Models at the European Fashion Fair in New York City show fashions in wool for fall and winter, 1975 a jacket with matching hat and scarf from France

an embroidered sweater-coat, England

a multi-colored top, hat, and scarf, West Germany.

A quilted satin tunic coat shown in the fall and winter collection of the Parisian designer Yves St. Laurent exemplifies the strong Chinese influence that permeated fashion in 1975.

Fingers wearing the mood stone ring, a 1975 fad, frame the face of the ring's creator, Josh Reynolds. The stone is quartz treated with temperature-sensitive crystals that change color, supposedly revealing the wearer's true emotions.

1975 Retro Fashion History 

  The year 1975 was a controversial one for the fashion industry. European designers showed the layered "overdressed" look, the "Big Dress," the long narrow lean look, and the Oriental influence—all in extremes. But the average American woman had to keep practicality, individuality, and economy in mind. She wanted high fashion, but she wanted it edited down to her life-style and pocketbook. American designers and manufacturers obliged by interpreting European designs with the American consumer's requirements in mind.

  The Chinese influence was represented in all the year's ready-to-wear, with quilted jackets and skirts, mandarin collars, and toggle closings shown in most lines. This influence led to other cross-cultural references, including Guatemalan accents (done beautifully by the designer Carol Horn). Another strong influence on American fashion was Albert Capraro, whose clothes were worn by Betty Ford, the First Lady of the United States. Capraro was one of a group of designers who offered a designer name and designer styling at moderate prices.

  Fabrics and Colors. One of the most important fashion influences in 1975 was fabrics. Natural fibers, especially cottons in many varieties and texures, were at the top of the list. Denim continued strong—brushed, washed, faded, and in combinations. Blue denim remained popular while new introduced colors also found favor. Gauze, domestic or Indian, became one of the major fashion fabrics. Double-knit polyester gave way to the softer textures of single knits and wovens.

  Colors became less seasonal. Naturals, from eggshell to khaki to taupe, held the lead. Dusty shades of blue, pink, and green also played a major role. Because of the American Bicentennial, red, white, and blue were used throughout the industry, in clear tones as well as in Wedgwood blues, raspberry reds, and creams. Prints gave way to stripes, but solids became the real leader. Sportswear. The "superstar" in the misses, con-temporary, and junior areas was sportswear. Skirts in all lengths from midknee to midcalf were finally accepted by the American consumer and made a big impact in late summer and fall. And sweaters moved out of the utilitarian "keep warm" category and became a fashion item. Softer and more feminine, they could be worn under or over another sweater or shirt. Different fibers and stitches were combined in some sweaters, and jacquards and stripes also added interest. Many sweaters had matching scarves.

  Pants remained an integral part of a woman's wardrobe, with younger customers still favoring jeans. Jumpsuits appeared and were adopted by contemporary and junior customers—especially the so-called mechanic and aviator styles.

Dresses. Daytime dresses did not make the come-back desired by designers and dress manufacturers. One designer, Halston, even tried the "skimp," a new version of the minidress that was a disaster at the retail level. The "Big Dress," strong in Europe, had to be modified and belted for the American consumer and even then did not achieve wide acceptance. The more conservative shirtdress, in soft fabrics and soft prints, remained the leader. The two-piece dress—skirt with sweater, T-shirt, or shirt—was also an important silhouette. Jumpers made a comeback, to be worn on their own or over a top.

  Long dresses for evening, with silhouettes that continued to be soft and slinky, range ' from the very bare to the covered-up, long-sleeved look. Long tunics over pants were shown by many de-signers. Soft, flowing dresses—mostly in chiffons and georgettes—remained important, many with soft jackets, capelets, or ponchos. Casual, long dresses, on the other hand, were influenced by the peasant look. Drawstring necklines, off-the-shoulder necklines, border prints, and combinations of prints were prevalent. Meanwhile, the restaurant or dinner dress, in various lengths, took on more importance.

  Coats and Suits. The skirted suit, although beautifully executed by John Anthony and Bill Blass, failed to attain the popularity hoped for by many designers. Skirts showed variations of front or back pleats, wraps, and narrow styling. Jackets were blazer types,'often accompanied by a masculine-style vest and shirt. Coat stylings generally remained soft and casual, with the wrap coat once again gaining the greatest acceptance. Coats also had more ease—raglan shoulders, deeper armholes, and wider sleeves—although some were straighter in silhouette. Cashmere and camel's hair were the favorites among cloth coats, but leather took precedence in both street and pants-coat lengths.

  Accessories. It was a banner year for accessories. The natural substances—shells, wood, cork, and baked clay—became the "in" look in necklaces and earrings. Metals (sterling silver, gold-filled, and pewter) were also popular—with men as well as women.

Handbags were another major item, especially the straw bags from the Orient and their American-made counterparts. The lead in leathers and polyvinyls was taken by big, squishy shoulder bags. Fabric handbags, especially in denim and with the serape look, found favor with the younger customer.

  Scarves, which had made a comeback in 1974, became even more important in 1975. They came in all sizes and shapes and were worn everywhere—around the hips, as turbans, and as belts. All kinds of belts came back strong. Obi sashes were a bow to the Oriental influence. Natural stretch belts in jute or hemp with wood or toggle closings were very popular. As for hats, they continued to be casual. The beret, the cloche, and the floppy hat, in felt or in knits, were a success with all ages. And shoes ran the gamut from the ankle-breaking platform to the informal espadrille. The T-strap was the leader among more conservative customers, and the pump returned in strength. Boots were more widely accepted.

Finally, hair: it remained casual, short to shoulder length, with a soft curl. Late in the year, how-ever, the very short, very curly look gained favor among women.

  A Death. Madeleine Vionnet, the Parisian couturiere who invented the bias cut, died March 2 at 98.

The Year of the T-Shirt
The lowly T-shirt became the fashion fad of the year in 1975. Printed shirts bearing clever or provocative slogans, pictures of cartoon characters, or trademarks and symbols of a vast number of people, products, and enterprises appeared everywhere. And everybody wore them, not only teenagers of both sexes, but their juniors and seniors as well. Perhaps the most exotic variation was the "smell shirt," which bore a patch filled with particles of "fragrance" to match its imprinted message. When the wearer scratched the patch, he released the odor. The smells, ranging from pizza to flowers, were guaranteed to last through several washings.