VINTAGE silberne Manschettenknöpfe Sixties 835er Silber Initialen HH cuff links

EUR 98,00 Sofort-Kaufen oder Preisvorschlag, EUR 5,49 Versand, eBay-Käuferschutz
Verkäufer: elysa-top ✉️ (213) 100%, Artikelstandort: Berlin, DE, Versand nach: WORLDWIDE, Artikelnummer: 296304505493 VINTAGE silberne Manschettenknöpfe Sixties 835er Silber Initialen HH cuff links.

I ship worldwide

Sie bieten* hier auf 

noble

klassische

silberne MANSCHETTEN-KNÖPFE* wohl aus den sechziger Jahren, vielleicht auch achtziger. Mattierte (wohl gebürstete) Oberfläche mit den Initialen HH Sie sind aus 835er Silber gearbeitet  und weisen neben dem Feingehaltsstempel  noch eine Hersteller/Meisterpunze auf, die ich aber nicht deuten kann. Siehe die Fotos! unaufdringlich nobel geschmackvoll distinguiert Ideal für Hamburger 😏

Alt und getragen, aber sehr guter  Zustand! (Siehe die Fotos, die wesentlicher Teil der Artikelbeschreibung sind!)
 

Details: Größe: ca. 23 x 13 mm

Material:  Silber

Besonderheit: Initialen HH

Punze: 835 + Herstellerpunze (ungedeutet, siehe Fotos)

Gewicht:  ca. 7,7 Gramm

Zustand:

alt und getragen, aber sehr gut

Siehe die Fotos, die ein wesentlicher Teil meiner Artikelbeschreibung sind!

(1611028-NEG231213-770)

 

(Bedenken Sie bitte, dass die Fotos z.T. sehr starke Vergrößerungen sind!)

*Verkauft wird nur, was auch ausdrücklich beschrieben ist.

Alles was sonst eventeuell noch auf den Fotos zu sehen ist, dient nur der Präsentation!

 Wikipedia sagt:

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]

.............

Fashion of the 1980s was characterized by a rejection of 1970s fashion. Punk fashion began as a reaction against both the hippie movement of the past decades and the materialist values of the current decade.[2] The first half of the decade was relatively tame in comparison to the second half, which was when apparel became very bright and vivid in appearance.

Hair in the 1980s was typically big, curly, bouffant and heavily styled. Television shows such as Dynasty helped popularize the high volume bouffant and glamorous image associated with it.[3][4] Women in the 1980s wore bright, heavy makeup. Everyday fashion in the 1980s consisted of light-colored lips, dark and thick eyelashes, and pink or red rouge (otherwise known as blush).[5][6]

Some of the top fashion models of the 1980s were Brooke Shields, Christie Brinkley, Gia Carangi, Joan Severance, Kim Alexis, Carol Alt, Yasmin Le Bon, Renée Simonsen, Kelly Emberg, Inès de La Fressange, Tatjana Patitz, Elle Macpherson, and Paulina Porizkova.[citation needed]

Minimalism

    The early 1980s witnessed a backlash against the brightly colored disco fashions of the late 1970s in favor of a minimalist approach to fashion, with less emphasis on accessories. In the US and Europe, practicality was considered just as much as aesthetics. In the UK and America, clothing colors were subdued, quiet and basic; varying shades of brown, tan, cream, and orange were common.[7]

    Fashionable clothing in the early 1980s included unisex and gender-specific attire. Widespread fashions for women in the early 1980s included sweaters (including turtleneck, crew neck, and v-neck varieties); fur-lined puffer jackets; tunics; faux-fur coats; velvet blazers; trench coats (made in both fake and real leather);[7] crop tops; tube tops; knee-length skirts (of no prescribed length, as designers opted for choice); loose, flowy, knee-length dresses (with high-cut and low-cut necklines, varying sleeve lengths, and made in a variety of fabrics including cotton, silk, satin, and polyester); high-waisted loose pants; embroidered jeans; leather pants; and designer jeans,[7][8][9] though jeans were not as widely worn as during the 1970s.[10] Women's pants of the 1980s were, in general, worn with long inseams, and by 1982 the flared jeans of the 70s had gone out of fashion in favor of straight leg trousers. Continuing a trend begun during the late 1970s, cropped pants and revivals of 1950s and early '60s styles like pedal-pushers and Capri pants were popular.[11] 1981 saw a brief fall vogue for knickers.[12]

