young men in Britain.
The French designer André Courrèges
was particularly influential in the development of space age fashion. The
"space look" he introduced in the spring of 1964 included trouser
suits, goggles, box-shaped dresses with high skirts, and go-go boots. Go-go
boots eventually became a staple of go-go girl fashion in the 1960s.[13] The
boots were defined by their fluorescent colors, shiny material, and
sequins.[14]
Other influential space age designers
included Pierre Cardin, Paco Rabanne, Rudi Gernreich,[15] Emanuel Ungaro,
Jean-Marie Armand,[16] Michèle Rosier, and Diana Dew, though even designers
like Yves Saint Laurent[17][18][19][20] showed the look during its peak of
influence from 1963 to 1967.[21][22] Italian-born Pierre Cardin[23] was best
known for his helmets, short tunics, and goggles.[23] Paco Rabanne was known
for his 1966 "12 Unwearable Dresses in Contemporary Materials"
collection,[10] made of chain mail, aluminum, and plastic.[24]
A timeless fashion piece: miniskirt
German girl wearing a miniskirt in
Greece, 1962.
Although designer Mary Quant is
credited with introducing the miniskirt in 1964, André Courrèges also claimed
credit for inventing the miniskirt. The miniskirt changed fashion forever.
The definition of a miniskirt is a
skirt with a hemline around 6, 7 inches above the knees. Early references to
the miniskirt from the Wyoming newspaper The Billings Gazette, described the
miniskirt as a controversial item that was produced in Mexico City.[citation needed]
During the 1950s, the miniskirt began appearing in science fiction films like
Flight to Mars and Forbidden Planet[25]
Mary Quant and Andre Courreges both
contributed to the invention of the miniskirt during the 1960s. Mary Quant, A
British designer, was one of the pioneers of the miniskirt during 1960. She
named the skirt after her favorite car, the Mini Cooper. Quant introduced her
design in the mid-1960s at her London boutique, Bazaar. She has said: " We
wanted to increase the availability of fun for everyone. We felt that expensive
things were almost immoral and the New Look was totally irrelevant to us."
Miniskirts became popular in London and Paris and the term "Chelsea
Look" was coined.[26]
Andre Courreges was a French fashion
designer who also began experimenting with hemlines in the early 1960s. He
started to show space-age dresses that hit above the knee in late 1964. His
designs were more structured and sophisticated than Quant's design.[citation
needed] This made the miniskirt more acceptable to the French public. His
clothes represented a couture version of the "Youthquake" street
style and heralded the arrival of the "moon girl" look.[27]
As teen culture became stronger, the
term "Youthquake" came to mean the power of young people. This was unprecedented
before the 1960s. Before World War II, teenagers dressed and acted like their
parents. Many settled down and began raising families when they were young,
normally right after high school. They were often expected to work and assist
their families financially. Therefore, youth culture begins to develop only
after World War II, when the advancement of many technologies and stricter
child labor laws became mainstream. Teenagers during this period had more time
to enjoy their youth, and the freedom to create their own culture separate from
their parents. Teens soon began establishing their own identities and
communities, with their own views and ideas, breaking away from the traditions
of their parents.[28] The fabulous "little girl" look was introduced
to USA—styling with Bobbie Brooks, bows, patterned knee socks and mini skirts.
The miniskirt and the "little girl" look that accompanied it reflect
a revolutionary shift in the way people dress. Instead of younger generations
dressing like adults, they became inspired by childlike dress.[29]
Second-wave feminism made the
miniskirt popular. Women had entered the professional workforce in larger
numbers during World War II and many women soon found they craved a career and
life outside the home.[30] They wanted the same choices, freedoms, and
opportunities that were offered to men.[31]
During the mid-1960s, Mod girls wore
very short miniskirts, tall, brightly colored go-go boots, monochromatic
geometric print patterns such as houndstooth, and tight fitted, sleeveless
tunics. Flared trousers and bell bottoms appeared in 1964 as an alternative to
capri pants, and led the way to the hippie period introduced in the 1960s. Bell
bottoms were usually worn with chiffon blouses, polo-necked ribbed sweaters or
tops that bared the midriff. These were made in a variety of materials
including heavy denims, silks, and even elasticated fabrics.[32] Variations of
polyester were worn along with acrylics.[5] A popular look for women was the
suede mini-skirt worn with a French polo-neck top, square-toed boots, and
Newsboy cap or beret. This style was also popular in the early 2000s.
