MUTATIONS.//MODE
1960 - 2000

1. april 2000 - 30 july 20000
Musée Galiera - Musée de la Mode de la Ville de Paris 10 avenue Pierre 1er de Serbie France - 75116 Paris

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The Euphoria of Materials 1960-1975
Substitutions and Blends
In the beginning of the 1960's, the threads and fibers polyamide and polyester, used individually or blended, weave their way into most garments. Under licensing agreements from the American company Du Pont de Nemours, Rhodiacéta of France (Rhone-Poulenc Textiles) makes the polyamide called Nylfrance, the polyester Tergal@ and the acrylic Crylor@ in France. Courtaulds of Great Britain manufactures the acrylic fiber Courtelle in Calais from 1961 to 1990. These commercial trademarks remain familiar to us, as a few well-known models illustrate. The pliable windproof anorak K- Way, trademarked in 1965, is made with the polyamide Nylfrance. The second model, by Christian Dior, is a velour evening dress made from a new generation of polyarnide called Qiana of Du Pont de Nemours (1969).

Imitation and Fake Materials: A Change in Perception
At first, the goal of chemically-derived materials is to substitute them for natural materials: nylon for silk, acrylic for wool and fur, polyester for cotton, and polyurethane for rubber. The polyester film Lurex counterfeits gold or silver. Acrylic fiber even permits the imitation of animal hides... The look of artificial and synthetic materials in this way finds its counterpart in the family of natural materials. On the other hand, accessories are treated in the most unusual materials and colors. Many are completely transparent, in plastic or plexiglas. Among the exposed models, we will notice Roger Vivier's boots in leather and transparent PVC (1966) along with two unusual hairstyles: a double shell in transparent plastic by Pierre Cardin (1970, on loan from P. Cardin), a headband in red Rhodoid, and Jacques Pinturier's feather pompomns dating from May 1968.

This Revolution Gives Rise to Surprising Experiences
With "A Hippie from the Year 2000" as imagined by Paco Rabanne in 1972, everything becomes possible. The extraordinary and sudden variety of materials permits creation without formal constraints or restrictions. Clothing is no longer sewn but riveted, welded, molded ... The "Giffo" by Paco Rabanne (1967) is a raincoat in polyvinyl chloride molded in a single piece; the "Cardines" by Pierre Cardin were also molded (coll. Pierre Cardin); the "K" dress by Bory consists of 250 vinyl pieces to be assembled like a jigsaw puzzle (coll. Du Plasticarium, Brussells). The United States provides an exceptional collection of dresses, known collectively as "Poster Dresses." Following the example of paper, they are made from cellulose fiber. The most famous of these borrows the "Campbell Tomato Soup" theme of Andy Warhol (Fashion Instate of Technology, New York).

The Comeback of Natural Fibers: Cotton, Wool, Leather
Aware of the potential danger of the synthetic revolution, the trade syndicates reaffirm the incontestable qualities of natural fibers. More quality marks are registered: in 1964, "Woolmark" for wool, "Coton Flor" for cotton in 1968, in Switzerland (Mettler seersucker used by Cacharel from 1962), in Finland (Marimekko and Vuokko, coll. Taideteollisuusmuseo, Helsinki), in England (Laura Ashley and Liberty), and others in France. Fabric prints develop resolutely contemporary graphic designs. Wool finds one of its most ardent partisans in Yves Saint Laurent borrowing a famous pants suit from 1979. Thanks to a crocheted vest, everyone will recognize the trend of artisan work. The designers finally explore the many possibilities of leather. At this time while leather is fashionable, Alcantara (or ultrasuede, 1975), a synthetic hide offering the advantage of being machine washable, appears. (Model by Ralston, coll. FIT, New York and by Zandra Rhodes).
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Fig.: Marc Audibet, Automne/Hiver 1987/1988
Manteau/couverture en mohair et body-léotard en gabardine de laine bi-extensible de Verel de Belval.
Coll: Marc Audibet - Crédits photographiques: D.R., Bureau de presse Christine Blanc