    From 1980 until 1983, popular women's accessories included thin belts, knee-high boots with thick kitten heels, sneakers, jelly shoes (a new trend at the time),[13] mules, round-toed shoes and boots, jelly bracelets (inspired by Madonna in 1983),[14] shoes with thick heels, small, thin necklaces (with a variety of materials, such as gold and pearls), and small watches.[7]

Aerobics craze

    The fitness craze of the 1970s continued into the early 1980s. General women's street-wear worn in the early 1980s included ripped sweatshirts,[15] tights, sweatpants,[16] and tracksuits (especially ones made in velour).[7]

    Athletic accessories were a massive trend in the early 1980s, and their popularity was largely boosted by the aerobics craze. This included leg warmers, wide belts,[16] elastic headbands, and athletic shoes known as 'sneakers' in the US[17] or 'trainers' in the UK.[18]

Increased Formality

    Continuing a trend begun by designers in 1978,[19][20] the early 1980s also saw a return to pre-sixties ideas of formality,[21][22] with coordinated suits,[23] occasion dressing like forties-fifties-revival cocktail dresses and ballgowns, and even a revival of hats and gloves,[24][25] though neither was required for women as they had once been.[26] This was just one trend among many of the era. Along with this went an increased prevalence of black being worn,[27] a trend that can be traced both to high-fashion designers[28] and to late seventies punk fashions and their successors.[29] Black would continue to be prominent in fashion into the early nineties.[30]

Professional fashion

    In the 1970s, more women were joining the work force, so, by the early 1980s, working women were no longer considered unusual. As a way to proclaim themselves as equals in the job market, women started to dress more seriously at work. Popular clothes for women in the job market include knee-length skirts, wide-legged slacks, a matching blazer, and a blouse of a different color. Kitten-heeled shoes were often worn.[7] Formal shoes became more comfortable during this period in time, with manufacturers adding soles that were more flexible and supportive.[31] The shoes with moderately spiked heels and relatively pointy toes from the very late 1970s remained a fashion trend.

Mid-1980s (1983–1986)

    Women's fashion in the early 1980s became more colorful around 1982. This included long wool coats, long flared skirts, slim miniskirts, slightly tapered pants and stirrup ones, designer jeans,[8] spandex cycling shorts,[32] high waisted ankle length jeans and pants plain or pleated, extremely long and bulky sweaters, jumpsuits, pastel colors, "off-the-shoulder" sweatshirts over tight jeans, leather trenchcoats, fur coats, extremely large scarves, beanies, leather gloves, and dresses worn with wide or thin belts. The aerobics craze of the early 1980s continued into the mid-1980s, but the clothes became more colorful than they were before.

    Women's shoes of the mid-1980s included strappy sandals, kitten-heeled sandals, pumps, ballet flats, boat shoes, slouchy flat boots, Keds, and white Sperry's sneakers.[7]

    In the 1980s, rising pop star Madonna proved to be very influential to female fashions. She first emerged on the dance music scene with her "street urchin" look consisting of short skirts worn over leggings, necklaces, rubber bracelets, fishnet gloves, hairbows, long layered strings of beads, bleached, untidy hair with dark roots, headbands, and lace ribbons. In her "Like a Virgin" phase, millions of young girls around the world emulated her fashion example that included brassieres worn as outerwear, huge crucifix jewelry, lace gloves, tulle skirts, and boytoy belts.

