Women in the 60s were happy to say goodbye to girdles and the tyranny of stockings.

It has long been assumed that the pill was responsible for women’s emancipation in the 1960s. Ask anyone who remembers the time when roll-ons, suspender belts and girdles gave way for good to panty-hose – and they may have a different view of what freedom was.

The history books credit Allen E. Gant with creating panty hose – or as he called them, Panto-legs – in 1959. The real inspiration was more likely his wife, Ethel, who decided to sew her stockings to her underwear after pregnancy made her too wide to wear her garter belt.

Racquel Welch in Valentino for French Vogue in 1967

The idea really took off in the 1960s with the widespread wearing of mini skirts. The beginning of the tights revolution saw an interesting shift in cultural perspectives. It was, for example, not considered shocking to wear a 10-inch long mini-dress but widely accepted that a groomed young lady never went out bare legged.

Fifty years later, Kate Middleton’s fondness for nude pantyhose has inspired modern day skirt-wearers to hit the stores in droves – despite fashion taste makers split opinions – to pick up flesh colored tights able to cover up pasty skin, prickly hairs or unsightly veins.

Karlie Kloss strides into the future of tights trends in Oscar de la Renta’s fall campaign 

If tan tights are just too 80s for you, consider the recent trend for combining tights with different colored shoes as seen notably on Karlie Kloss in Oscar de la Renta’s fall ad campaign.

A more interesting take on cold-weather tights than your basic-black, brightly colored tights can inexpensively update your winter looks with a mod-esque look that is a playful prelude to spring’s 60s inspired styles.

Pucci Print and Platforms

Now & Then: The History Of The Cocktail Dress

Now & Then: The Trench Coat

Now & Then: The Bold Brow

Now & Then: The History of the Cuff

Now & Then: The History of Turtlenecks

Now & Then: The History of Skinny Jeans

Now & Then: The History of the Chevron Stripe

Now & Then: The History of Penny Loafers

Now & Then: The History of Go-Go Boots

Now & Then: The History of the Poet Blouse

Now & Then: The History of Ladylike Gloves

Image: oscarprgirl

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Our guide to this year’s best fashion exhibits.

Did you miss the magical Savage Beauty exhibit at the MET last year?  Take comfort by buying the book – a showstopper in itself – and vow not to miss another this year. Curatorial staff are realizing the particular appeal of fashion exhibits and the increased ticket sales potential. If an article in WWD on how museums are “getting fashionable” is any indication, they’ve cottoned on. “There’s a loyal following — besides the fact that fashion is fashionable,” Pamela Golbin, chief curator at Les Arts Décoratifs in Paris was quoted, “There’s something very intimate about clothes.” More and more new fashion exhibits are popping up here in the United States all over the world. Several exciting ones are due to debut this year.

Here are our top 10 don’t-miss fashion exhibits of 2012.

1.  Elsa Schiaparelli and Miuccia Prada: On Fashion, opens May 10 at the Metropolitan Museum of Art in New York City. Featuring over 80 designs by Schiaparelli and an installation that will give the effect of the two designers being in conversation with one another on subjects such as art, politics and the role of women now and then. With director Baz Luhrman serving as the exhibition’s creative consultant this show promises to follow up on the success of last year’s groundbreaking Alexander McQueen exhibit.

2. FIT NY and the CFDA collaborate to celebrate Impact: Fifty Years of the CFDA at the FIT museum from the 10th of February through until the 17th of April. The leading trade organization of fashion designers presents a tribute to the creativity of American talent and will showcase designs from Halston, Norman Norell, Pauline Trigère, Geoffrey Beene, Bill Blass, Rudi Gernreich, Bob Mackie, James Galanos, Diane von Furstenberg, Oscar de la Renta, Marc Jacobs, Donna Karan, Ralph Lauren, Calvin Klein, Tom Ford, Michael Kors, Isabel Toledo, Rodarte, and Proenza Schouler.

3. Chanel: Designs for the Modern Woman at the Mint Museum Randolph in Charlotte, North Carolina continues thru February 26. Pioneering clothing that was comfortable, casual and enduring in its construction and style, Coco Chanel (1883-1971) remains a pivotal figure responsible for much of what is still considered modern in women’s fashion in the 21st century.

4. A retrospective of designer Christian Louboutin at London’s Design Museum opens March 28 – July 1 and promises to be as red-hot as his signature soles. The exhibition coincides with the publication of a coffee table book documenting Lobuoutin’s work. Mulholland Drive director David Lynch photographed some of the designer’s most fantastical creations and John Malkovich wrote the foreword.

5. If you are in London, you must check out Fifty Years of James Bond Style at the Barbican, opening in April. In addition to Mr. Bond’s Savile Row tailoring, expect to see  lavish Bond-girl finery by Giorgio Armani, Givenchy, Roberto Cavalli, Thierry Mugler, Miuccia Prada, Oscar de la Renta, Emanuel Ungaro and Donatella Versace.

6. Also opening in the 2012 Olympic Games host city is the sure-to-impress Ballgowns: British Glamour Since 1950 exhibit at the Victoria and Albert Museum 
running May 19, thru January 26, 2013. Featuring evening wear from the V&A’s vast collection of British designers, the exhibit will show a selection of royal ballgowns including a Norman Hartnell gown designed for Elizabeth the Queen Mother, Princess Diana’s “Elvis Dress” designed by Catherine Walker and gowns worn by today’s young royals.

