Case: a diary of events, a fashion magazine

Twiggy is the quintessential icon of the decade of the 60. The Daily Express chose her as the face of 1966 and his body without curves, was the mirror in which millions of girls around the world looked. The 60, such as 20 and 80, are the most revolutionary decades in fashion. In all three, garments help women to free themselves from bondage - physical and social, to show her body or to worship.

They are years that mark the decline of haute couture and the rise of ready-to-wear, a step that calls for a consumerist society, open to change and eager to express their thinking through fashion. "The introduction of synthetic fibers allows to be manufactured more and more quickly, it is a revolution," says Monstse Sancho, director of wardrobe Case series. "Fashion is democratized, people change, is more open, comes the miniskirt".

The costume has made the costumes scouring flea markets and thrift stores, going to vintage fairs, searching the internet but mostly using memories, and closets, his mother and his cousin, and especially photo albums. "They have been instrumental in the setting, as family photographs are less 'arranged' that magazines".

Vestidos-de-Mary-Quant-y-Louis-Féraud-de-la-década-de-los-60.

Sancho uses many original but also lots of clothing garments because "there are many action scenes and double or triple models are needed." Clara's character, played by Veronica Sanchez, has a spectacular wardrobe. "She comes from London, it is more modern than other, more European and wears clothes sewing. Catherine Deneuve is a Spanish. It's elgante and chic!".(http://www.dressesmallau.co/semi-formal-dresses-c196/)

The sixties were marked by the space race and the sexual revolution that greatly influence the designers who also inspired by the breath of fresh air that runs along the street. Sewing workshops are laboratories of experimentation in which working with new materials and fashion of young people away, more than ever, that of the elderly. Much talk now unisex androgyny trend and walking the runways but it was in the 60s when the youth, clothes and hairstyle, proudly spurned the battle of the sexes.

In Spain devastates the yeyé fashion, miniskirt slaps a macho society and breaks down barriers, even the bulls. The Case Series allows us to travel to the 60s and make a very interesting stop in 1966, a year in which things are changing radically in fashion.

"Haute couture dressmaking and have to compete with ready-to-wear that is being established with an unstoppable force. Also the style is changing by the same, and the stiff elegance of the rooms is giving way to comfort and to ease the street. They obligated and hats are becoming obsolete and are only used for ceremonies. Same with gloves three quarters because the sleeves of coats are extended to be more practical. The point is imposed, with brands like Scorpion or Mallerich, with collections very fashionable. Shorter skirts and pants are being implemented. the role of women in the workplace and the teacher gradually expands. "

Dos-diseños-de-Yves-Saint-Laurent-de-1966

Josep speaks Casamartina, historian, art critic and director of the textile collection Montpalau Antoni, an expert voice that no doubt draw a special needle. "Pertegaz is one of the leading couturiers of that year, because he knew renewed very quickly, although it took quite a boutique or make collections of ready-to-wear, he wanted an exquisite and wealthy clientele. It was followed, soon, the other creating cheaper than they had in haute couture, as is the case of Pedro Rodriguez lines. Asunción Bastida, Santa Eulalia, Carmen Mir or the floating dock were brands and creators who knew renewed.

"In Madrid is also the time of the first Elio Berhanyer, Vargas Ochagavia and Herrera and Ollero. In point Scorpion was the first brand that created a line of own stores out. In the ready-to-wear toe mark was Fashion sun, led by designer José María Fillol, created a cooperative fabric manufacturers and garment manufacturers and sponsored by the Government. it is also the time for implementation of department stores in terms of ready-made garments, such as Sears, El Corte Ingles , Jorba or Preciados, before these last two companies join.

What were the star items? And the pattern that best wearing dress(http://www.dressesmallau.co/school-formal-dresses-c409/)?

-The Blouses and cardigans, pants latex, increasingly shorter skirts and more casual combinations in haute couture, trench coats, reversible coats ... In dress, begins Flared dress or bell, under the influence of Balenciaga, Cardin, Courrèges and the first Jacques Esterel but diffused by milliners and clothiers.

- You've been lucky enough to see up close and touch dresses those years How would you define the seam that was made?

-In Antoni Montpalau Col·lecció have many pieces of this period, both haute couture as ready-to-wear, domestic and foreign. It is a time to be implemented machine clothing made both in dressmaking as naturally in factories. Courrèges said that he preferred the machine sewn because they were more homogeneous and perfect, it was a declaration of principles. It is also a time when they are implementing external blips without hem, in their coats, they start to become not covered in some cases.

- Was there much difference between the 'fashion' of the street and coming out of the sewing rooms?

Pretty, haute couture, but is influenced from the street, is just now beginning this phenomenon, remains firm in the luxury industry and exclusive use expensive materials and perfect workmanship, although the lines simplify a lot. In the making, however, everything is very different, the materials are cheaper and there are many genres acrylic and polyester.

- Is it true that dressmakers had a special talent at that time? Are you very young but know someone, today grandmother, who worked in those years? That count?

I've met many, even yet know and try some. It is true that they had a special talent, education and practice pretty hard to know how he had to do things so they were immaculate. They were not always creative, almost never were one hundred percent, as was to be in high fashion, but could be interpreted at the time a way, to know how to cut, as had to iron, etc ... And they were not Fates when spend many hours for the result to be perfect. Dressmakers could not understand the world of ready-to-wear because it was his antithesis.

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