    Gloves (sometimes laced or fingerless) were popularized by Madonna, as well as fishnet stockings and layers of beaded necklaces. Short, tight Lycra or leather miniskirts and tubular dresses were also worn, as were cropped bolero-style jackets. Black was the preferred color. With the new fashion's most extreme forms, young women would forgo conventional outer-garments for vintage-style bustiers with lacy slips and several large crucifixes. This was both an assertion of sexual freedom and a conscious rejection of prevailing androgynous fashions.

    Many of the clothes worn by pop stars like Madonna during this period had their origins on the streets of London[33] or came from London designers,[34] as London retained the trend-setting reputation it had regained during the late seventies punk period with the work of Vivienne Westwood. In 1983–84, London designers like Katharine Hamnett, PX, BodyMap,[35] and Crolla came to international attention,[36] launching trends later picked up by savvy designers like Jean-Paul Gaultier[37] in other fashion capitals, savvy pop figures like Madonna, and ultimately the general public.[38][39] Many of the clothes worn by Madonna in 1983-85 – tube skirts, oversized tops, "Boy Toy" belt buckles, head wraps, and flat, black, buckled, pointy-toed ankle boots – were from avant-garde UK designers like PX,[40] BodyMap,[41] and Peter Fox. The most internationally recognizable styles to come out of this milieu were probably the large, tapestry-like floral prints from Crolla and the oversized "message shirts" with large block lettering from Katharine Hamnett. Crolla's giant cabbage rose prints, modeled after old chintz drapery fabric[42] and needlework, seemed ubiquitous in 1984 and '85, initially shown by the designer on sixties-revival Nehru jackets[43] and avant-garde UK street silhouettes like oversized sweaters and ankle-length tube skirts but soon picked up by Jean-Paul Gaultier in Paris and, before long, mass-marketed everywhere,[44][45] especially popular in drop-waist, bertha-collared, puff-sleeved dresses to the lower calf put out by companies like Laura Ashley and worn with matching large hair bows on the back of the head. Katharine Hamnett's graphic "message shirts," oversized white t-shirts with big, black, block lettering spelling out social and political messages opposing military buildup, supporting the environment, and other messages less clear, became iconic garments of the period, with Hamnett famously wearing an anti-nuclear one in the presence of Margaret Thatcher.[46] Her "Choose Life" one, originally intended as a pro-environment message by the UK designer, was ironically picked up by supporters of the new anti-abortion movement in the US that had newly branded itself "pro-life" under Reagan's influence, a use Hamnett strongly opposed.

Power dressing

    The television prime time shows Dallas and, in particular, Dynasty influenced increasingly oversized shoulder pads. Shoulder pads, popularized by Joan Collins and Linda Evans from the soap opera Dynasty were popular from the mid-1980s to the early 1990s. Dallas, however, promoted displays of wealth involving jewelry and sparkling clothing.[47] Meanwhile, women's fashion and business shoes revisited the pointed toes and spiked heels that were popular in the 1950s and early 1960s. Some stores stocked canvas or satin covered fashion shoes in white and dyed them to the customer's preferred color, preferably bright colors.

    By this period, women had become much more confident in the workplace and had advanced in their careers. In this decade, women wanted to fit into higher management levels by emulating a masculine appearance through fashion to look more capable. Hence, they would wear empowering garments that portrayed masculinity, thus making them seem more professional by fitting in with the male majority. This would be accomplished with attributes such as wider shoulders with the aid of padding and larger sleeves.[48] Other items included dresses worn with skinny or thick belts, pleated or plain skirts, tights or pantyhose, above the ankle length pants sometimes worn with pantyhose or tights underneath, ballet flat dress shoes, long sweaters, boat shoes and slouchy flat short length boots.