Women were inspired by the top models
of those days, such as Twiggy, Jean Shrimpton, Colleen Corby, Penelope Tree,
and Veruschka. Velvet mini dresses with lace-collars and matching cuffs, wide
tent dresses and culottes pushed aside the geometric shift. False eyelashes
were in vogue, as was pale lipstick. Hemlines kept rising, and by 1968 they had
reached well above mid-thigh. These were known as "micro-minis". This
was when the "angel dress" first made its appearance on the fashion
scene. A micro-mini dress with a flared skirt and long, wide trumpet sleeves,
it was usually worn with patterned tights, and was often made of crocheted
lace, velvet, chiffon or sometimes cotton with a psychedelic print. The
cowled-neck "monk dress" was another religion-inspired alternative;
the cowl could be pulled up to be worn over the head. For evening wear, skimpy
chiffon baby-doll dresses with spaghetti-straps were popular, as well as the
"cocktail dress", which was a close-fitting sheath, usually covered
in lace with matching long sleeves.[33] Feather boas were occasionally worn.
Famous celebrities associated with marketing the miniskirt included: Twiggy;
model Jean Shrimpton, who attended an event in the Melbourne Cup Carnival in
Australia wearing a miniskirt in 1965; Goldie Hawn, who appeared on Rowan and
Martin's Laugh-In with her mini skirt in 1967; and Jackie Kennedy, who wore a
short white pleated Valentino dress when she married Aristotle Onassis in 1968.
The Single Girl
Jean Shrimpton is a model who
reflected the ideal of the Single Girl
Writer, Helen Gurley Brown, wrote Sex
and the Single Girl in 1962. This book acted as a guide for women of any
marital status to take control of their own lives financially as well as
emotionally.[34] This book was revolutionary since it encouraged sex before
marriage; something that was historically looked down upon. With the high
success of this book, a pathway was set for media to also encourage this
behavior. Betty Friedan also wrote The Feminine Mystique the following year,
giving insight into the suburban female experience, further igniting women's
push for a more independent lifestyle.[35] The second-wave of feminism was
getting its start during this period: pushing for a new feminine ideal to be
capitalized on.
Fashion photography in the 1960s
represented a new feminine ideal for women and young girls: the Single Girl.
1960s photography was in sharp contrast to the models of the 1920s, who were
carefully posed for the camera and portrayed as immobile. The Single Girl
represented 'movement'. She was young, single, active, and economically
self-sufficient. To represent this new Single Girl feminine ideal, many 1960s
photographers photographed models outside—often having them walk or run in
fashion shoots. Models in the 1960s also promoted sports wear, which reflected
the modern fascination with speed and the quickening pace of the 1960s urban
life. Although the Single Girl was economically, socially and emotionally
self-sufficient, the ideal body form was difficult for many to achieve.
Therefore, women were constrained by diet restrictions that seemed to
contradict the image of the empowered 1960s Single Girl.[36]
Fashion photographers also
photographed the Single Girl wearing business wear, calling her the Working
Girl. The Working Girl motif represented another shift for the modern,
fashionable woman. Unlike earlier periods, characterized by formal evening
gowns and the European look, the 1960s Working Girl popularized day wear and
"working clothing". New ready to wear lines replaced individualized
formal couture fashion. The Working Girl created an image of a new, independent
woman who has control over her body.[36]
There was a new emphasis on
ready-to-wear and personal style. As the 1960s was an era of exponential
innovation, there was appreciation for something new rather than that of
quality.[11] Spending a lot of money on an expensive, designer wardrobe was no
longer the ideal and women from various statuses would be found shopping in the
same stores.
The Single Girl was the true depiction
of the societal and commercial obsession with the adolescent look.[11]
Particular to the mid-sixties, icons such as Twiggy popularized the shapeless
shift dresses emphasizing an image of innocence as they did not fit to any
contours of the human body. The female body has forever been a sign of
culturally constructed ideals.[37] The long-limbed and pre-pubescent style of
the time depicts how women were able to be more independent, yet paradoxically,
also were put into a box of conceived ideals.
Dolly Girl
The "Dolly Girl" was another
archetype for young females in the 1960s. She emerged in the mid-1960s, and her
defining characteristic is the iconic miniskirt. "Dolly Girls" also
sported long hair, slightly teased, of course, and childish-looking clothing.