7. Paying tribute to the legendary French designer Yves Saint Laurent — The Retrospective opens March 25 at the Denver Art Museum, Denver, Colarado. Organized thematically, the presentation showcases over 200 pieces that explore the full arc of Saint Laurent’s developing style and turbulent inner life.

8. If you didn’t catch The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Dallas Museum of Art, Texas (runs thru February 12) head to San Francisco’s Deyoung Museum where it will run from March 24  – August 19. Dubbed fashion’s enfant terrible, his often provocative messages are enhanced by the sublime construction of his clothing.

9. Set to open on the last night of Paris Fashion Week, March 9, and run until September 16 at the famous Museé des Arts Decoratifs in Paris, the Louis Vuitton – Marc Jacobs exhibit weighs the careers of both designers. The show aims to compare their bodies of work and offers a potential explanation as to why Jacobs and his ready-to-wear approach could never replace Galliano at Dior.

10. Azzedine Alaïa in the 21st Century currently at the Groninger Museum in Holland and running thru May 6, celebrates the body-con creations of the great Tunisian-born couturier. Now in his 70’s, the designer recently became an outspoken proponent of slow fashion, saying “Four collections for women, four collections for men, another four collections to sell, and everything needs do be done within four, five months—it’s a one-way course towards emptiness. It’s inhuman.”

Top Image: Alexander McQueen’s Savage Beauty

The post From Azzedine Alaïa to Yves Saint Laurent: The Fashion Exhibits of 2012 appeared first on EcoSalon.

Jeesh. Yesterday I was flooded with friends’ and colleagues’ emails begging me to write a rebuttal to what they thought were one or two writers slamming the eco-fashion industry.

It had already gone pretty viral by the time the emails came in and only this morning did I really take note. Sometimes knee-jerk reactions can prove disastrous, even if you want to be the first to herald the crappy news and the news is simply: nobody knows what eco-fashion is. Big deal.

For those of you who care what I have to think about eco-fashion, here it is:

Eco-fashion is a veritable hell mess defined sadly and mostly by archaic industry professionals who like the game to work for them.

It’s also called self-serving eco-branding.

Greenwashing? No.
Survival? Yes.
You know who you are.

Note that I wrote “mostly.”
The people interviewed in the first article, which debuted in Financial Times, were fantastic representatives of the “mostly.”

Here’s how FT’s writer Vanessa Friedman quoted them as defining eco-fashion:

Frida Giannini, Gucci creative director: “Quality items that stand the test of time – it is this concept of sustainability, symbolised by a timeless handbag that you wear again and again, and can pass on, that I am always thinking of when I design.”

Oscar de la Renta, designer, brand founder: “Sustainable fashion implies a commitment to the traditional techniques, and not just the art, of making clothes. I work today in the same way that I first learnt in the ateliers of Balenciaga and Lanvin 50 years ago. We need to ensure that the next generation of seamstresses and tailors have the skills necessary to develop clothes that are not only beautiful but extremely well made.”

Anya Hindmarch, designer, brand founder, and initiator of the “I am not a plastic bag” initiative: “I would define the ideal as locally sourced materials that don’t pollute in their creation or demise (preferably recycled) and with limited transportation to achieve the completed product.”

And, lastly, designer and brand founder Dries van Noten: “Most of what we may currently refer to as sustainable fashion is a contradiction in terms. It refers to how the fabric used for a new garment has been produced … Yet, I believe, we need to consider this issue from a more macro and profound perspective. Though a cotton may be unbleached, we need to examine how it arrives to the manufacturer or to us the wearer. What was the “˜carbon imprint’ of its delivery, for example?”
Not all the same, then.”

I agree with all of these responses.

But, please understand that these designers are so far removed from their lines. They do not design their lines, their designers design the lines and their marketing professionals decide which campaign could benefit them. And the flavor of the year, for them, is light green.

They are too big to care what the hell eco-fashion is, so they invent off-the-cuff definitions to support the little they do to contribute to this new, darker green world.

(Next time, Vanessa, call me and I’ll give you a different list for interviews.)

These fashion giants – minus Ms. Hindmarch – have a lot of money and could be doing a lot more, by the way, than using “traditional” techniques. As for the others, the not “mostly’s” who live and breathe what it takes to be sustainably designing, there aren’t enough sermons in the world to dedicate to you.

They are smaller design houses, independents, creating from small studios all over the world.

They are supported by indie boutiques all over the world.

They are broke.

They are struggling to be artists, to make really beautiful clothing from organic materials. They are juggling their lines by being coffee baristas and part-time brokers.

They are not necessarily committed to, as Maria Moyer, one of my favorite new people recently said, “Picking a lane.”

What this means is that these same designers, first and foremost, need to design. If they can then use an organic fabric, cut down their carbon footprint, give percentages to the homeless, work with water-based dyes, incorporate alternative energy at their facilities, manufacture locally and make it in the U.S. well, all the better. But designers must first design.

When they focus on that, they are able to create objects of worth that transcend trends and can be used not only to satisfy our urge to adorn but to outlast so we don’t need more.
We, the consumers, also need to be more conscious of what we buy. We play a big part in this, too.

When writers proclaim prematurely that “nobody knows what eco-fashion is,” they fail to realize it’s just more fuel on our fire.

That it only makes our community stronger and more willing to design sustainably because it does matter so much for our health and for the environment.

Because this isn’t just about defining eco-fashion. This is about conscious consumption, and we Americans know nothing of it.

Therein lies our eco-fashion paradox.

Our own fashion burden to bear.

Image: CoCreatr’s

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