    After the western economic boom of the mid-1980s, the younger generation had a decreased influence in fashion as they had less of an impact on the market.[49] The main consumer became the older generations that were more financially stable and were influenced by international political news. Thatcherism was promoted in the UK by the British Conservative Party. The female leader of the British conservative party, Margaret Thatcher, in her power suit quickly became one of the most well-known symbols of the 1980s. Suits worn by Thatcher were usually single color toned with a matching hat, jacket and skirt, that ends below the knee. A wide shoulder and pearl necklace was also part of her regular attire. Her political style was straightforward, effective and sometimes criticized as not empathetic enough. But there is no doubt that her appearance portrayed her ability, power and authority, which is what a lot of working women at that era desired.[50][51]

Late 1980s (1987–1989)

Consumer-friendly fashions

    From 1987 until the early 1990s, the mini skirt was the only length supported by fashion designers. Although skirts of any length were acceptable to wear in the years before, all attention was given to the short skirt, especially among teenage girls and young women worn with tights, pantyhose, leggings, or slouch socks. Shoulder pads became increasingly smaller.[7] Accessories popular in Britain, France and America included bright-colored shoes with thin heels, narrow multicolored belts, berets, lacy gloves, beaded necklaces, and plastic bracelets.[7]

    Women's apparel in the late 1980s included jackets (both cropped and long), coats (both cloth and fake fur), reversible inside-out coats (leather on one side, fake fur on the other), rugby sweatshirts,[7] sweater dresses, taffeta and pouf dresses, baby doll dresses worn with capri leggings or bike shorts, slouch socks, and Keds or Sperrys or with opaque tights and flats or opaque tights and slouch socks, neon or pastel colored shortalls, denim pinafore dresses, Keds, Sperrys, ballet flats, jumpsuits, oversized or extra long t-shirts, sweaters, sweatshirts, blouses and button down shirts popularly worn with leggings and stirrup pants, miniskirts, stretch pants, tapered pants, high waisted ankle length jeans and pants plain or pleated skirts worn with leggings,[52][53] dressed up leggings outfit of leggings with an oversized v-neck sweater over a turtleneck, slouch socks, Keds (shoes) or Sperrys, and bangs with a headband or ponytail and scrunchie, happy pants (homemade pants made in bold designs with bright colors), and opaque tights.[7] Popular colors included neon hues, plum, gold, pinks, blues and bright wines.

Asian fashion

    In Mainland China, the unisex Zhongshan suit[54] declined after the death of Mao Zedong,[55] the removal of the Gang of Four, and the liberalisation of trade links and international relations during the mid and late '80s. Wealthier Chinese women began wearing Western inspired fashions again,[56] including red or yellow miniskirts[57] in addition to the more typical shirt dresses, white plimsolls and dacron blouses.[58]

    The late 1980s also witnessed the beginnings of Indo Western fashion and the haute couture fashion in India that would eventually gain global recognition in the 90s. Colors like red and white[59] were popular, often with intricate embroidery. Although most women continued to wear the saree, Bollywood actresses also had access to Western designer outfits and locally designed garments like the Anarkali ballgown.[60]

    Japanese fashion designers Yohji Yamamoto, Rei Kawakubo, and Issey Miyake started a new school of fashion during the late 1980s[61] called "Japanese Avant-Garde Fashion", which combined Asian cultural inspiration with mainstream European fashion. The Japanese spirit and culture that they presented to Europeans caused a fashion revolution in Europe which continued to spread worldwide.[62] Yamamoto, Kawakubo and Miyake redefined the concepts of deconstruction and minimalism that were used in fashion design worldwide[63] by pioneering monochromatic, androgynous, asymmetrical, and baggy looks.[64] Additionally, the designs were unisex which were inspired by the design of traditional Japanese kimono. According to Sun, "Traditional Japanese kimonos don't have strict rules for menswear or women's wear, therefore, for the basic style, kimonos have similar style and decoration for men and women".[63] Geometric diamond patterns, horizontal stripes, crinolines, layered kimono inspired blouses, dresses made from a single piece of fabric,[65] drop crotch Thai fisherman pants, space age inspired laser cut outfits, mesh, jackets with kanji motifs, and monochromatic black and white outfits were common, as was the use of the traditional Japanese colors red, mizudori and sora iro.[66][unreliable source?] In The Japanese Revolution in Paris Fashion, Kawamura describes this new concept: "[...] traditionally in Japanese society, sexuality is never revealed overtly, and this ideology is reflected in the style of kimono, especially for women, these avant-garde designers reconstructed the whole notion of women's clothing style; thus they do not reveal sexuality, but rather conceal it just like the kimono".[67][unreliable source?] The three designers set the stage for the beginning of postmodern interpretation on the part of those who design clothes that break the boundary between the West and the East, fashion and anti-fashion, and modern and anti-modern.[67]

