Notícia

Houve algum momento na história não recente em que estava na moda usar roupas rasgadas?

Houve algum momento na história não recente em que estava na moda usar roupas rasgadas?

Nos últimos 30 anos, é comum usar jeans rasgados. Houve algo semelhante na história, quando roupas rasgadas ou muito usadas eram populares e consideradas na moda?


Suíça e as Germanies, 1500 e 1600 na forma de Landsknecht que receberam uma dispensa legal das leis suntuárias (roupas) por serem tão fabulosas. Há uma comunidade de recreação contemporânea que tem algumas fotos coloridas de roupas recriadas drapeadas nas pessoas e uma grande variedade de fotos online, incluindo algumas impressões coloridas de mais tarde.

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

Roupas

O que tornou o Landsknechte tão notável foi seu vestido elaborado, que eles adotaram dos suíços, mas depois levaram a um excesso ainda mais dramático. Maximiliano I os isentou das leis suntuárias prevalecentes como um reconhecimento de suas vidas "... curtas e brutais". Doublets (alemão: Wams), deliberadamente cortados na frente, nas costas e nas mangas com camisas e outras roupas puxadas para formar tufos de tecido de cores diferentes, chamados de bufados e cortados; mangueiras com partículas de cores (ou Gesses); jerkins (alemão: Lederwams); chapéus tipo boina cada vez mais largos (alemão: Tellerbarrets) com penas altas; e sapatos largos sem salto, os tornavam corpos de homens que não podiam ser confundidos.


Jules-Amédée Barbey d'Aurevilly, em Du Dandysme et de Georges Brummel (A anatomia do dandismo, 1845) afirma que os dândis franceses de sua época costumavam usar um pedaço de vidro quebrado para raspar o tecido de seus casacos até que estivessem quase transparentes e pudessem romper. Se você quiser acreditar nele. Não o considero muito confiável, especialmente porque uma jaqueta forrada não vai funcionar assim.


18 peças de roupa que definiram a moda dos anos 80 na América

Como resultado de várias mudanças sociais e desenvolvimentos gerais da época, a moda dos anos 1980 é memorável até hoje. Muitas peças de roupa se tornaram onipresentes entre a população dos EUA ao longo da década. Seja a alfaiataria, as cores ou o tamanho da peça, é fácil olhar para trás e lembrar o que definiu a moda nos anos 1980.


Década de 1850

Mulheres

Na década de 1850, as saias femininas eram abobadadas e em forma de sino, sustentadas por anáguas de crinolina. Freqüentemente, apresentavam babados profundos ou camadas. Calça comprida e pantalonas enfeitadas com renda eram populares. Casacos com capas estriadas estavam na moda, assim como xales com estampa paisley. gorros foram usados ​​e cabelo penteado em coques ou espirais laterais de uma partição central.

Os homens vestiam casacos, coletes e calças combinando, com penteados caracterizados por grandes costeletas de carneiro e bigodes, segundo o estilo definido pelo príncipe Albert. As camisas tinham golas altas e eram amarradas no pescoço com grandes gravatas-borboleta. e sobrecasacas justas também estavam na moda, embora um novo estilo chamado sack coat (uma jaqueta até a coxa, folgada) tenha se tornado popular. O chapéu-coco foi inventado por volta de 1850, mas era geralmente visto como um chapéu da classe trabalhadora, enquanto o top -Isso era favorecido pelas classes altas.

Vestido Paisley com xale, designer desconhecido

Vestido e xale
Designer desconhecido
1845-50
Grã Bretanha
Lã estampada, forrada com linho
Museu nº T.849-1974
Dado pela Sra. Geoffrey Myers

A popularidade dos xales de cashmere atingiu seu pico entre os anos 1840 e 1860. Originalmente importado da Índia no final do século 18, os fabricantes britânicos estavam fazendo versões tecidas e impressas no início do século 19, com base nos designs indianos. Um motivo-chave era o boteh ou pinha, que hoje conhecemos como paisley. Este desenho era popular como tecido para vestidos. Este exemplo foi impresso pela empresa Swaislands of Crayford em Kent, e registrado no Patent Office entre julho de 1845 e abril de 1847. O corpete do vestido tem fendas verticais fechadas com botões em ambos os lados da frente central. Isso indica que a dona o usou enquanto amamentava seus filhos.