Clothes were worn tight fitting, sometimes even purchased from a children's
section. Dresses were often embellished with lace, ribbons, and other frills;
the look was topped off with light colored tights. Crocheted clothing also took
off within this specific style.[38]
Corsets, seamed tights, and skirts
covering the knees were no longer fashionable. The idea of buying urbanized
clothing that could be worn with separate pieces was intriguing to women of
this era. In the past, one would only buy specific outfits for certain
occasions.[39]
Late 1960s (1967–1969)
The hippie subculture
Starting in 1967, youth culture began
to change musically and Mod culture shifted to a more laid back hippie or
Bohemian style. Hosiery manufacturers of the time like Mary Quant (who founded
Pamela Mann Legwear) combined the "Flower Power" style of dress and
the Pop Art school of design to create fashion tights that would appeal to a
female audience that enjoyed psychedelia.[40] Ponchos, moccasins, love beads,
peace signs, medallion necklaces, chain belts, polka dot-printed fabrics, and
long, puffed "bubble" sleeves were popular fashions in the late 1960s.
Both men and women wore frayed bell-bottomed jeans, tie-dyed shirts, work
shirts, Jesus sandals, and headbands. Women would often go barefoot and some
went braless. The idea of multiculturalism also became very popular; a lot of
style inspiration was drawn from traditional clothing in Nepal, India, Bali,
Morocco and African countries. Because inspiration was be ing drawn from all
over the world, there was increasing separation of style; clothing pieces often
had similar elements and created similar silhouettes, but there was no real
"uniform".[41]
Fringed buck-skin vests, flowing
caftans, the "lounging" or "hostess" pajamas were also
popular. "Hostess" pajamas consisted of a tunic top over floor-length
culottes, usually made of polyester or chiffon. Long maxi coats, often belted
and lined in sheepskin, appeared at the close of the decade. Animal prints were
popular for women in the autumn and winter of 1969. Women's shirts often had
transparent sleeves. Psychedelic prints, hemp and the look of
"Woodstock" emerged during this era.[citation needed]
Indian fashion
Middle class Indian menswear followed
postwar European trends, but most women continued to wear traditional dress
such as the sari.
In general, urban Indian men imitated
Western fashions such as the business suit. This was adapted to India's hot
tropical climate as the Nehru suit, a garment often made from khadi that
typically had a mandarin collar and patch pockets. From the early 1950s until
the mid-1960s, most Indian women maintained traditional dress such as the gagra
choli, sari, and churidar. At the same time as the hippies of the late 1960s
were imitating Indian fashions, however, some fashion conscious Indian and
Ceylonese women began to incorporate modernist Western trends.[42] One
particularly infamous fad combined the miniskirt with the traditional sari,
prompting a moral panic where conservatives denounced the so-called
"hipster sari"[43] as indecent.
Feminist influences
During the late 1960s, there was a
backlash by radical feminists in America against accouterments of what they
perceived to be enforced femininity within the fashion industry. Instead, these
activists wore androgynous and masculine clothing such as jeans, work boots or
berets. Black feminists often wore afros in reaction to the hair straighteners
associated with middle class white women. At the 1968 feminist Miss America
protest, protestors symbolically threw a number of feminine fashion-related
products into a "Freedom Trash Can," including false eyelashes,
high-heeled shoes, curlers, hairspray, makeup, girdles, corsets, and bras[44]
which they termed "instruments of female torture".[45]
Men's fashion
Early 1960s (1960–1962)
Business wear
The Rat Pack in the early 1960s.
During the early 1960s, slim fitting
single breasted continental style suits and skinny ties were fashionable in the
UK and America. These suits, as worn by Sean Connery as James Bond, the Rat
Pack's Frank Sinatra,[46] and the cast of Mad Men, were often made from grey
flannel, mohair or sharkskin.[47] Tuxedos were cut in a similar form fitting
style, with shawl collars and a single button, and were available either in the
traditional black, or in bright colors such as red or sky blue popularized by
Frankie Valli of The Four Seasons. Men's hats, including the pork pie hat and
Irish hat, had narrower brims than the homburgs and fedoras worn in the 1950s
and earlier. During the mid-1960s, hats began to decline[48] after presidents
John F. Kennedy and Lyndon B. Johnson appeared in public without one.[49]
Ivy League
Casual Ivy League outfit worn by
President John F Kennedy in 1962.
