With the growth of the women's liberation movement (in 1970, more than 50,000 people participated in the Women's Strike for Equality, the first women's equality march in New York City), a bold new chapter was opened in women's dress style.

Fashion in the 1970s showcased the female body like never before: clothes were soft and snug, natural curves were prized, and most of them did not require the structural support of underwear. Physical liberation makes pantsuits and suits commonplace. By the late 1970s, designer jeans had also become acceptable for almost any occasion.

Despite its boldness, '70s fashion also had a light visual touch: metallic tones dominate, but Lurex and soft copper accents dominate; Rich in colour with an ice cream hue...... But no neon lights yet.

It was a fashionable age of discos and jumbo jets. Announcing the fashion verdict: "Shawls, ponchos, ponchos - anything that can be wrapped, strapped or rolled around the body is free in every way."

Dream designs by new romantic designers

At the turn of the century, hippie culture was still holding its own in fashion. Some reflected the folkloric spirit of the hippie movement through hand-me-down clothes and ethnic costumes, while others took a more sophisticated fashion path that was more prairie pastoral than earthy hippie. Less provocative and more romantic, this style has been inspired by London designers and brands such as Zandra Rhodes, Ossie Clark and Laura Ashley, And the support of Gunne Sax, run by Jessica McClintock in San Francisco, and Giorgio di Sant 'Angelo in New York.

"All the lazy falling things, and a lot of long, dangling tassels, let the lazy feeling lingering...... Anything can make you think a little bit about yourself." On the cover: The film's star, Natalie Wood, wears several Zandra Rhodes costumes, which are described as "yard after yard of pure fantasy designs that evoke the cheerful worlds of Russian fairy tales and English storybook pantomime."

Soften the cut

If there was one sense that summed up the decade's fashion, it would be "soft" : Sonia Rykiel and Missoni introduced new, luxurious knitwear; Halston has the Ultrasuede pieces and tight knitwear; Calvin Klein introduced cicada thin satin slip dresses and double-knit knit suits; Fiorucci introduced stretch denim; Diane von Furstenberg unveiled her second skin-wrap dress. All the clothes have a soft texture, and the female body is shown vividly in the slender pieces. The trend was succinctly described in an August 1977 Vogue article: "Sportswear dresses: Just soft."

Sportswear is an emerging category that has less to do with sports and more to do with relaxed split pieces where softness is key. Comfort in all clothing is of the utmost importance, especially when a large number of women enter the workplace, they need stylish and practical work clothes.

Active in the 70s fabric - polyester

The use of polyester reached its peak in the 1970s. If there was any fabric that could wrap itself in the 70s, it was polyester. In double-sided knitwear, polyester brings to life the fashionable silhouettes of the era: pointy collars, sweater sets, sheath split dresses. The rise of cheap fabrics coincides with the decline of haute couture: In 1968, Balenciaga closed its Paris stores completely and bemoaned the state of haute couture, His contemporaries Pierre Cardin, Andre Courreges, Yves Saint Laurent and Emanuel Ungaro all built ready-to-wear businesses.

Polyester makes it possible to produce and sell stylish suits and stylish mini skirts on the runway at a low price. Although the fabric has its drawbacks (it is not breathable and has a plastic smell), it has been widely praised for its non-ironing, low-maintenance properties. If women's liberation came a long way in the 1970s, polyester (invented by DuPont in the late 1930s and marketed as a fashion fabric in the 1950s) freed women from the iron. At the same time, it offers women a low-maintenance outfit that they can wear to the office. But by the late 1970s, consumers began to lose interest in polyester; Instead of being praised for its synthetic properties, it was devalued.

The fashion world has a relationship with denim

In 1973, Neiman Marcus called Levi Strauss "America's most important contribution to global fashion." That is a high compliment, but an accurate one. Denim was so popular that almost everyone wore it. In the 1950s, twill fabric changed from workwear to street wear, and jeans gradually took over. By the 1970s, even haute couture wanted to incorporate denim.

Levi's, Lee, and Wrangler became mainstream brands at the time, but they were soon joined by Calvin Klein, Gloria Vanderbilt, Peter Golding, and Fiorucci. The age of the designer cowboy had begun. In 1978, Vogue magazine wrote in an article tracing the history of jeans: "Low-grade blue jeans clearly do not deserve a brand name. Until now. Just when skeptics say the market for blue jeans is saturated and people are talking about the demise of jeans; Just as Levis sales were falling and many stores were lowering the sticker price of jeans, Calvin Kleins, Geoffrey Beenes, Ralph Laurens and Oscar de la Rentas began to brand blue jeans with their famous names and acronyms.