Vestido de cetim de seda debruado com trança, com xale de renda

Vestir
Designer desconhecido
1845-50
Inglaterra
Cetim de seda forrado com algodão, debruado com trança pincel
Museu nº T.856-1919

No final da década de 1840, o decote largo se fechava em uma abertura alta e redonda. A cintura permaneceu longa e estreita, terminando em um ponto abaixo da cintura. Este exemplo particular é feito de cetim de seda, listrado em um arranjo complexo de roxo, carmesim, magenta, cinza e branco. As mangas estão começando a se alargar no pulso em um leve formato de sino. Este vestido provavelmente foi feito em meados da década de 1840 e, em seguida, alterado cerca de cinco anos depois para acomodar uma mudança de estilo. As mangas têm gomos inseridos no pulso para atualizá-las com a nova moda.

Vestido de lã estampado em bloco, estilista desconhecido

Vestido (saia e corpete)
Designer desconhecido
1848-50
Grã Bretanha
Lã estampada em bloco, forrada com algodão e corpete com osso de baleia
Museu nº T.797 e ampA-1913
Fornecido por Srs. Harrods Ltd

Gavinhas onduladas separadas por linhas onduladas e uma treliça de corte simulado adornam este vestido de lã estampado em blocos. As delicadas formas de rolagem das gavinhas refletem o interesse de meados da era vitoriana pelo design rococó do século 18, que incorporava motivos naturais de rolagem e um sentido vivo de movimento.

A ênfase vertical do padrão combina com a modelagem da moda do corpete que é pregueado sobre o busto em um ponto em forma de V na cintura, enquanto sua faixa horizontal mais clara complementa a plenitude da saia. Muitos vestidos dessa data foram decorados com enfeites de auto-tecido, com foco no padrão do tecido ou na riqueza do material e também na silhueta da moda. Neste vestido, tiras de tecido recortadas em viés decoram as pontas em forma de sino das mangas, e o decote, as costuras dos ombros, a cabeça da manga e a bainha do corpete são cuidadosamente finalizadas com autopura.

Vestido para o dia em seda moiré, por volta de 1858. Museu no. T.90 e ampampA-1964

Vestido de dia (corpete e saia)
Designer desconhecido
Por volta de 1858
Grã Bretanha
Seda moiré enfeitada com chenile e forrada com seda com botões de metal e tiras de baleia
Museu nº T.90 e ampA-1964
Dado pela Srta. Janet Manley

Este vistoso vestido diurno fazia parte do enxoval da Srta. Janet Gilbert. É lindamente construído no estilo mais recente, como caberia a uma jovem elegante, embora sua condição imaculada sugira que pode não ter sido usado. Feito de seda moiré, tem um brilho ondulado e lustroso acentuado pelo rico corante azul da Prússia, flores de chenile aplicadas e botões de metal cintilantes. Guarnições de caixa plissada destacam-se em relevo ao longo da borda inferior e nas costuras das largas mangas do pagode, enfatizando sua largura. Se a Srta. Gilbert tivesse usado este vestido, 'engageantes' brancos ou mangas presas nas cavas teriam coberto seus braços e uma gola de renda poderia decorar o decote.

Movimentos graciosos e uma silhueta perfeita foram promovidos pela introdução de anáguas com arcos de aço de mola em 1856, muitas vezes referidas como crinolinas. Embora frequentemente ridicularizados na imprensa por sua estrutura e tamanho em forma de gaiola, eles também foram saudados como uma bênção. Eficazes, leves, econômicos e confortáveis, eles garantiam que as mulheres pudessem usar vestidos como este sem ter que lidar com camadas de anáguas quentes e pesadas.

Pulseira Pierre-Jules Chaise, ouro esmaltado e diamantes

Pulseira com retratos em miniatura
Pierre-Jules Chaise
Por volta de 1850
Paris
Ouro esmaltado, diamantes de lapidação rosa e brilhante, marfim e madrepérola
Museu nº M.12: 1-3-1955
Legado pela Sra. H. Digby Neave, neta do Sr. e Sra. Ralli

Este retrato mostra um penteado típico da década de 1850. O cabelo estava repartido ao meio e solto sobre as orelhas em um coque baixo na parte de trás.

Este retrato em miniatura faz parte de uma pulseira feita para tirar os retratos do Sr. Pandeli Ralli e da Sra. E. Ralli. O Sr. Ralli aparece como um cliente nos livros do Royal Goldsmith's R & ampS Garrard em 1838. Ele comprou um enfeite de cabeça de diamante por £ 200 e uma pulseira combinando por £ 45.