Ivy League fashion, the precursor to
the modern preppy look, was desirable casual wear for middle class adults in
America during the early to mid 1960s. Typical outfits included polo shirts,
harrington jackets, khaki chino pants, striped T-shirts, Argyle socks,
seersucker or houndstooth sportcoats, sweater vests, cardigan sweaters,
Nantucket Reds, basketweave loafers, Madras plaid shirts, and narrow brimmed
Trilbys sometimes made from straw.[50][51] The style remained fashionable for
men until it was supplanted by more casual everyday clothing influenced by the
hippie counterculture during the late 1960s and early 1970s.[52]
Mid 1960s (1963–1966)
During the early and mid-1960s,
Greasers, also known as Ton-up Boys, were identifiable by their blue jeans and
black Schott Perfecto leather jackets.
Surf fashion
The Beach Boys in 1963.
In America and Australia, surf rock
went mainstream from 1962 to 1966, resulting in many teenage baby boomers
imitating the outfits of groups like The Beach Boys. Pendleton jackets were
common due to their cheapness, warmth and durability. Design wise the surf
jacket suited popularly with nonchalance, warmth for coastal Californian
climate, and utility pockets for surf wax and VW car keys, two surf essentials
(Pendleton Woolen Mills).[53]
The Pendleton Surf Jacket expanded
upon Fifties pop-cultural fashions, however new in its relaxed, intangibly cool
vibe. The surf jacket split from the tough guy rock 'n' roll teen, and mellowing
leather's rock attitudes to woolen plaids. Following Rock n Roll's decline were
rebels without causes, "Greasers" and "Beats"; dressed down
in inappropriate daywear to denounce conformity, Sixties youth, inventors of
Surf Fashion, expressed more nomadic and hedonically in this "dress
down" style. Surf styles mainstreamed into fashion when Soul Surfers
wanted to make livings in surfing-associated careers. They opened businesses
that expanded selling surf products into selling surf clothing. These surfer entrepreneurs
proliferate surf fashion by mixing their lifestyles into casual wear.[54] As
Rock n Roll Beats, and Greaser car clubs used jackets to identify, and as 1950
varsity sports wore lettered cardigans, 1960s Surfies wore surf jackets to
identify with surf clubs and as surfers (Retro 1960s Swimwear).[55] Jackets
worn as group status identifiers continued in the Sixties, but with focus
around beach music and lifestyle.
As surfers banded over localism, plaid
and striped surf jackets gained relevancy. Teens wore them to proclaim surf
clubs; what beach they were from, and where they surfed. For a surfer though,
it is curious why a woolen plaid jacket paired with UGG boots, and not the
board-short or aloha shirt identified the surfer. The Pendleton plaid,
originally worn by loggers, hunters and fishermen, was a common item of casual
wear for American men of all classes before the British invasion. For the youth
of the 1960s, however, the plaid Pendleton signified counterculture, and tribal
seamen style translated from Welsh folklore, rebellious Scots Highlanders, and
rugged American frontiersmen (Bowe).[56]
The Sixties invented the Californian
Cool style, by relaxing style to escape Cold War meltdowns with Polynesian
fascinations, bridging the macho 1950s teen towards 1960s Hippie style. The
Cold War's tense political context conceived Surf Fashion as a way to relax and
escape established violence. California, the birthplace of American Surfing,
also produced much of the technology experimentations used in the nuclear space
race. Caltech designers in Pasadena were designing nuclear arms for day jobs
and were surfing at night. The modern surfboard design itself originates from
the military-industrial complex's product development, where the Manhattan
Project's Hugh Bradner also designed the modern neoprene wetsuit (Inside the
Curl).[57]
Californian engineers for the Cold War
were also surfing and equally engineering that fashion. Just as the Bikini's
name comes from a nuclear test site, Surf fashion in this era consistently
references the Cold War context. Surfing became an attractive fashion identity
in this era because it perpetuates adolescence, and the pursuit of pleasure in
times of anxiety and paranoia. In a teenage-driven culture, which aimed to
ignore establishment conflicts, surfers mused Hawaii and its associated tiki
culture as a place of escape with tropical paradises as the antithesis to
modern society. This sustained Hawaiian flora and fauna patterns' in fashion
its attraction. The Sixties Surfer was not the first to escape violence or
revolutionize the pursuit of happiness through Polynesian fascination. Accounts
of Thomas Jefferson theorize that his exposure to the surfer image in South
Pacific travel journals influenced his imagined Pursuit of Happiness (Martin D.
