that switch just changed everything. great style is something that is grown from within. >> style is culture. style is expression. >> that is nothing more than a shout of victory. >> stand up and say, no more. >> i don't believe there has been a fashion decade as tumultuous as the 1960s. >> basically, they are great. they really are. >> people celebrated their bodies literally by showing their bodies. skirts went up. >> the birth control pill is effective if taken as directed. >> the pill is a symbol in the

radical changes in the culture. >> people realized how you presented yourself was a political act, an artistic act, it was something to have fun with it. >> disco was a wild, mad, drug saturated party scene. >> the '60s and '70s, our fashion represents freedom. ♪ ♪

when people think of the '50s, they think of something very stiff and conservative. we are talking about a time in which society was completely dominated by white men. this is the era of conformity. >> in the '50s, everything was kind of like repressed. >> in the eisen hower era, everybody was in black and white. >> a man could not be in business in the 50s and even the early '60s unless you were wearing a hat. >> what happened is the world was changing. the world was changing. >> the united states elected its 35th president in 1960. john f. kennedy. the youngest man ever elected. >> we stand today on the edge of

a new frontier, the frontier of the 1960s, the frontier of unknown opportunities and perils. >> we begin with the kennedy administration. >> kennedy represented youthful optimism. >> we were not going to be a rural country anymore, we were an urban country. >> and kennedy was cool and sophisticated and cosmopolitan, and so was jackie. >> they represented something that was young and as spiration. and that was strikingly different than the last few presidential couples, and so different from the eisi eisen howers. >> okay, there was something

that actually represents us. there was a reason john kennedy took his hat off for his inauguration. >> he chose to signal to, you know, the millions of people who were watching that this was a new generation, and it was a new time. >> all of a sudden men thought that hats are old-fashioned. >> john kennedy had the style of a kind of wealthy upper class new england person, so it was more casual than sort of the typical ruling class person. >> kennedy carried himself with simple style, and it was never over thought and it was very much with ease. >> style matters with jack kennedy, and his style is grace under pressure. he defines cool. >> president kennedy's youth, and his excellence and great physique were all different rfrm

other presidents. >> jackie seemed to not sweat the details. >> she was like american royalty. there was an impeckability, but all relaxes. bright lines, beautiful colors. >> her pill box hats. we still call the rounded collars, jackie kennedy collar. >> everybody was picking up on how she dress that hed. >> people could replicate her style. >> she was intelligence of how her style was perceived. she had a sense of how you could use style from a political point of view to get a message across. >> when she came to the white house and became first lady it was very important to her to have an american designer so she

turned to cassini who is a fashion designer but he was really a costume designer of hollywood for many, many years. one of the reasons she turned to him, knowing that he was a costume designer, knowing that he knew how to package stars, both for the camera and off camera, that was critically important to her. >> the presidential plane landed in dallas, and -- >> jack kennedy goes to paris because he wants some nato to stay supreme and wants to meet with the french leader. >> they did not get along terribly well, but he and jackie kennedy got along well. >> she loved french fashion. >> she knew who the top french

designers were. i promise you truman did not. >> mrs. kennedy until this night had been wearing american-designed clothes, and peace came in the form of mrs. kennedy's decision to wear a gown by one of france's main designers. >> she used fashion diplomacy. she took that opportunity to celebrate french couture in france and sort of honor it that way. >> she certainly captivated the parisians. >> i am the man that accompanied jacqueline kennedy to paris, and i enjoyed it. >> it was the first time you saw a president and first lady as icons of style, a couple that shared that particular connection and that value system which had always been very important in europe, and i think that was really a turning point

of how everybody thought what you could do with an image. >> when kennedy is in paris, he is ae ppit mizing. we were selling our pop culture and art and style all over the world and everybody was buying. >> but there was also the civil unrest at home. >> we're marching today to dramatize to the nation and to the world the hundreds and thousands of negro citizens here in this area are denied the right to vote. >> the civil rights movement is one of the defining moments of

the 1960s, the freedom rides and march on washington, and martin luther king as a symbolic figure, and also somebody like malcolm x. these are all parts of that era. >> as a little girl i can remember very distinctly looking at a black and white television in our living room and these huh kwre horrific film in the south, the black people had hoses turned on them and martin luther king and the whole idea of conquering hate with love. >> look at any self rights footage, and these are african-americans wearing church clothes. it's symbolic to say don't judge me on the color of my skin. >> i think the african-american community always wanted to look nice because they did not want their lack of being dressed properly to be held against them because so many other things