Fotografia de um assistente não identificado por Horne & ampamp Thornthwaite, por volta de 1850. Museu no. PH.151-1982

Sitter
Horne e Thornthwaite (fotógrafos)
Por volta de 1850
Londres
Museu nº PH.151-1982

Esta fotografia, de um assistente masculino não identificado, mostra roupas masculinas típicas da década de 1850. A babá está usando uma gola alta e um colete alto com corte reto na cintura. Sua gravata escura é amarrada na gola com um pequeno laço na frente.

Ele usa um casaco de lã da moda, um casaco ligeiramente mais folgado do que a sobrecasaca mais costurada. O casaco se tornaria cada vez mais popular nas décadas seguintes, usado com mais frequência para atividades de lazer ou ocasiões informais.

Sapatos de cetim de seda com roseta de fita, Latham

Sapato
Latham
1855-65
Londres
Cetim de seda com rosetas, fitas e elásticos
Museu nº T.562-1913
Dado pelos Srs. Harrods

Sapatos de salto alto eram quase inexistentes na moda feminina durante a primeira parte do século XIX. Em vez disso, chinelos de cetim simples ou "sandálias" com um laço ou roseta no pescoço e fitas ou laços elásticos para prendê-los ao redor do tornozelo estavam na moda. No entanto, por volta de 1850, o calcanhar começou a voltar.

Este elegante par de sapatos de salto baixo azuis e brancos ilustra como a forma da sandália evoluiu. A parte superior de cetim com biqueira e garganta quadradas, roseta decorativa e laços elásticos são características que lembram os elegantes sapatos baixos do início do século XIX. No entanto, com a adição de um pequeno salto e uma decoração listrada, a forma é atualizada para algo mais de acordo com os gostos modernos.

Casaco de lã com revestimento de veludo, designer desconhecido

Casaco
Designer desconhecido
1845-1853, Estados Unidos da América
Lã revestida com veludo de seda, forrada com lã
Museu nº T.176-1965
Dado pelo capitão Raymond Jones

Este casaco é um exemplo de roupa de dia formal masculina de cerca de 1850. As mangas são longas e justas, a gola é larga e a frente tem um fecho profundo para mostrar o colete. Embora nesta data a sobrecasaca estivesse ganhando popularidade como roupa formal para o dia, o casaco cortado ainda era usado. Este casaco teria sido usado por William Pierson Johnes, um comerciante de linho da cidade de Nova York.

Vestido de passeio de pelúcia de seda com franjas, estilista desconhecido

Vestido de passeio (saia, corpete e manto)
Designer desconhecido
1855-7
Grã Bretanha
Pelúcia de seda com franjas e tranças de seda, forrada com seda e osso de baleia
Museu nº T.324 e ampA & ampB-1977
Dado por Madame Tussauds

Os vestidos luxuosos de veludo embelezados com franjas estavam na moda durante a década de 1850. Em 1857, o 'Illustrated London News' anunciou: 'Fringe nunca foi tão procurada como atualmente ... Fringe pode ser considerada a mais adequada de todos os adornos em um vestido de senhora; parece possuir o poder de transmitir leveza e flexibilidade aos movimentos do usuário. '

Quando aplicadas em fileiras, as franjas também simulam babados e deixam as saias ainda mais largas. Neste exemplo, o corpete é feito com um basco, que era uma extensão separada abaixo da cintura, alargando-se sobre os quadris. A saia é composta por duas camadas, com a camada superior estendendo-se do cós até a quinta fileira de franjas. A camada inferior é anexada a uma saia de baixo de tafetá. Isso acentua o efeito babado da franja e ajuda a distribuir o peso da saia pesada sobre a gaiola de crinolina em forma de cúpula que teria sido usada por baixo.

Fotografia do Maharaja Duleep Singh em vestido de dia formal, por volta de 1850. Museu no. PH.192-1982

Retrato do Maharaja Duleep Singh
Horne e Thornthwaite
Por volta de 1850
Londres
Impressão de albumina de negativo de colódio
Museu nº PH.192-1982

Este é um retrato do Maharaja Duleep Singh, fotografado pela firma londrina de Horne & amp Thornthwaite por volta de 1850. Ele está vestido e barbudo de acordo com o estilo formal inglês da moda. Ele usa uma sobrecasaca escura trespassada sobre um colete alto e claro abotoado. Suas golas são engomadas e verticais, com uma gravata amarrada no estilo característico de 'quatro na mão', onde os cantos de um lenço dobrado criam asas pontiagudas. Esse estilo de gravata estava na moda na década de 1850.