Henry).[58] Similarly, Hawaii's surfer image and Californian translation
responds to the decade's violence and further inspired full-on nonviolent
revolutionary Hippie fashions.
Additionally, as Californian water
inspired lifestyles influenced fashion, many guys improvised their own faded
jeans using chlorine from backyard swimming pools.[59] Sneakers such as
Converse All Stars made the transition from sportswear to streetwear, and guys
in California and Hawaii began to grow out their hair.[60]
Mod and British Invasion influences
The Mods were a British fashion
phenomenon in the mid-1960s with their parkas, tailored Italian suits, and
scooters.
The leaders of mid-1960s style were
the British. The Mods (short for Modernists) adopted new fads that would be
imitated by many young people. Mods formed their own way of life creating
television shows and magazines that focused directly on the lifestyles of
Mods.[2] British rock bands such as The Who, The Small Faces, the Beatles, and
The Kinks emerged from the Mod subculture. It was not until 1964, when the
Modernists were truly recognized by the public, that women really were accepted
in the group. Women had short, clean haircuts and often dressed in similar
styles to the male Mods.[5]
The Mods' lifestyle and musical tastes
were the exact opposite of their rival group, known as the Rockers. The rockers
liked 1950s rock-and roll, wore black leather jackets, greased, pompadour
hairstyles, and rode motorbikes. The look of the Mods was classy. They mimicked
the clothing and hairstyles of high fashion designers in France and Italy,
opting for tailored suits that were topped by parkas. They rode on scooters,
usually Vespas or Lambrettas. Mod fashion was often described as the City Gent
look. The young men[61] incorporated striped boating blazers and bold prints
into their wardrobe.[62] Shirts were slim, with a necessary button down collar
accompanied by slim fitted trousers.[5] Levi's were the only type of jeans worn
by Modernists.
In the USSR during the mid to late
1960s, Mods and Hippies were nicknamed Hairies for their mop top hair.[63] As
with the earlier Stilyagi in the 1950s, young Russian men who dressed this way
were ridiculed in the media, and sometimes forced to get their hair cut in
police stations.[64]
Late 1960s (1967–1969)
Folk and counterculture influences
Argentine rock band Los Gatos in 1968,
with psychedelic prints and British-inspired hairstyles.
The late 1960s to early 1970s
witnessed the emergence of the hippie counterculture and freak scene in
Britain, Australia, New Zealand and America. Middle class youths of both sexes
favored a unisex look with long hair, tie dye and flower power motifs, Bob
Dylan caps, kurtas, hemp waistcoats, baja jackets, bell bottoms, sheepskin
vests, western shirts and ponchos inspired by acid Westerns, sandals, digger
hats, and patches featuring flowers or peace symbols.[65] Jimi Hendrix
popularized the wearing of old military dress uniforms as a statement that war
was obsolete.[66] Early hippies, derisively referred to as freaks by the older
generation, also used elements of roleplay such as headbands, cloaks, frock
coats, kaftans, corduroy pants, cowboy boots, and vint age clothing from
charity shops, suggesting a romantic historical era, a distant region, or a gathering
of characters from a fantasy or science fiction novel.[67]
Peacock Revolution
Pete Townshend of The Who with lace
sewn into his clothing, 1967.
By 1968, the space age mod fashions
had been gradually replaced by Victorian, Edwardian and Belle Époque influenced
style, with men wearing double-breasted suits of crushed velvet or striped
patterns, brocade waistcoats and shirts with frilled collars. Their hair worn
below the collar bone. Rolling Stones guitarist Brian Jones epitomised this
"dandified" look. Due to the colorful nature of menswear, the time
period was described as the Peacock Revolution, and male trendsetters in
Britain and America were called "Dandies," "Dudes," or
"Peacocks."[68] From the late 60s until the mid 70s Carnaby Street
and Chelsea's Kings Road were virtual fashion parades, as mainstream menswear
took on psychedelic influences. Business suits were replaced by Bohemian
Carnaby Street creations that included corduroy, velvet or brocade double
breasted suits, frilly shirts, cravats, wide ties and trouser straps, leather
boots, and even collarless Nehru jackets. The slim neckties of the early 60s
were replaced with Kipper ties exceeding five inches in width, and featuring
crazy prints, stripes and patterns.[69]
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Aus Wiki:
Art Deco
Art déco (kurz für französisch art décoratif, ‚dekorative Kunst‘)[1] ist ein Stilbegriff, der auf die Formgebung in vielen Gestaltungsbereichen wie Architektur, Möbel, Fahrzeuge, Kleidermode, Schmuck oder Gebrauchsgegenstände angewandt wird. Auch Gemälde und Illustrationen wurden im Stil des Art déco gefertigt. Er kam Ende des 19. Jahrhunderts auf und hatte seine Hochphase seit den 1920er-Jahren bis zum Zweiten Weltkrieg, findet jedoch auch seitdem immer wieder Eingang in den künstlerischen Ausdruck.
