Assimilation Era Fashion

When men were demobilised in 1945, they were issued with a standard suit, a pair of sensible shoes, an overcoat and an already outdated 'trilby' hat.  The war-time austerity look was quickly rejected when a nostalgic revival of the 1915-16 slim waist and full ankle-length skirt was introduced in 1947 and was combined with a soft rounded shoulder line and light, pretty footwear.  By the end of the decade, the general effect was well tailored and well groomed, very neat, pretty and feminine, in a somewhat studied way. By 1949, short hair had returned and cosmetics were used once again.

The duffle coat made its entrance for menswear during this decade. As a spinoff from the war, chino shirts and trousers prevailed in the casual wardrobe. In the latter part of the decade, while women were enjoying their newfound femininity, men were attired in plaid shirts and chocolate brown ties, wide-cuffed black jeans, turtlenecks, sweaters with zippers and sneakers. Some were sporting crew cuts and their idols were Bing Crosby and Frank Sinatra.

 During the 1950s women changed their silhouettes frequently and willingly. Dior launched his H-line, followed by the A-line, or trapeze, while Balenciaga introduced the chemise and the sack. Australian women generally followed European trends in fashion and wealthy Australian women bought Paris couturier clothes for important functions.

However, for the ordinary, middle-aged woman in the street, the change was not sudden or dramatic. She tended to buy new accessories to add to her existing wardrobe and by the mid-1950s she was an elegant compilation of hat, gloves, rolled umbrella and a middy suit in grey flannel.

In contrast with high fashion's 'dress-up' clothes, there was an increasing trend towards ease and informality catering to the needs of the youth market, who now, in a more affluent society, had a new purchasing power.

In a strange contradiction, just as brand names and designer names were receiving greater recognition, clothing as a status symbol was declining in importance.

The young consumers definitely had the most fun with fashion during this period. The 'sweater girl' bra was introduced in 1953. Girls everywhere encompassed their breasts in a formidable garment that exaggerated their shape beyond all probability.

The dirndl dress with no sleeves, billowing out over a profusion of petticoats, was frilled or lace edged. Made from nylon, it was drip-dry and non-iron. The short evening dress, now in a strapless form, reappeared for the first time since the late 1920s in luxurious silk organza. It was combined with the decade's other innovation, the stiletto heel. Evening dresses, both long and short, were usually worn over layers of stiffly starched petticoats.

Hairstyles became extreme; backcombing, beehives, lacquer, the short bob and the pony tail were all in favour.

Some men were outrageously theatrical and were most notably seen in 'zoot suits' (long jackets with padded shoulders and baggy trousers with tapered legs), bobby socks and winklepicker shoes.

Society in the 1960s was dominated by the young; the Beatles were their idols and London's Mary Quant decided the style they wore.

Fashion was inspired by the excitement and new technology of space exploration and Pop Art, which encouraged the use of man-made fibres, resulting in vinyls, plastics and faux leather as the trendsetting fabrics of the day in silver, black and white.

Quant introduced the 'mod' and the 'Chelsea' look and, in 1964, the mini-skirt. With the focus on swinging London, Carnaby Street became the Mecca for the young in search of way-out clothing.

In 1965 English model Jean Shrimpton appeared at the Melbourne Cup in a mini-skirt, without hat or gloves, causing a stir, not only among the race-going fraternity.

Few Australian designers had the resources to make a significant impact on the world of fashion until this decade. Prue Acton caught the mood of the moment, earning an international reputation and success at home with trendsetting styles for the mass market.

Several other well-known Australian fashion houses started out during this time, including Simona and Norma Tullo. Sportsgirl was retailing well and there were more than 20 department stores in the city of Sydney alone.

It was also during this time that the young adopted the classless uniform of the blue jean. Even the French couturiers could not ignore the impact the street was having upon high fashion, and devoted themselves to a more youthful market.

The euphoric mood of optimism and iconoclasm was short-lived, and by 1968 the hippie movement had arrived. Young people's disillusionment and dissatisfaction with what was seen as a materialistic society lead them to drop out, in search of an alternative - often through the use of drugs. The flowering of a romantic or fantasy style of dress came with the hippies, with the flower as its symbol.

Fabric and clothing styles were borrowed from other countries and cultures. Indian beads, cheesecloth dresses and bare feet were typical hippy fashion.

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