Fotografia de Richard Ansdell, por William Henry Lake Price

Retrato de Richard Ansdell, pintor
William Henry Lake Price
1857
Londres
Impressão de albumina em cartão
Museu nº E.1383-2000
Transferido do Museu Britânico

William Henry Lake Price, pintor e gravador, além de fotógrafo, retratou seu colega artista Richard Ansdell (1815-85) com as ferramentas tradicionais de sua profissão e uma natureza-morta composta de materiais característicos do gênero na época vitoriana.

Suas roupas são típicas da vestimenta 'Artística', na moda com artistas e intelectuais da época. O vestido artístico é caracterizado por roupas folgadas, feitas de tecidos simples e discretos coloridos com tintas naturais, que eles usavam em contraste deliberado com a rigidez justa e engomada do vestido formal vitoriano.

Este retrato foi visto pela primeira vez na exposição da Sociedade Fotográfica de Londres realizada no Museu South Kensington (agora V & ampA) em fevereiro e março de 1858. Esta foi a primeira exposição fotográfica realizada em qualquer museu do mundo.

Vestido de verão de algodão estampado, designer desconhecido

Vestido de dia
Designer desconhecido
Por volta de 1858-60
Grã Bretanha
Algodão estampado, enfeitado com bordados brancos
Museu nº T.702-1913
Dado pelos Srs. Harrods

Este é um exemplo de um vestido da moda para o dia de verão do final dos anos 1850. Típico do período são as mangas "pagode" cheias e o corpete franzido dos ombros até a parte inferior da cintura frontal. As saias em camadas eram populares na década de 1850. O tecido foi estampado com uma borda decorativa expressamente para uso como camadas de um vestido. Era conhecido pelo termo francês 'à disposition'.

Chinelo de cetim creme, designer desconhecido

Sapato
Designer desconhecido
Por volta de 1850
Grã Bretanha
Chinelo de cetim com fita, sola de couro
Museu nº T.272 e ampA-1963

O delicado chinelo plano de cetim com laços de fita tornou-se popular durante a última década do século XVIII. Significou um afastamento do que eram considerados os excessos extravagantes do final do século XVIII em direção a um estilo de roupa e calçado mais simples e puro, influenciado pela antiguidade clássica.

Em meados do século 19, os chinelos ou "sapatos de sandália" ainda eram comuns, embora na década de 1850 fossem usados ​​principalmente para uso formal em preto ou branco. Este par de sapatos é um exemplo típico desse estilo. A sola de couro fina e a parte superior delicada de seda e cetim eram relativamente simples e baratas de produzir. Eles podem então ser personalizados com rosetas ou outros enfeites decorativos, se desejado. Estes eram simplesmente pregados em um pedaço de gaze que era então costurado na garganta por cima do laço padrão existente que já estava no lugar.


Conteúdo

Início da década de 1980 (1980-83) Editar

Minimalismo Editar

  • O início dos anos 1980 testemunhou uma reação contra a moda disco colorida do final dos anos 1970 em favor de uma abordagem minimalista da moda, com menos ênfase nos acessórios. Nos Estados Unidos e na Europa, a praticidade era considerada tanto quanto a estética. No Reino Unido e na América, as cores das roupas eram suaves, tons suaves e básicos de marrom, bege, creme e laranja eram comuns. [7]
  • As roupas da moda no início da década de 1980 incluíam trajes unissex e específicos para cada gênero. A moda generalizada para mulheres no início da década de 1980 incluía suéteres (incluindo gola alta, gola redonda e variedades de decote em V) jaquetas forradas de pele, casacos de pele sintética blazers de veludo gabardinas (feitas em couro falso e verdadeiro) [7] tops tubo tops saias na altura do joelho (sem comprimento prescrito, como os designers optaram pela escolha) vestidos soltos, fluidos, na altura do joelho (com decotes altos e baixos, mangas variadas e feitos em uma variedade de tecidos, incluindo algodão, seda, cetim e poliéster) calças largas de cintura alta jeans bordadas, calças de couro e jeans de grife. [7] [8] [9] Calças femininas da década de 1980 eram, em geral, usadas com calças compridas, e em 1981 os jeans alargados dos anos 70 haviam saído de moda em favor de calças retas.
  • De 1980 a 1983, os acessórios femininos populares incluíam cintos finos, botas até o joelho com saltos grossos, tênis, sapatos gelatinosos (uma nova tendência na época), [10] mulas, sapatos e botas redondos, pulseiras de geléia (inspirados em Madonna em 1983), [11] sapatos com saltos grossos, colares pequenos e finos (com uma variedade de materiais, como ouro e pérolas) e pequenos relógios. [7]