Men's fashion

Early 1980s (1980–1982)

Athletic clothing

    In the early 1980s, fashion had moved away from the unkempt hippie look and overdressed disco style of the late 1970s. Athletic clothes were more popular than jeans during this period, as were more subdued colors. Popular colors were black, white, indigo, forest green, burgundy, and different shades of browns, tans, and oranges. Velour, velvet, and polyester were popular fabrics used in clothes, especially button-up and v-neck shirts. Looser pants remained popular during this time, being fairly wide but straight, and tighter shirts were especially popular, sometimes in a cropped athletic style. The general public, at this time, wanted to wear low-maintenance clothing with more basic colors, as the global recession going on at the time kept extravagant clothes out of reach.[7] Also worn were striped tube socks sometimes worn with the top folded over worn with shorts. It was not uncommon to see parents especially fathers wearing these along with their kids.

    Popular clothing in the early 1980s worn by men included tracksuits,[68] v-neck sweaters, polyester and velour polo-neck shirts, sports jerseys, straight-leg jeans, jeans rolled to show off their slouch socks, polyester button-ups, cowboy boots,[69] beanies, and hoodies. Around this time it became acceptable for men to wear sports coats and slacks to places that previously required a suit.[7] In the UK, children's trousers remained flared, but only slightly.

New wave influence

    From the early to mid-1980s, post-punk and new wave music groups influenced mainstream male and female fashion. Commercially made slim-fitting suits, thin neckties in leather or bold patterns, striped T-shirts, Members Only jackets, clubwear, metallic fabric shirts, cat eye glasses, horn rim glasses with brightly colored frames, androgynous neon colored makeup,[70] and pristine leather jackets were widely worn.[71] Common hairstyles included a short quiff for men, or teased big hair for women, and typical unisex colors for clothing included turquoise, teal, red, neon yellow and white on a blue screen.

Preppy look

    In response to the punk fashion of the mid-late 1970s,[9] there was a throwback to the 1950s Ivy League style. This revival came to be definitively summarized in an enormously popular paperback released in 1980: The Official Preppy Handbook. Popular preppy clothing for men included Oxford shirts, sweaters, turtlenecks, polo shirts with popped collars,[9] khaki slacks, argyle socks, dress pants, Hush Puppies Oxford shoes, Sperrys boat shoes, Eastland boat shoes, brogues, suspenders, seersucker or striped linen suits, corduroy, and cable knit sweaters that were often worn tied around the shoulders.[72]

Mid-1980s (1983–1986)

    In the mid-1980s, popular trends included wool sport coats, Levi 501s, Hawaiian shirts, shell suits, hand-knit sweaters, sports shirts, hoodies, flannel shirts, reversible flannel vests, jackets with the insides quilted, nylon jackets, gold rings, spandex cycling shorts,[32] cowboy boots,[69] Sperrys boat shoes, Sperrys white sneakers, Eastland boat shoes, khaki pants with jagged seams,[7] and through the end of the decade high waisted ankle length jeans and pants plain or pleated.

    The mid-1980s brought an explosion of colorful styles in men's clothing, prompted by television series such as Miami Vice and Magnum, P.I.. This resulted in trends such as t-shirts underneath expensive suit jackets with broad, padded shoulders, Hawaiian shirts (complemented with sport coats, often with top-stitched lapels for a "custom-tailored" look), and (in counterpoint to the bright shirt) jackets that were often gray, tan, rust or white. Easy-care micro-suede and corduroy jackets became popular choices, especially those with a Western style.

