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1967 Fashion

  • 1960s Fashion Trends for The 1967 Fashion Year
  • At the beginning of 1967 the cage, the shift, the tent, the cocoon, anything that hid the body and revealed nothing, were still in evidence.
  • And then in the spring collections in America, belts reappeared with a vengeance: a four-inch span of leather from Norman Norell; a five-inch span of suede from France, from Yves St. Laurent; wrapped three-inch widths, sometimes wider than three inches, from Jacques Tiffeau. A Tiffeau dress symbolized the spring of 1967. Of wool jersey, it was all guile and softness and delineated the figure as no clothes had in years, revealing not only the waist but a high, round bosom. Coats had belts. Suits often had belts. Even sweaters and skirts (or shorts and pants) had belts.
  • Other developments also indicated that the lady was out of the cage. Black lace emerged in a strapless, high-waisted, slim little thing. Sleeves shrank to skinny or bell-bottomed proportions. A black-and-red crepe dinner dress by Geoffrey Beene, an American designer, had such sleeves; the waistline was raised to just under the bosom, and the dress then flowed out, princess style, from there to hem. The high, Empire waist was every-where, marking the return of the figure. A turquoise and white cane-patterned thick cot-ton by the American Chuck Howard was indented by a high, wide belt of crushed white leather placed right under the bosom. In a barely shirtlike shirt-dress by the American designer Bill Blass, of red, white, and blue half-spheres, the waist was marked by a high, widish band just below the bosom; other features were smallish, puffy sleeves and a gently rounded skirt.
  • The dirndl was back, and no dirndled skirt could be so unless it sprang from a tiny waist. So there were summer dresses like the crinkly white-cotton charmer by the American designer Chester Weinberg. With an oval neckline, it was fitted, double-breasted, and indented at its raised waist, then dirndled to four inches (at least) above the knee. Suits often had dirndled skirts, like almost all shown by Jacques Tiffeau, but suits were not as important in 1967 as dresses and coats, or dresses and jackets, or just plain dresses. Knits, too, had dirndled skirts, often springing from the highest sort of waste. Among these were knits by the American designer Dorothee Bis, of baby-purple cotton. Her christening dress, a long-sleeved white cotton, was knitted into a tiny, above-the-bosom yoke, then dirndled, and further graced by white cotton-organdy bloomers.
  • Caftans were going strong, and although their pyramidal shape revealed little about the shape inside, they did come through in superb colors and fabrics. Among them were charming adaptations by Oscar de la Renta, who did a Mondrian-patterned caftan of turquoise, red, orange, black, and white cotton matelasse for the American house of Jane Derby.
  • By late July and early August, the word from Paris did no more than confirm the American fashion picture for fall (this, by now, was a tradition). Black. The influence of the newly released film treatment of Boris Pasternak’s novel, Dr. Zhivago. Mini and midi skirts (mini, anywhere from five inches above the knees, and up; midi, halfway between knee and ankle). Velvet, brown or black. Brown. Long sleeves. Less glitter, more softness. Satin, the crepey kind that Carole Lombard and Jean Harlow knew. Belts, belts, belts—chain, leather, suede, plastic, as long as they hit above the waist or, if they were chains, right at it.
  • The Dr. Zhivago theme was strong abroad. The Christian Dior collection by Marc Bohan in Paris included a narrow midi-length officer’s coat of thick black wool, opulently collared and cuffed in white fox, over black wool-crepe pants and a white satin shirt. Ricci belted the waist of another thick black wool coat with a high-stacked black-leather belt; at the midi hem, the coat was almost two feet deep in white fox.
  • And then there was the return of Andre Courreges. His cerulean-blue twill coat, reaching halfway between knee and thigh, was shown over a white twill tent (one of the only tents seen in Paris) blotted here and there with yellow circles and hemmed in yellow. Other little coats, green and orange calfskin with a shine, bloomed with white mink flowers.
  • Many midi-length coats were shown in Paris, as in America, over mini skirts or short pants dresses or pants suits, featuring shorts or knickers.
  • Women had come back into fashion, and no one appreciated it more than they did. The year 1967 was the beginning of a long reign of fit and femininity.

Gache Publishing Co.
1968 Encyclopedia Year Book
covering the year 1967

 
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