Mania da aeróbica Editar

  • A mania do fitness dos anos 1970 continuou no início dos anos 1980. As roupas de rua femininas em geral usadas no início dos anos 1980 incluíam moletons rasgados, [12] meias, calças de moletom [13] e agasalhos (especialmente aqueles feitos de veludo). [7]
  • Os acessórios esportivos foram uma tendência massiva no início dos anos 1980, e sua popularidade foi em grande parte impulsionada pela mania da aeróbica. Isso incluía polainas, cintos largos, [13] tiaras elásticas e calçados esportivos conhecidos como 'tênis' nos EUA [14] ou 'tênis' no Reino Unido. [15]

Edição profissional de moda

  • Na década de 1970, mais mulheres estavam ingressando na força de trabalho, então, no início da década de 1980, as mulheres trabalhadoras não eram mais consideradas incomuns. Como forma de se proclamarem iguais no mercado de trabalho, as mulheres passaram a se vestir com mais seriedade no trabalho. As roupas populares para mulheres no mercado de trabalho incluem saias na altura do joelho, calças largas, um blazer combinando e uma blusa de uma cor diferente. Sapatos de salto de gatinho eram freqüentemente usados. [7] Os sapatos formais tornaram-se mais confortáveis ​​durante este período, com os fabricantes adicionando solas que eram mais flexíveis e de suporte. [16] Os sapatos com saltos moderadamente pontiagudos e dedos relativamente pontiagudos desde o final dos anos 1970 permaneceram uma tendência da moda.

Meados de 1980 (1984-86) Editar

Cores brilhantes Editar

  • A moda feminina no início da década de 1980 tornou-se mais colorida por volta de 1982. Isso incluía casacos longos de lã, saias largas largas, minissaias finas, calças ligeiramente cônicas e estribo, jeans de grife, [8] shorts de ciclismo spandex, [17] suéteres extremamente longos e volumosos, macacões, cores pastéis, moletons "ombros largos" sobre jeans justos, sobretudos de couro, casacos de pele, cachecóis extremamente grandes, gorros, luvas de couro e vestidos usados ​​com cintos largos ou finos. A mania da aeróbica do início dos anos 1980 continuou até meados dos anos 1980, mas as roupas tornaram-se mais coloridas do que antes.
  • Os sapatos femininos de meados da década de 1980 incluíam sandálias de tiras, sandálias de salto gatinho, escarpins, sapatilhas, sapatos de barco, botas rasas desleixadas e Keds. [7]
  • Na década de 1980, a estrela pop em ascensão Madonna provou ser muito influente para a moda feminina. Ela apareceu pela primeira vez na cena da dance music com seu visual de "moleque de rua" consistindo em saias curtas usadas sobre leggings, colares, pulseiras de borracha, luvas arrastão, laços de cabelo, cordões de contas longas em camadas, cabelos descoloridos e desgrenhados com raízes escuras, tiaras e fitas de renda. Em sua fase "Como uma virgem", milhões de meninas em todo o mundo imitaram seu exemplo de moda, que incluía sutiãs usados ​​como casacos, enormes joias de crucifixo, luvas de renda, saias de tule e cintos boytoy.
  • Luvas (às vezes com ou sem dedos) foram popularizadas por Madonna, assim como meias arrastão e camadas de colares de contas. Também foram usados ​​vestidos curtos e justos de lycra ou de couro e vestidos tubulares, assim como jaquetas curtas tipo bolero. Preto era a cor preferida. Antes de meados da década de 1980, era tabu mostrar uma combinação ou uma alça de sutiã em público. Uma roupa de baixo visível era um sinal de inaptidão social. Com as formas mais extremas da nova moda, as mulheres jovens renunciariam a vestimentas convencionais por bustiês de estilo vintage com tiras rendadas e vários crucifixos grandes. Isso era tanto uma afirmação de liberdade sexual quanto uma rejeição consciente das modas andróginas prevalecentes.