    Michael Jackson 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

1940s inspired pinstripe suit with large shoulder pads and double breasted fastening. These "power suits" were fashionable in Britain from the early 1980s until the late 1990s.

    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.[73][74] 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.[73][74] They were known as 'power suits', and were typically made in navy blue, charcoal grey or air force blue.[73][74][75]

Tropical clothing

    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[76] 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[77] by investing in expensive designer suits from Italy and France and listening to the soukous music of Papa Wemba.[78] 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.[79]

    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.[80] Elsewhere in the Caribbean and Latin America, especially Mexico, Ecuador, Colombia,[81] and Cuba, men wore the guayabera shirt for semi-formal occasions in imitation of the presidents Fidel Castro and Luis Echeverria.[82]

Late 1980s (1987–1989)

Doc Martens

Dr. Martens boots

    Doc Martens were dark shoes or boots with air-cushioned soles that were worn by both sexes in the 1980s. Originally picked up as essential item by early 70's Skinheads the Cherry Red 8 lacehole boots they were an essential fashion accessory for the suedehead and punk subcultures in the United Kingdom. Sometimes Doc Martens were paired with miniskirts or full, Laura Ashley- style dresses.[83] 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

Main article: Parachute pants

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.[84]

Unisex accessories

Jewelry

Princess Diana, 1985

    Earrings 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.

Watches

    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.[citation needed]

Eyewear

    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.[citation needed]

    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),[85] which increased sales of Ray Bans to 720,000 units in 1984.[86]

Subcultures of the 1980s

English singer Siouxsie Sioux wearing black clothing, back-combed hair, and heavy black eyeliner. She was an inspiration for the gothic fashion trend that started in the early 1980s.

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

Heavy metal

Main article: Heavy metal fashion

    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 1980s and incorporated punk, goth and new wave influences.[87] 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,[88] and stylized 18th century fop rock costume such as frilly shirts, tall boots and long coats.[89]

Punk

Punk rock band Los Violadores in 1985.

Main article: Punk fashion

    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."[90] 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.[91]

New Romantic

Seinfeld's pirate shirt, a New Romantic fashion staple during the 80s.

    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 Steve Strange in his music video for Ashes to Ashes.[92] 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 circle of friends.[92] Vivienne Westwood and 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).[93] 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.[94] The collection was very well received by critics and buyers.[95] 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.[93]

    The Blitz Kids described the movement as a retaliation to punk[96] due to it becoming too violent and unsavory crowds such as neo-Nazis and skinheads deciding to jump on that aesthetic bandwagon.[92] It was also a way to forget their relative poverty following the economic recession and the Winter of Discontent.[96] 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.[92] 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 rayon waistcoats, 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.[93]

Rockabilly

Main article: Neo-Rockabilly

Garage rock and psychobilly band the U-Men wearing Teddy Boy outfits, early to mid -1980s.

    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-1980s was closely linked with the street punk subculture, had a large black and Arab following, and was involved with antifascist squaddism.[97] The Black Dragons identified themselves with the leather jacket wearing greaser antiheroes, rebels and outcasts, and often fought the neonazi skinheads.[98]

Rude boys and skinheads

British skinheads in 1981

    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[99] 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.[100] 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,[101] and girls often incorporated hair bangs in a partially shaven style known as a Chelsea mohawk.[102] 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

    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,[103] bomber jackets, Adidas, Nike, or Reebok sneakers,[104] Fila or Ellesse jackets, flat caps, baseball caps, soccer shirts, and scarfs or bobble hats in their club's colours.[105] Although shaved heads[106][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[107] or Madchester[108] but a hip-hop influenced offshoot of the subculture, known as chavs, appeared during the late 1990s and early 2000s.[109][110]

Skaters

German skate punks of the late 80s.

    In Russia,[111] Australia, East Germany,[112] 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[113] shorts resembling pajamas,[114] 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,[115] Tony Hawk, Mooks or Santa Cruz.[116] 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

Main article: Hip hop fashion

Air Jordan 1 Bred

Hi top Adidas sneakers

    Sports shoes 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.[117] 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.[118] Soon, other manufacturers introduced premium athletic shoes.