Merkmale
Dem Art déco fehlt ein eindeutiges zugrundeliegendes Stilmerkmal oder eine stilbildende Anschauung, was vor allem durch die – im Gegensatz etwa zum Jugendstil (Art nouveau) – erst in den 1960er Jahren definierte Zusammenführung zu einer Stilrichtung erklärt wird.[2] Vielmehr handelt es sich um eine Entwicklung inmitten des generellen Aufbruchs der Klassischen Moderne, bei der die gestalterische Verbindung von Eleganz der Form, Kostbarkeit der Materialien, Stärke der Farben und Sinnlichkeit des Themas im Vordergrund stand. Vieles davon war schon im Jugendstil angelegt – vor allem im französischen, wo man im Überflüssigen das Notwendigste sah: „le superflu, chose très nécessaire“ (deutsch: „das Überflüssige, eine sehr notwendige Sache“).
Der Name zielt auf die prägenden dekorativen Elemente und Gestaltungsabsichten des Art déco ab.[2] Charakteristisch für den Art déco ist die stilisierte und flächige Darstellung floraler und organischer Motive. Das Fehlen von Natürlichkeit und Schatten vermittelt den modernen und oft plakatartigen Eindruck, den die Kunst dieser Epoche macht. Die industrielle Fertigung sowie die unbeschwerte eklektische Mischung von Stilelementen unterschiedlicher Herkunft sind ebenfalls wichtige Merkmale.
Entstehung und Verbreitung
Modezeichnung, Paul Iribe für Paul Poiret, Paris 1908
Die Wurzeln des Art déco liegen im Jugendstil. Einer der Ursprünge des Art déco findet sich in der Gründung der Münchner Zeitschrift Jugend im Jahr 1896 im Verlag von Georg Hirth und in dem dort bevorzugten künstlerischen Stil, ein anderer in der Gründung der Wiener Werkstätte durch die Secessionskünstler Josef Hoffmann und Koloman Moser und den Industriellen Fritz Wärndorfer im Jahr 1903. Ihrerseits beeinflusst durch die geradlinigen Formen des englischen und schottischen Jugendstils (Art Nouveau Charles Robert Ashbee, Charles Rennie Mackintosh und Mackay-Hugh Baillie-Scott), nahmen Hoffmann und Moser mit ihren orthogonalen Entwürfen für elegante Inneneinrichtungen vieles von dem vorweg, was noch in den späten 1920er und 1930er Jahren als modern gelten konnte. Mit dem Eintritt von Dagobert Peche im Jahre 1915 war der Weg der Wiener Werkstätte hin zum Art déco endgültig festgelegt.
Zeitgleich entwickelten sich in Europa verschiedene funktionalistische Kunstrichtungen wie etwa der Esprit Nouveau in Frankreich, De Stijl in den Niederlanden oder Bauhaus in Deutschland. Diese traten mit dem Art déco zwar teilweise in Wechselwirkung, stellten grundsätzlich jedoch gegensätzliche Bewegungen dar.[3]
Höhepunkt des Art déco in Frankreich
Das Zentrum des Art déco und sein Impulsgeber war jedoch ohne Frage die Metropole Paris, wo 1925 die Ausstellung mit dem Titel Exposition internationale des Arts Décoratifs et industriels modernes stattfand. Führende französische Künstler, die sich bereits 1901 zur „Société des artistes décorateurs“ zusammengeschlossen hatten, hatten die Veranstaltung bereits für 1915 geplant, konnten sie jedoch wegen des Ersten Weltkriegs nicht durchführen. Couturiers wie Jacques Doucet und Paul Poiret machten durch innovative Modeentwürfe ihre Vorgaben und wirkten vor allem mäzenatisch durch ihre Sammlungen und die Vergabe von Inneneinrichtungsaufträgen.