Power Dressing Edit

  • Os programas do horário nobre da televisão Dallas e em particular, Dinastia influenciou ombreiras cada vez maiores. Protetores de ombro, popularizados por Joan Collins e Linda Evans da novelaDinastia foram populares de meados dos anos 1980 ao início dos anos 1990. Dallas, no entanto, promoveu exibições de riqueza envolvendo joias e roupas brilhantes. [18] Enquanto isso, a moda feminina e os sapatos de negócios revisitaram os dedos pontudos e os saltos pontiagudos que eram populares na década de 1950 e no início dos anos 1960. Algumas lojas estocavam sapatos da moda com capa de lona ou cetim na cor branca e tingiam-nos na cor preferida do cliente, de preferência em cores vivas.
  • Nesse período, as mulheres foram se tornando mais confiantes no ambiente de trabalho e tentando progredir na carreira. Essas mulheres queriam se enquadrar em níveis gerenciais mais altos, imitando uma aparência masculina por meio da moda para parecerem mais capazes. Assim, eles usariam roupas empoderadoras que retratassem a masculinidade, fazendo com que parecessem mais profissionais por se encaixar na maioria dos homens. Isso seria realizado com atributos como ombros mais largos com o auxílio de acolchoamento e mangas maiores. [19] Outros itens incluem vestidos usados ​​com cintos skinny ou grossos, saias plissadas ou lisas, meia-calça ou meia-calça, calças na altura do tornozelo às vezes usadas com meia-calça ou meia-calça por baixo, sapatilhas rasas de balé, suéteres longos, sapatos barco e shorts rasos botas de comprimento,
  • Um filme de Lizzie Borden, Meninas trabalhadoras, afetou a forma como a sociedade percebe as mulheres em diferentes campos e posições, também apresenta o feminismo e tópicos sobre o capitalismo. Meninas trabalhadoras é uma produção independente publicada em 1986 sobre o cotidiano de prostitutas de classe alta em um pequeno bordel em Manhattan. Os personagens principais da história têm origens, como graduados da Universidade de Yale e Law. O filme deixa claro que eles não foram forçados a entrar no campo, mas sim o escolheram eles mesmos. Ao longo do filme, o power dress foi promovido junto com a capacidade das mulheres de assumirem o controle de seu próprio futuro. [20] [21]
  • Após o boom econômico ocidental em meados da década de 1980, a geração mais jovem teve uma influência menor na moda, pois teve menos impacto no mercado. O principal consumidor passou a ser as gerações mais velhas, financeiramente mais estáveis ​​e influenciadas por notícias políticas internacionais. O thatcherismo foi promovido no Reino Unido pelo Partido Conservador Britânico. A líder feminina do partido conservador britânico, Margaret Thatcher, em seu terno de poder rapidamente se tornou um dos símbolos mais conhecidos da década de 1980. Os ternos usados ​​por Thatcher eram geralmente em tons únicos com um chapéu, jaqueta e saia combinando, que terminava abaixo do joelho. Um ombro largo e um colar de pérolas também faziam parte de seu traje regular. Seu estilo político era direto, eficaz e às vezes criticado como não empático o suficiente. Mas não há dúvida de que sua aparência retratava sua habilidade, poder e autoridade, que muitas mulheres trabalhadoras da época desejavam. [22] [23]

Final dos anos 1980 (1987-89) Editar

Modas favoráveis ​​ao consumidor Editar

  • De 1987 até o início dos anos 1990, a minissaia era o único comprimento apoiado por designers de moda. Embora saias de qualquer comprimento fossem aceitáveis ​​nos anos anteriores, toda a atenção era dada à saia curta, especialmente entre adolescentes e mulheres jovens que usavam meia-calça, meia-calça, leggings ou meias desleixadas. As ombreiras ficaram cada vez menores. [7] Os acessórios populares na Grã-Bretanha, França e América incluíam sapatos de cores vivas com saltos finos, cintos estreitos multicoloridos, boinas, luvas rendadas, colares de contas e pulseiras de plástico. [7]
  • As roupas femininas no final da década de 1980 incluíam jaquetas (cortadas e compridas), casacos (de tecido e pele falsa), casacos reversíveis do avesso (couro de um lado, pele falsa do outro), moletons de rugby, [7] vestidos de suéter , vestidos de tafetá e pufe, vestidos baby doll usados ​​com leggings capri ou shorts de bicicleta, meias desleixadas e Keds ou Sperrys ou com collants e sapatilhas opacas ou collants opacos e meias desleixadas, shorts neon ou pastel, vestidos avental denim, Keds, Sperrys , sapatilhas, macacões, camisetas superdimensionadas ou extralongas, suéteres, blusas e camisas de botão popularmente usadas com leggings e calças estribo, minissaias, calças elásticas, calças cônicas, saias usadas com leggings, [24] [25] leggings bem vestidas roupa de leggings com um suéter superdimensionado com gola V sobre gola, meias desleixadas, Keds (sapatos) ou Sperrys, e franja com uma faixa de tiara ou rabo de cavalo e scrunchie, calças felizes (calças caseiras feitas em designs arrojados com cores brilhantes), e collants opacos. [7] As cores populares incluíam tons neon, ameixa, ouro, rosa, azuis e vinhos brilhantes. (Todos que vêm a este site, isso é falso e também é uma informação falsa, por favor, não visite a wiipedia) :)

