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He added moulded plastic visors to helmet-like hats to make them resemble astronauts' headgear. Perhaps most notably, Cardin reinvented the silhouette for his 1968 Space Age, or Cosmo Corps, collection. Although very much inspired by present events, the Cylinder jacket would have remarkable longevity.

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He preferred crisp, supple textiles like wool crepe and jersey, manufactured by the Italian firm Nattier.Ĭardin was also fascinated by new 'space age' materials like vinyl, silver fabrics and large zips. Cardin’s device of ocular deception also spoke to the technique of optical painting, an emerging style of the 1960s. Pierre Cardin Iconic Space Age Red Leather Dress, 1960s 1970s, scoop neck, sleeveless, zip back, top stitch detail, size S/M, condition consistent with.

His dresses were decorated with circular and rectangular motifs. The innovative designer explored geometric shapes and new fabrics to complement his space age looks, such as his famed bubble dress with a distinctive. His interest in architecture showed up in the geometric shapes which became his trademark in the 1960s. However, by doing this he sold clothing to a wider public and many designers followed his example. He made collarless suits which the Beatles' later stage costume resembled.īy producing a ready-to-wear collection in 1959, Cardin broke the rules of the top French couture guild. Many people expected Cardin to succeed Dior, but he left to set up his own firm in 1950.ĭuring the fifties Cardin opened a menswear boutique in Paris where he sold new, informal men's gear like collarless jackets and roll neck jumpers. Dior then employed him during the era of the New Look. After training as a tailor, he worked for two Paris design houses, Paquin and Schiaparelli. Pierre Cardin (born 1922) was born in Venice to French parents and educated in France. Pierre Cardin Past, Present, Future, 1990. 'The clothes that I prefer are those I invent for a life that doesn't exist yet - the world of tomorrow.' Meanwhile, Courrèges, a former civil engineer, unveiled his space-age look in 1964, his astronaut-like models attired in helmets, opaque sunglasses and silver trousers.Cosmos day ensemble, Pierre Cardin, 1967. Cardin had fully embraced a futuristic aesthetic, developing a synthetic fabric called Cardine.

She was rejected by the Paris fashion establishment, just as Cardin had been expelled by the city's Chambre Syndicale de la Haute Couture for launching a ready-to-wear line. Quant was ahead of the curve in her espousal of plastics – a material synonymous with space-age chic – creating an Op Art-inspired, white-and-silver rainwear collection called Wet for the company Alligator in 1965. Silver, a colour associated with space travel, was very popular then, as design historian Bevis Hillier pointed out in his book, The Century of Style, citing as examples the silver façades on the Ted Lapidus boutique on Bond Street and The Chelsea Drugstore on the King's Road.

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'There was an enormous, romantic interest in space, engendered by sci-fi movies and TV series like Star Trek,' says Rayner. Short skirts had already been worn by 1950s sci-fi characters who, along with the 1960s space race, were a major inspiration on 1960s fashion. Quant was among the first designers to create miniskirts.

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– The women behind the legendary Christian DiorĪ Quant retrospective at London's Victoria & Albert Museum, also in 2019, showcased her designs for the Bazaar boutique, plus sketches, catwalk footage and cosmetics, the packaging stamped with her iconic, stylised black-and-white daisy motif. – Why the super-rich love understated dressing – Dame Mary Quant: Fashion designer dies at 93 'The old social order and British Empire were crumbling. 'This group emerged from the war as very young and rebellious,' says Geoffrey Rayner, co-author with Richard Chamberlain of the book Conran/Quant: Swinging London: A Lifestyle Revolution (ACC Art Books), which accompanied an exhibition at London's Fashion and Textile Museum in 2019. Another important figure was Conran's close friend Eduardo Paolozzi, a co-founder of the Independent Group, a precursor to Britain's Pop art movement. But what sparked this forward-looking, post-war mood in fashion? And who were the bohemian, so-called 'Chelsea Set'? Its members included Quant, who opened her first boutique Bazaar on the King's Road in 1955, and Terence Conran, whose first Habitat store opened in 1964. The silver space-age tunics of Pierre Cardin, the chainmail dresses of Paco Rabanne, the ultra-short minis of Mary Quant – these are all familiar tropes of 1960s style.

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