Male V.O.- This flat tire needs a man. But, when there is no man around, Goodyear should be.
Dayle Haddon- Basically it was just a breaking free, a rebelling, a beautiful time. And then the skirts going up.
Harold Koda- Micro-mini skirts, Cheryl Tiegs and Rene Russo dancing on the edge of a volcano…
John Casablancas- You see that fashion is part of the sexual revolution, its part of the democratization of society.
Kohle Yohannan- You see an end to the reign of the sophisticated lady.
Male V.O. 2- Here she is, she is single and fun-loving and she spends money.
Dayle Haddon- It’s so shocking today, and I think of my daughter today how normal so much individuality and differentiation is.
Garren- It was very much when fashion changed, from being so proper and stately…
John Casablancas- Boundaries began to be broken all over the place, but not only in fashion.
Dayle Haddon- I was part of that movement. Bell-bottom jeans and Jimi Hendrix, experimental, psychedelic drugs. It was always about learning and growing.
David Fahey- This is Peggy Moffit, one of the leading fashion models of the 60’s. This set the tone of what was going on in the sixties.
Kohle Yohannan- And also, you see the influx of ethnic models, like Donyelle Luna, who was extraordinary in every way.
Dayle Haddon- To tell you the truth, physically I wasn’t really right for that time because I wasn’t a tall, thin, mod, Jean Shrimpton type. So it was either that or a baby doll lost child.
Kohle Yohannan- Here comes Twiggy.
Twiggy was a revolution in and of herself. Her very presence in fashion magazines was representation of youth culture.
John Casablancas- She was very modern, very skinny, her features are eternal.
Kohle Yohannan- Yves Saint Laurent was one of the first designers to conscientiously look at youth culture and to bring that back to the couture salons. We go from ball gowns to mini skirts in one generation.
Dayle Haddon- Mini skirts worn on the hip, go-go boots, fish[net] stockings. It was a bit the first James Bond movie. Stuff like that.
Harold Koda- It was a space-agey quality to it that relates to the periods optimism about technology.
Dayle Haddon- It was not sporty, not sophisticated.
Harold Koda- The 1970’s is very different.
Female V.O.- Women complain of being looked on and evaluated by sex and not ability.
Female Singer- You’ve come a long way baby, to get where you got to today!
Male V.O. 3- Ha! For my money women have come too far!
Kohle Yohannan- The working force woman generated a more practical aspect of fashion.
Male V.O 4- I’m being influenced primarily by my customer, what I think she wants.
Garren- They were trying to push the working woman, the woman who knows where she is going the woman who has really a strong attitude.
Harold Koda- Women are shown in fashion editorials as powerful or sometimes, decadent sexuality.
MUSIC- STUDIO 54
Roxanne Lowit- Pat Cleveland, [and] Jerry Hall at Studio 54. It was an amazing, amazing place.
Kohle Yohannan- The disco era was more revealing, overtly erotic-looking clothing. However, you also have the parallel story of the working woman, the all-American blond. Someone like Lisa Taylor.
Garren- The big girls at that point were Patti Hansen, & Beverly Johnson, who was the first black model who got a Vogue cover. She was an icon.
Kohle Yohannan- With the advent of multi-cultural models, Iman essentially started a forest fire where there was already a spark. The financial dynamic changed in the modeling industry.
Certainly Iman was a great star on the runway, then, they realized that she was also an image that would carry into advertising. 1974, Lauren Hutton gets a half-a-million dollar beauty contract…
John Casablancas- Christie Brinkley, she had 4 or 5 clients who wanted her. I think the maximum rate was $800 dollars a day. So, I said, “Why don’t we double, triple that?” And it worked.
Kohle Yohannan- From the late 70’s onward it’s the joining of the runway queens and the advertising. That is where the 80’s become what they are.
Khole Yohannan- It wasn’t just a face, it was a million-dollar face.