Editar moda asiática

  • Na China, o processo unissex Zhongshan [26] declinou após a morte de Mao Zedong, [27] a remoção da Gangue dos Quatro e a liberalização dos laços comerciais e das relações internacionais durante meados e final dos anos 80. As mulheres chinesas mais ricas começaram a usar a moda de inspiração ocidental novamente, [28] incluindo minissaias vermelhas ou amarelas [29], além dos vestidos de camisa mais típicos, plimsolls brancos e blusas de dacron. [30]
  • O final da década de 1980 também testemunhou o início da moda indo-ocidental e da alta costura na Índia, que viria a ganhar reconhecimento global na década de 1990. Cores como vermelho e branco [31] eram populares, geralmente com bordados intrincados. Embora a maioria das mulheres continuasse a usar o saree, as atrizes de Bollywood também tiveram acesso a roupas de estilistas ocidentais e roupas de design local, como o vestido de baile Anarkali. [32]
  • Os estilistas japoneses Yohji Yamamoto, Rei Kawakubo e Issey Miyake começaram uma nova escola de moda no final dos anos 1980 [33] chamada "Moda Japonesa de Vanguarda", que combinava a inspiração cultural asiática com a moda européia dominante. O espírito e a cultura japoneses que eles apresentaram aos europeus causaram uma revolução da moda na Europa que continuou a se espalhar pelo mundo. [34] Yamamoto, Kawakubo e Miyake redefiniram os conceitos de desconstrução e minimalismo que foram usados ​​no design de moda em todo o mundo [35] ao serem pioneiros em looks monocromáticos, andróginos, assimétricos e folgados. [36] Além disso, os designs eram unissex e foram inspirados no design do quimono tradicional japonês. Segundo Sun, "os quimonos japoneses tradicionais não têm regras rígidas para a moda masculina ou feminina, portanto, para o estilo básico, os quimonos têm estilo e decoração semelhantes para homens e mulheres". [35] Padrões geométricos de diamante, listras horizontais, crinolinas, blusas inspiradas em quimonos em camadas, vestidos feitos de uma única peça de tecido, [37] calças de pescador tailandês com virilha, roupas de corte a laser inspiradas na era espacial, malha, jaquetas com motivos kanji e roupas monocromáticas em preto e branco eram comuns, assim como o uso das cores tradicionais japonesas vermelhas, mizudori e Sora iro. [38] Em The Japanese Revolution in Paris Fashion, Kawamura descreve este novo conceito: "[.] Tradicionalmente na sociedade japonesa, a sexualidade nunca é revelada abertamente, e esta ideologia é refletida no estilo do quimono, especialmente para as mulheres, estes avant- Garde designers reconstruíram toda a noção de estilo de roupa feminina, portanto, eles não revelam a sexualidade, mas sim a escondem como o quimono ". [39] Os três designers prepararam o terreno para o início da interpretação pós-moderna por parte daqueles que desenham roupas que quebram a fronteira entre o Ocidente e o Oriente, moda e antimoda, e moderno e antimoderno. [39]