    Adidas sneakers were also a successful brand of the decade, becoming popular among teenage boys and young men.[citation needed] 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.[119] 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.[citation needed] 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.[120] Individuals in the culture also frequently wore bucket hats, oversized jackets and t-shirts, and high contrast colors.[121] Fashion in hip-hop was a way to surpass the poverty that surrounded the community.[122]

    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.[123] 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.[124] 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.[120]

    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.[citation needed]

Preppy

Young Iranian men wearing casual preppy outfits in 1981

    Wealthy teenagers, especially in the United States, wore a style inspired by 1950s Ivy 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 high waisted ankle length jeans and pants plain or pleated, Izod Lacoste, Brooks Brothers, and Polo Ralph Lauren.[125] An example of preppy attire would be a button-down Oxford cloth shirt, Ascot tie, cuffed khakis, and tasseled loafers, Keds, Sperry or Eastland Boat shoes, white Sperry sneakers, 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,[126] dress shorts with knee socks, dressed up leggings outfits from the mid-1980s 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 cloth British country clothing, burberry mackintoshes, mustard corduroy pants, rain boots, padded hairbands, and ancestral jewellery such as pearl necklaces.[127]

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Was noch sein muß:

Privatverkauf. Ich schließe alle Rechte, die Sie nach dem sog. Fernabnahmegesetz gegenüber gewerblichen Händlern haben, aus.

Also insbesondere gibt es bei mir kein Widerrufsrecht, keine Gewährleistung, keine Garantie, keine Rücknahmepflicht!

Ich beschreibe nach ?bestem Wissen und Gewissen?, Irrtümer bleiben vorbehalten. Ber Problemen bitte umgehend und direkt an mich wenden, es wird sich schon eine Lösung auf Basis von Kulanz finden lassen.

Grundsätzliche kein Selbstabholung, außer wenn ausdrücklich erwähnt.

Versandrisiko liegt beim Käufer. Bitte beachten Sie dies bei der Auswahl der Versandart!

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Cufflinks gemelli gemelos запонки boutons de manchette silver 60er 70 sixties seventies nobel noble edel edle

