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Fashion Icons Of The 1970s

fashion icons of the 1970s

    fashion icons
  • Fashion design is the art of the application of design and [[aesthetics]or natural beauty] to clothing and accessories. Fashion design is influenced by cultural and social attitudes, and has varied over time and place.

  • (Fashion Icon) Fashion, a general term for the style and custom prevalent at a given time, in its most common usage refers to costume or clothing style.

    of the
  • biggest consumers of energy in homes and buildings, which are heating

  • File:1970s decade montage.png|From left, clockwise: US President Richard Nixon doing the V for Victory sign after his resignation from office after the Watergate scandal in 1974; Refugees aboard a US naval boat after the Fall of Saigon, leading to the end of the Vietnam War in 1975; Alan Shepard

  • This is a timeline of major events in Mormonism in the 20th century.

  • seventies: the decade from 1970 to 1979

fashion icons of the 1970s - It Seemed

It Seemed Like Nothing Happened: America in the 1970s

It Seemed Like Nothing Happened: America in the 1970s

"This is the single best book on the 1970s." --Leo Ribuffo, George Washington University "A compelling and persuasive challenge to the journalistic characterization of the '70s as the 'Me Decade.'" --Ruth Rosen, University of California, Davis The title of Peter Carroll's book, It Seemed Like Nothing Happened, ironically reveals the message. The decade of the '70s was far from our common impression of the calm following the turbulent '60s. Instead, it was a time filled with dramatic events and changes. In this unique, comprehensive history of the 1970s, we learn about international developments: the war in Cambodia, Nixon's trip to China, the oil embargo and resulting gas shortage, the Mayaguez incident, the Camp David accords, the Iranian capture of the U.S. embassy and the taking of hostages, and the ill-fated rescue mission. All this signaled a decline in American power and influence. We also learn about domestic politics: Kent State, the Pentagon Papers, Haynsworth and Carswell, the Eagleton affair, the rise of ticket splitting, the Saturday night massacre, Nixon's resignation, the conservative shift in the Democratic Party, and the Reagan electoral landslide. Carroll reminds us of tragedies and occasional moments of levity, bringing up the names Patricia Hearst, George Jackson and Angela Davis, Wilbur Mills and the Argentina Firecracker, Wayne Hays and Elizabeth Ray, Harvey Milk and Mayor George Moscone. Peter N. Carroll has taught at the University of Illinois, the University of Minnesota, and Stanford University. He is the author of The Odyssey of the Abraham Lincoln Brigade: Americans in the Spanish Civil War.

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Catherine Deneuve

Catherine Deneuve

Spanish postcard by Postal Oscarcolor, nr. 111, 1964. Dep. Legal B 14.1618-1964.

Elegant Catherine Deneuve (1943) is an icon of the French cinema who graces the screen for already more than five decades. She gained recognition in the 1960’s for her portrayal of cool, mysterious beauties in classic films of directors like Luis Bunuel, Roman Polanski and Francois Truffaut. Apart from a great actress, she is also an archetype for Gallic beauty. From from 1985 to 1989, she succeeded Brigitte Bardot as the model for the national symbol Marianne, seen on French coins and stamps.

Catherine Deneuve was born Catherine Fabienne Dorleac in 1943, in Paris, France. She was the third of four daughters to the stage actors Maurice Dorleac and Renee Deneuve (who was the French voice of Esther Williams, and whose name Catherine uses). Her sisters were actress Francoise Dorleac, Sylvie Dorleac and Danielle Dorleac. When Catherine was 13 she had the opportunity to play in Les Collegiennes/The Twilight Girls (1956, Andre Hunebelle) during the summer school holidays with her sister Sylvie, and she accepted because she was curious to see how a film was made. She continued with small parts in minor films, until she met Roger Vadim, the former husband of Brigitte Bardot. Stunning and only 17 years old, Deneuve and the 32 years old Vadim began romancing. She dyed her naturally brown hair to blonde to please Vadim, who gave her a leading part in the Marquis de Sade adaptation Le vice et la vertu/Vice and Virtue (1963, Roger Vadim). Her breakthrough came the next year with the musical Les parapluies de Cherbourg/The Umbrellas of Cherbourg (1964, Jacques Demy) in which she gave an unforgettable performance as a romantic middle-class girl who falls in love with a young soldier but gets imprisoned in a loveless marriage with another man. The gifted Demy also cast Deneuve in the less successful Les demoiselles de Rochefort/The Young Girls of Rochefort (1967, Jacques Demy), with her elder sister, Francoise Dorleac. That year Francoise would die in a fatal car crash on the French Riviera. only 25 years old. The sisters were extremely close and Deneuve was devastated.