Início da década de 1980 (1980-83) Editar

Roupa esportiva Editar

  • No início dos anos 1980, a moda se afastou do visual hippie desleixado e do estilo disco exagerado do final dos anos 1970. As roupas esportivas eram mais populares do que os jeans durante este período, assim como as cores mais suaves. As cores populares eram preto, branco, índigo, verde floresta, bordô e diferentes tons de marrom, bronzeado e laranja. Veludo, veludo e poliéster eram tecidos populares usados ​​em roupas, especialmente camisas de botão e decote em V. Calças mais largas permaneceram populares durante este tempo, sendo bastante largas, mas retas, e camisas mais justas eram especialmente populares, às vezes em um estilo atlético cortado. O público em geral, nessa época, queria usar roupas de baixa manutenção com cores mais básicas, pois a recessão global que ocorria na época mantinha roupas extravagantes fora do alcance. [7] Também eram usadas meias tubulares listradas, às vezes usadas com a parte superior dobrada sobre os shorts. Não era incomum ver pais, especialmente pais usando isso junto com seus filhos.
  • Roupas populares no início da década de 1980 usadas por homens incluem agasalhos, [40] suéteres com decote em V, camisas de poliéster e veludo com gola pólo, camisas esportivas, jeans de perna reta, jeans enrolados para mostrar suas meias desleixadas, botões de poliéster, botas de cowboy, [41] gorros e moletons. Por volta dessa época, tornou-se aceitável que os homens usassem paletós e calças esportivas em lugares que antes exigiam um terno. [7] No Reino Unido, as calças das crianças permaneceram alargadas, mas apenas ligeiramente.

Nova influência da onda Editar

  • Do início a meados dos anos 1980, grupos de música pós-punk e new wave influenciaram a moda masculina e feminina mainstream. Ternos justos feitos comercialmente, gravatas finas em couro ou padrões em negrito, camisetas listradas, jaquetas exclusivas para membros, clubwear, camisas de tecido metálico, óculos de gato, óculos de aro de chifre com armações de cores vivas, maquiagem andrógina neon, [42] e jaquetas de couro imaculadas estavam amplamente usadas. [43] Os penteados comuns incluíam um topete curto para os homens, ou cabelo comprido e bagunçado para as mulheres, e as cores unissex típicas para roupas incluíam turquesa, azul-petróleo, vermelho, amarelo neon e branco em uma tela azul.

Editar aparência formal

  • Em resposta à moda punk de meados dos anos 1970, [9] houve um retrocesso ao estilo dos anos 1950 da Ivy League. Esse renascimento foi definitivamente resumido em uma brochura extremamente popular lançada em 1980: The Official Preppy Handbook. Roupas populares para homens incluíam camisas Oxford, suéteres, gola alta, camisas pólo com gola estalada, [9] calças cáqui, meias argyle, calças sociais, sapatos Hush PuppiesOxford, sapatos, suspensórios, ternos de linho listrado ou veludo, veludo cotelê e malha de cabo suéteres que costumavam ser usados ​​amarrados nos ombros. [44]

Meados de 1980 (1984-86) Editar

Miami Vice/Magnum P.I. olhar e a influência de Michael Jackson Editar

  • Em meados da década de 1980, as tendências populares incluíam casacos esportivos de lã, Levi 501s, camisas havaianas, ternos concha, suéteres tricotados à mão, camisas esportivas, moletons, camisas de flanela, coletes de flanela reversíveis, jaquetas com as partes internas acolchoadas, jaquetas de náilon, anéis de ouro, shorts de ciclismo spandex, [17] botas de cowboy [41] e calças cáqui com costuras recortadas. [7]
  • A metade da década de 1980 trouxe uma explosão de estilos coloridos em roupas masculinas, impulsionada por séries de televisão como Miami Vice e Magnum, P.I.. Isso resultou em tendências como camisetas por baixo de paletós caros com ombros largos e acolchoados, camisas havaianas (complementadas com casacos esportivos, muitas vezes com lapelas costuradas no topo para um visual "sob medida") e (em contraponto ao brilhante camisa) jaquetas que geralmente eram cinza, bege, ferrugem ou brancas. 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 Vice. 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. [citação necessária]
  • 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. [citação necessária]
  • Miami Vice, 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. [citação necessária] 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. [citação necessária] 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. [citação necessária]

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.


Parte 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. Para casual attire, uma pair of jeans ou short pants e um 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 e 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 ou 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.

Parte 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 ou 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 e high-heeled shoes when she goes to work. She also wears formal clothes. She is fond of accessories which looks fashionable. Dela footwear sempre 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. Ela 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 realmente hated the idea of this decade's fashion making a comeback. (Remember when "mom jeans" was such a pejorative term it inspired a Saturday Night Live 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, realmente 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 parecer 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. Nova 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


Assista o vídeo: Houve algum momento da história em que Jesus não existiu? Profº Anderson Francisco (Outubro 2021).