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leitner rüdiger lorenzen milvia maglione falko marx wilhelm mattar eugen mayer frans van nieuwenborg martijn wegmann alena novakova joke van ommen gabriele von pechmann mario pinton uta astrid puxkandl robin l. quigley wolfgang rahs reinhold reiling waltraud reis annete rössle elsbeth röthlisberger gerd rothmann gayle saunders werner schmeiser sepp schmölzer veronika schwarzinger georg seibert miriam sharlin hubertus von skal peter skubic joachim sokolski emile souply bärbel speck-schifferer imrich svitana saraa hopea untracht waltrud viehböck karl vonmetz anna walkobinger-heindl manfred walkobinger  peter de wit norbert wolters helga zahn ulrike zehetbauer-engelhart marci zelmanoff paul tilley    Gold und Silber 1926 emmy roth karl groß ernst schmidt rudolf wolff schmid-riegel   paula straus karl gehle krut baer  dagobert peche joseph hoffmann philipp häusler kurt pötzsch theodor wende  richerd riemerschmid gertraud von schnellenbühl marga jess bernhard schneider jakob weidemann 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Ametrin Amulett Analoguhr Anhänger Ankerkette Anlaufen Anodisieren Apatit Aquamarin Argentium Armband Armreif Aufzugwelle Aventurin B Baguettefassung Bandring Baselworld Bead Beadarmband Beadkette Bergkristall Bernstein Beryll Bettelarmband Bicolor Bijou Blattgold Brillant Brisur Bronze Button C Charm Charmanhänger Charmarmband Charmkette Chronograph Chunk Citrin Clipcharms Cocktailring Creolen Cullinan D Damenschmuck Dangle Daumenring Diadem Diamant Diamant (Ratgeber) Diamantgravur Digitaluhr DKNY Dog Tag E Echtschmuck EDC Edelmetall Edelstahl Edelstahlarmband Edelstahlkette Edelstahlschmuck Edelstein Edelsteinbead Eheringe Eiskratzen Eloxieren Emaille Endless Erbskette Esprit Esprit Collection Eternityring F Facette Farbe Fassung Federhaus Feingehalt Feingold Feinsilber Figarokette Fossil Freundschaftsringe Fußkette G 333er Gold 585er Gold 750er Gold Galvanisieren Gehäuse Gelbgold Glas Glasbead Gold Goldarmband Goldbarren Goldkette Goldschmuck Granat Graveur Gravur Gravurarmband Gravurschmuck Guess H Halskette Hämatit Hämmern Herrenschmuck Hip Hop Schmuck Hochzeit (Ratgeber) Hochzeitsringe I Inhorgenta J Jade Joop Juwelier K Karat Karneol Katzenauge Kautschuk Kautschukarmband Keramik Kette Kinderschmuck Königsarmband Königskette konkav konvex Kordelkette Krappenfassung Kreuz Kristall Kronjuwelen Kugelkette Kunzit Kupfer Kyanit L Lapis Lazuli Lasergravur Leder Lederarmband Lederkette Leonardo Löten Lötkolben Lünette lupenrein M Malachit Manschettenknöpfe Marc OPolo Markasit Mattieren Medaillon Mehrfachring Messing Modeschmuck Mokume Gane Morganit N Namensarmband Namenskette Namensschmuck Nickel O Ohrhänger Ohrringe Ohrschmuck Ohrstecker Omegakette Onyx Opal Oxidieren P Palladium Pandora Panzerarmband Panzerkette Partnerringe Pavéefassung Peridot Perle Perlenbead Perlenkette Perlmutt Piercing Platin Platinieren Plattierung Police Polieren Princess Cut Punzierung Q Quarz R Rauchquarz Rauschmayer Reinheit Rhodinieren Rhodium Ring Ringgrößen Ringmaß Rolokette Rosenquarz Rotgold Rubin S 925er Silber Samt Sandstrahlen Saphir Schlangenkette Schliff Schmuck Schmuckstein Shamballa Armband Siegelring Silber Silberarmband Silberbead Silberkette Silberschmuck Singapurkette Smaragd Solitär Stopper Strass Süßwasserperle T Tansanit Taufkette Taufring Textilarmband Titan Titanit Titankette Tondakette Topas Trauringe Trauringkauf (Ratgeber) Tricolor Türkis Turmalin U Uhrwerk Ultraschallbad Unique V Venezianerkette Vergoldung Verlobungsringe W Weissgold Weizenkette Wolfram Z Zargenfassung Zifferblatt Zirkonia Zopfkette Zuchtperle


асы двадцаты e годы Кавказ карат Советский Союз echtschmuck antikschmuck
  • Condition: gebraucht, aber sehr gut, sieh Artikelbeschreibung und Fotos!
  • Epoche: Sixties
  • Produktart: Manschettenknöpfe
  • Abteilung: Herren
  • Feingehalt: 835
  • Stil: Stecker/Knopf
  • Form: Rechteck
  • Besonderheiten: Initialen HH
  • Signiert: Ja
  • Material: Silber
  • Länge: ca. 23 x 13 mm
  • Gewicht: ca. 9,95 Gramm
  • Metall: Silber
  • Vintage: Ja
  • Marke: 835 + unidentifizierbare Meisterpunze
  • Farbe: Silber
  • Hersteller: unbekannt (siehe Foto von Punze)
  • Herstellungsland und -region: Deutschland
  • Schmuckabteilung: Echtschmuck
  • Thema: Buchstaben, Zahlen & Wörter, Initialen HH, Siegel HH, HH
  • Basismetall: Silber
  • Original/Reproduktion: Original
  • Ursprungsland: Deutschland

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