Beatlemania did not of itself create the apparent iconoclasm of the 1960s; however, as one writer put it, "just as Noël Coward and Cole Porter reflected the louche, carefree attitude of the [Nineteen] Twenties, so did the Beatles' music capture the rhythm of breaking free experienced by an entire generation of people growing up in the Sixties".[13] By the middle of the decade, British pop music had stimulated the fashion boom of what Time called “swinging London”.[110] Associated initially with such "mod" designs as Quant's mini-skirt, this soon embraced a range of essentially Bohemian styles. These included the military and Victorian fashions popularised by stars who frequented boutiques such as Granny Takes a Trip, the "fusion of fashion, art and lifestyle" opened by Nigel Waymouth in the King's Road, Chelsea in January 1966,[111] and, by 1967, the hippie look largely imported from America (although, as noted, London stores such as Biba had, for some time, displayed dresses that drew on Pre-Raphaelite imagery[112]). The Rolling Stones' Keith Richards, whose early girl friend, Linda Keith, had, in her late teens, been a bohemian force in West Hampstead, noted on the Stones' return from an American tour in 1967 how quickly hippiedom had transformed the London scene.[113]
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^ Quoted in Halliwell's Filmgoer's Companion (10th ed. 1993) edited by John Walker. Almost 70 years after Lombard's death, the Sunday Times described red lipstick as the "ne plus ultra [not further beyond] of make up ... We respect red lipstick as a badge of loveliness and youth (Georgia May), bold style (Florence Welch), sexual confidence (Scarlett Johansson) and old-school glamour (Rosie Huntington-Whiteley) – and, above all, we appreciate that it doesn't work for everyone": Shane Watson in Style, 4 December 2011.
After the Second World War Christian Dior's "New Look", launched in Paris in 1947, though drawing on styles that had begun to emerge in 1938-9,[57] set the pattern for women's fashion generally until the 1960s. Harking back in some ways to the Belle Epoque of the late 19th and early 20th centuries – and thus not a "new" look as such (by early 1948, it was simply known as "The Look" in America[58]) – it was criticised by some as excessively feminine and, with its accompanying corsets and rustle of frilled petticoats, as setting back the "work of emancipation won through participation in two world wars".[59] It also, for a while, bucked the trend towards boyish fashion that, as after the First World War, tended to follow major conflicts.[60]
By the late 1960s shops such as Laura Ashley (whose first London outlet opened in 1968[121]) were routinely promoting the "peasant look" and selling a range of "uniquely eccentric clothes ... The magic was being able to step into a 'Laura Ashley' dress and imagine you had found something out of a dressing-up box".[122] At around the same time too, and into the 1970s, the brassière (or bra), which, as noted, had been seen as a liberating innovation in the early part of the century, came to be regarded by some women, such as the Australian academic Germaine Greer (The Female Eunuch, 1969), as an unduly restrictive symbol of traditional womanhood. However, the much-publicised incidence of "bra burning" in the 1970s tended to be overstated and came to be satirised: for example, in the 1973 film, Carry On Girls, and a poster by Young & Rubicam,[123] one of a mildly subversive series for Smirnoff vodka: "I never thought of burning my bra until I discovered Smirnoff". It was also seen by many, including Greer herself, as a distraction from the cause of women's "liberation".[124] A Vermont lawyer later observed wryly that "like every good feminist-in-training in the sixties, I burned my bra", but that "now it's the nineties ... I realize Playtex [underwear manufacturer] had supported me better than any man I know."[125] Claire Perry, who became a Conservative Member of Parliament in 2010 and later a government minister, reflected that, as a "women's officer" at Oxford University in the early 1980s, she was "a bra-burning feminist with a hideous new-romantic haircut", but that her feminism had, in her view, matured.[126]
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Edit: after writing this review, the seller contacted me and was very apologetic. He offered to send me a replacement pair and assured me that the pair I received was not up to their normal standards. I received my replacement and they are much better! I was impressed by the level of customer service I received for an online purchase. They stand by their product and want to make sure their customers are satisfied.
Jane Morris, who was to become Rossetti's muse, epitomised, probably more than any of the women associated with the pre-Raphaelites, an unrestricted, flowing style of dress that, while unconventional at the time, would be highly influential at certain periods during the 20th century.[7] She and others, including the much less outlandish Georgiana Burne-Jones (wife of Edward Burne-Jones,[8] one of the later pre-Raphaelites), eschewed the corsets and crinolines of the mid-to-late Victorian era,[9] a feature that impressed the American writer Henry James when he wrote to his sister in 1869 of the bohemian atmosphere of the Morrises’ house in the Bloomsbury district of London and, in particular, the "dark silent medieval" presence of its chateleine:
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