The cast of “Mad Men” will enter the late 1960s in the sixth season of the series, and though AMC has kept storylines tightly guarded, the handful of promotional images hint that Janie Bryant’s costume design will be as historically accurate as her praiseworthy pieces from previous seasons. (Read the TV review.)
bikini) a continuation of short hemlines, empire waists, polyester and embellishment.
Bryant said old photographers were one of her big sources of inspiration, and it shows in the newly released character portraits.
Peggy’s hair, on the other hand, reflects a radical beauty shift of the time, with a length well above her chin. Though not as dramatic as the infamous Mia Farrow pixie, the cropped cut combined with a Peter Pan collar is a nod to Twiggy.
And Joan’s formal gown with embroidered trim conjures a young Elizabeth Taylor.
For an idea about what other fashion highlights may come through the season, we looked back at Style sections between 1968 and 1969.
According to a piece on Rome’s burgeoning fashion week from July 27, 1969, Joan’s gown would be on trend for evening, as would Megan’s hair:
Gams came out at night, through thigh-high slits in evening gowns.
EVENING. mainly covered up in medieval jeweled velvet and brocade gowns, pantsuits of all fabrics, from lame to feathers. Practical vinyl trims are combined with fragile organdies.
COLORS. Black, white and beige and anemone shades ranging from pale pink to carbon purple.
HATS. Topping all collections, from Amish-like vinyl bonnets to eight-inch-high sable toques.
MAKEUP. Some dabbed-on freckles and penciled-in lower lashes, along with the ubiquitous false eyelashes and full circle (mainly blue) orb linings.
HAIR — Tousled and straggly, with the unmade-bed look popularized by Brigitte Bardot.
Toque-style hats had small plugs in multiple pieces, including Post staff writer Dorothy LeSueur’s description of a fashion show for Rudi Gernreich, which she likened to an oriental circus.
Swimsuits were sleek as costumes for high wire artists. Some were slashed below the waist, and others had the sides gaping wide open. Belts held these breezy designs in place. Even a duffer who wouldn’t wear them could only describe these creations as fascinating free-form shapes.
The center ring attraction was the big Gernreich collection done to please the master himself. Oriental splendor added excitement to an already exotic group.
And in a piece on Halston’s fall line, which he personally brought to Julius Garfinekel’s in Washington, “tall Persian lamb tocques” were described as en vogue along with “crocheted matching skater’s caps with long wrap-around scarves, elegant mink baby bonnets,” and “leopard-trimmed fedoras.”
By the fall of 1969, Indian and gypsy influences were everywhere, along with the “peasant look,” concluded a piece from July 20, 1969.
Jacqueline Kennedy Onassis and Gloria Vanderbilt Cooper are among the wealthy women who first sought out the lowly quilt as a status-symbol fabric for long gowns.
Most of the major New York designers have shown quilting, patchworking, Indian head-bands, right gypsy-like colors and peasant embroidery in ball gowns, minis and pantsuits for fall.
Parisian designer Yves St. Laurent was one of the first to play up patchwork for spring, as in the photo below. To go with what they call the “earthy look,” cosmetics manufacturers are stressing such colors as rustic red for fall.
Could we see the first bit of hippie-influence on Peggy by the end of the season? Or a kaftan on Joan? Fashion watchers will have to wait and see if these couture influences make their way into Sterling Cooper Draper Pryce.