Like the perfume and lipstick model, this is a way to buy designer brands at a low cost. The same article also states: "Calvin Klein released his first pair of jeans earlier this year...... He insists that 'jeans are not dead: they're sexy, they're still great'. He claimed that he waited until he could find a licensed manufacturer (Puritan Industries) to make jeans at a 'reasonable price' before he ventured into the jeans space. I want girls who can't afford to wear my clothes to wear my jeans. '"

Just a few years after opening in 1977, Studio 54 entered the jeans space with the brilliant slogan "Now everyone can get into Studio 54."

The Battle of Versailles brought about a new regime

The golden age of Paris haute couture was gone, and in the 1960s London really came on the fashion scene. By the 1970s, it was New York's turn. Manhattan is home to many designers who not only create fashion, but also guide it: Calvin Kelin, Ralph Lauren, Bill Blass, Stephen Burrows, Oscar de la Renta, Halston and Anne Klein. Each brand has its own unique style and moves at its own pace, breaking the rhythm of Paris fashion.

Eleanor Lambert (the mastermind behind the Met Gala, Fashion Week and the international best-dressed lists) is once again contributing to the American fashion scene. In 1973, Eleanor Lambert held a series of events in Paris and Versailles to raise funds for the restoration of the historic Palace of Versailles, These included a show featuring five French designers (Christian Dior's Marc Bohan, Pierre Cardin, Hubert de Givenchy, Yves Saint Laurent and Emanuel Ungaro) and five American designers (Bill Blass, Stephen Burrows, Oscar de la Renta, Halston and Anne Klein). Although the show is now known as the "Battle of Versailles", at the time, it was not a competition. In the eyes of Parisians, it wasn't a game at all.

Coverage of the show was divided into two parts, one Parisian and the other American. The report described Parisians' languor (Rudolf Nureyev danced a scene from "Sleeping Beauty," Josephine Baker performed a burlesque with the cast of Crazy Horse Saloon), Then came a brisk performance by the Americans, which was rigorously edited and concluded with Liza Minnelli's funny-faced "Hello, Paris."

In the International Herald Tribune of November 30, 1973, Hebe Dorsey summed up the night's lasting impact in an article titled "Americans Steal the Show at the Versailles Ball" : "What is truly surprising is how mature American fashion has become. The French can no longer ignore it."

A throwback to the wartime style of the 1940s

If the 1960s looked ahead to the space age, by the 1970s the fashion world was seriously nostalgic. Maybe it's The Godfather (1972), maybe it's Yves Saint Laurent's 1971 Liberationn or Quarante series, The collection was inspired by the wartime fashions of the 1940s and the designer's Muse, Paloma Picasso, who wore clothes found at flea markets, and the practice of rummaging through wartime memories for the sake of fashion was frowned upon by Saint Laurent. In any case, tastes seem to use the '30s and' 40s as reference points. The silhouette borrows from the pre-Dior New Look shoulder structure, and the women wear shirt dresses in geometric prints.

Leafing through Vogue's fashion headlines reveals multiple examples of fashion that pay homage to the 1940s, and the beauty world is getting in on the nostalgia bandwagon. An article in the June 1972 issue, "The Birth of Dark Nails," declared that "Violet, another classic color of the '40s, looks better on nails in the' 70s than ever before."

Disco fever and punk rise

It was 1977. John Travolta is having a blast in the just-released "Saturday Night Fever," and Studio 54 opened with much fanfare in the spring. Disco is in vogue and people need to dress up. For women, spandex and tight jerseys can fit women's curves well, cut into off-the-shoulder collared tops, hot pants (a new favorite in the 1970s), pleated middresses, and more. If it can shine brightly under the disco lights, so much the better. Lurex is the metal of choice. For men, the material's disco flares and dramatic pointe lapels are sharp enough to cut through the carpet.

High fashion is also taking off. Halston and Stephen Burrows were the architects of flashy disco, and Norman Norell's stretchy sequin gowns kept turning women's heads.

The previous year, 1976, in London, Vivienne Westwood and Malcolm McLaren had opened a fashion house called Seditionaries in Chelsea, This was followed by the opening of a fashion shop called "Sex ", which started a punk fashion movement. Punk fashion was inspired by a more deviant genre of music, a rejection of the status quo: the political climate, the ongoing economic downturn, the frustration with capitalist life. Zandra Rhodes kicked off the decade in 1977 with a romantic, folklorical chiffon dress, after which she went full punk, deliberately tearing it up, holding it in place with safety pins and deliberately piercing it.