Seine Ideen bzw. Anregungen bezog der Art déco aus allen, auch den ihm entgegengesetzten, Entwicklungsrichtungen der modernen Kunst, die in Paris wie an keinem anderen Ort gebündelt waren: die Farben der Fauves um Henri Matisse; das Aufsplittern der Formen im Kubismus von Georges Braque und Pablo Picasso; die Verehrung der Technik durch die Futuristen um Umberto Boccioni; und sogar den auf Ornamente verzichtenden Funktionalismus. In Frankreich und damit in Europa erlebte der Art déco seinen Höhepunkt in den Jahren von 1924 bis 1928. Sein Einfluss ging jedoch aufgrund der Folgen der Weltwirtschaftskrise seit 1930 deutlich zurück.[3]
Paul Iribe und andere führten den Art déco in den USA ein, wo er sich über die Architektur, das Musical und den Film rasch entfaltete.
Namensgebung
Nach einer späteren Neuauflage der Exposition internationale des Arts Décoratifs et industriels modernes als Retrospektive unter dem Titel Les Années 25 wurde die Bezeichnung Art déco auf den dort vorherrschend gezeigten Stil angewendet. Bis zu diesem Zeitpunkt waren Bezeichnungen wie Style Moderne, Französischer Stil und Style 25 gebräuchlich.[2]
Der Name Art déco tauchte erstmals 1966 als Titel eines Artikels von Hilary Marvin Gelson in der Zeitung The Times auf; kurz danach wurde er von Osbert Lancaster im Titel eines Buches verwendet. Durch das Buch Art déco von Bevis Hillier[4] wurde die Bezeichnung im Jahr 1968 im englischen Sprachraum vollständig etabliert und konnte sich etwa gegen Jazz Age und Modern Style durchsetzen.[2]
Gebrauchsgegenstände und Industrielles Design
Vor allem im Bereich des Kunst- und Antiquitätenhandels setzte sich die Bezeichnung Art déco rasch durch und bezeichnete einen Stil, der vor allem in den 1920er und 1930er Jahren geprägt wurde und sich gegenüber den vorhergehenden Stilrichtungen, vor allem dem Jugendstil, absetzte.[5] Kennzeichnend für Objekte dieses Stils waren vor allem die gestalterischen Elemente und ein abstrahierendes Dekor, die durch die Verwendung von hochwertigen oder auch neuen und damit exotischen Materialien einhergingen. Aus dem Industriedesign wurden Materialien verfügbar, die aufgrund der Massenherstellung preisgünstig waren, vor allem Kunststoffe sowie verchromte Metalle.[5] Hinzu kamen vereinfachte Gestalteigenschaften, die sich beispielsweise in stromlinienförmigen Fahrzeugen, so im Zug- und Automobildesign des Art déco, oder in entsprechend geformten Küchengeräten der Zeit wiederfinden.[5]
In Frankreich selbst wurde der Stil nicht nur über umfassende Ausstellungen, sondern über neu gegründete Einrichtungshäuser und die Entwurfsabteilungen einiger Warenhäuser wie Desny, Dominique und die Société DIM (Décoration Intérieure Moderne) verbreitet. Bei den qualitativ anspruchsvollsten Werken, etwa denen des großen französischen Möbeldesigners und Perfektionisten Jacques-Émile Ruhlmann, oder denen der Silberschmiede Jean Puiforcat und Tétard, hält sich die Ornamentierung zugunsten klarer Formen und der reinen Oberflächenwirkung der Materialien zurück. Bei Porzellan- und Keramikdekoren, Stoffen, Plakaten und auch bei Bucheinbänden kontrastieren starke, reine Farben miteinander.
Nachwirkung
Dem Art déco setzte der Zweite Weltkrieg in Europa ein jähes Ende. Am stärksten überdauerte der Stil in den USA, vor allem in Los Angeles und New York, und floss noch in das Design der 1950er-Jahre mit ein, sichtbar auch in der Gestaltung von Automobilen und Motorrädern.
In den 1970er bis 1990er Jahren gab es Phasen der Wiederbelebung der Stilrichtung, sowie auch seitdem immer wieder Zitate aus dieser verwendet werden.[13]
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