Catherine Deneuve had had her English speaking film debut in Polanski’s shocking psychological thriller Repulsion (1965, Roman Polanski). She delivered a creepy performance, as Carol, a sexually repressed, paranoid schizophrenic, whose descent into madness results with her murdering men who lust after her. She was again a sensation as a bored housewife who fulfills her sexual fantasies while working as an afternoon call girl in Bunuel’s masterpiece Belle de jour/Beauty of the Day (1967, Luis Bunuel). She also worked with the Spanish director in Tristana (1970, Luis Bunuel), in which she portrayed again an innocent beauty exploited by a lecherous older man, played by Fernando Rey. Unlike in Belle de jour, this time her character achieved independence and eventually exacted revenge on the man who exploited her. The film garnered an Academy Award nomination for Best Foreign Language Film. She gave another great performance in a dual role in La sirene du Mississipi/Mississipi Mermaid (1969, Francois Truffaut), a kind of apotheosis of her ‘beautiful ice maiden’ persona. She had a relationship with Truffaut, and when their relationship failed, Truffaut reportedly had a nervous breakdown.

Catherine Deneuve was the muse of fashion designer Yves Saint-Laurent, who dressed her for Belle de jour, La chamade/Heartbeat (1968, Alain Cavalier), La sirene du Mississipi, Un flic/A Cop (1972, Jean-Pierre Melville), Liza (1972, Marco Ferreri) and The Hunger (1983, Tony Scott). She was the face of Chanel No. 5 in the 1970’s and caused sales of the perfume to soar. In the USA, the press nominated her as the world's most elegant woman. She appeared in two American movies, the comedy The April Fools (1969, Stuart Rosenberg) opposite Jack Lemmon, and the crime drama Hustle (1975, Robert Aldrich) with Burt Reynolds. She remained active in European films during the 1970s, but she didn't find parts of the same caliber as her roles of the 1960’s. She made five films together with Marcello Mastroianni: Ca n'arrive qu'aux autres/It Only Happens to Others (1971, Nadine Trintignant), Liza (1972, Marco Ferreri), L'evenement le plus important depuis que l'homme a marche sur la lune/A Slightly Pregnant Man (1973, Jacques Demy), Touche pas a la femme blanche/Don't Touch the White Woman! (1974, ), and Les cent et une nuits de Simon Cinema/A Hundred and One Nights of Simon Cinema (1995, Agnes Varda). She played a magnificent role in Le dernier metro/The Last Metro (1980, Francois Truffaut) as a stage actress in Nazi-occupied Paris. It was the first of six films in which she starred opposite Gerard Depardieu. For her performance she won a Cesar Award, and the film, which won an Academy Award for Best Foreign Language Film, revived her international career. Deneuve played a bisexual vampire in t

Lacost Logo

Lacost Logo

The early 1970s served as a transformation period for the apparel company. An eccentric partnership was created with the purchasing of Lacoste by General Mills and combining it with Izod. The outcome was cheaper versions of the first class polo shirts brazenly distributed at Wal-Mart and other discount stores. What was then an affordable clothing item, selling at $35, has now become the hottest and most expensive polo shirt, selling at a whopping $98 for men and $115 for women.

Along with other world renowned logos, such as ponies, eagles, tacky acronyms, and the over abundant family names, the crocodile arrives as a breath of fresh air—a zesty lime in a tall glass of bubbling Perrier that complements a side dish of caviar and truffle on buttered bread: tasty, classy, and sophisticated. The French apparel company has skewed fashion with fleeting trends and introduced its own subtle display of power. The vicious crocodile has transcended time and fashion statements. Originally created for comfort on the tennis courts, it has turned into a business icon and set a standard for all polo shirts to follow.

Fast forward close to a century later, the same name dominates the court via sponsorship vehicle Andy Roddick. As ambassador for the totem for the next 5 years Roddick himself has set a standard for the game, ending the 2005 season as the number 1 U.S. player and number 3 worldwide player. Where Roddick’s game ends, Lacoste begins. This game though goes beyond love, deuces, and the occasional ace.

fashion icons of the 1970s

fashion icons of the 1970s

The Great Funk: Styles of the Shaggy, Sexy, Shameless 1970s

Avocado kitchens! Shag rugs! Dacron leisure suits! Earth shoes!

At long last, the author of the beloved celebration of 1950s and ’60s design Populuxe turns his sights on that most confusing and confused decade of all: the 1970s.

The ’70s were tough, man. The president resigned; we lost a war; there were gas lines, urban squalor, bizarre crimes, and soaring inflation. The country fell into a great funk. But when things fall apart, you can take the fragments and make something fresh. Plaid maxi-dresses and macrame may have been ugly, but they signaled new modes of seeing and being. The 1970s were all about reinvention.

In The Great Funk, Thomas Hine scrutinizes the looks and life of this complex era, climbing into the heads (and platform shoes!) of those who experienced the ’70s—exploring the design of our homes and our fashions and scanning the ads that set our desires on fire.

The Great Funk is more than a lavish catalog of 1970s culture and design: it’s a brilliantly original, wonderfully lively look at the “Me Decade” through the eyes of the man House & Garden has called “America’s sharpest design critic.”

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