were. >> it's not just civil rights of black people, it's civil rights of all people. >> certain people are frightened of other people being included. it's about inclusion. >> you had all of these different groups question, are we really equal? when they questioned themselves they discovered they weren't, so the '60s was, like, we have got all these issues, what are we going to do about the issues? right. but, uh, a talking gecko? i'll tell you why because people trust advertising icons. some bloke tells you to go to geico.com and you're like, really? and just who might you be? but a gecko - he can be trusted. i ask you if you want to save hundreds on car insurance. and you're like, yes thank you, mind babysitting my kids? i'm like, of course i'll sit with the kids.

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tonight, the playboy philosophy. >> i think it's important for the record to establish that you are seeking, in effect, to annul the traditional code about what is sexual behavior? >> i am suggesting you be examined. it's not true that i am by any sense, because the end i am seeking is very similar. the real key to the philosophy is not offering an alternate moral code to the traditional one, but a suggestion that we have to find better answers if we re-examine the old traditional ideas. >> you cannot estimate the power of hugh hefner when he invented playboy. >> it was the first time girlie magazines were being sold in

reputable stores over-the-counter. >> there's no magazine that has the impact on fashion and style as much as "playboy." >> "playboy" was for men like "vogue" was for women, and there were not a lot of fashion magazines for men before "playboy." >> the playboy man was very sophisticated, and i think he said something like, he loves to listen to jazz, and he knows how to make hors d'oeuvres and all this stuff. >> "playboy" had a big impact on american society. hefner was creating a new society, and he was telling me they did not have to be c conscientious working drones. it marked a shift of productivity and restraint to

one that emphasized pleasure and consumption. >> most people want to decide for themselves how many children they will have and when to have them. >> the pill really has revolutionalized the birth control picture in the last decade. >> there would not have been a sexual revolution without the pi pill. >> the pill had an enormous impact on women's lives and their attitudes and therefore also their style. if you could take a pill and not get pregnant then women's whole behavior could change completely. >> it's a social revolution for women. >> you can find of enjoy your life or your sex life or whatever, you know. >> all of a sudden it just brought a different spirit to

women, more empowered, more freedom, more control over themselves. >> the pill was the single transformative medical miracle for men and women, you know, to change their attitudes toward how you could be as a single person. >> isn't this whole subject of sex being discussed and written and talked about too much? >> people are now talking about it a great deal and i don't think that's so bad. >> i do. i think it's a pity. i think it spoils the mystery. >> in 1965 when helen took over cosmopolitan, she changed it.

>> she was empowered by her own independence and self worth. >> she puts this model named raw nadya on the cover with large breasts and big blond hair and a very sexual expression on her face and she wanted to project the image of cosmopolitan shaking things up. >> it was giving permission to be as sexy and articulate about their own sexuality as you wanted to be. >> it was one of the first times in this country that anybody had come out speaking about sex so frankly and honestly and out in the open. >> i did several of the covers myself. they were daring. i remember walking in for one of them and they handed me what looked like a bunch of strings, and they said here is your outfit, put that on. it was norma kamauy's first time on a magazine cover, and that

was the kind of cover that dared women to go where they had never gone before. >> effective "cosmopolitan" rocked the whole culture. she really impacted the nation of women, particularly young women. ♪ >> skirts went up and people celebrated their bodies literally by showing their bodies. >> the mini skirt is really a physical embodiment of the desire for sex in some ways. >> it's meant to attract the eye. >> they are out in front and they are taking control and using their sexuality as something that is very powerful for the first time. >> there's an ongoing debate about who originated the mini skirt. most people associated the mini skirt with mary kwan.

>> and mary kwan said it was not him or me, it was the girls in the street. it was definitely not a question of fashion designers imposing the mini skirt, it was a question of coming out of youth culture and girls were wearing shorter and shorter skirts and taking it upon themselves to give themselves their own identity, so fashion designers were really just kind of reflecting back to them what they saw they were interested in. >> came from young people who wanted to style themselves in a way that signaled their departure from mainstream society. >> it was stunning. this nation and the world had never seen anything quite like it. relax, i'm not gonna forget anything bedtime's at eleven. eight. yikes, you're strict... allergy to shellfish. peanuts. oh i should write this down. hey, what's your wifi password?

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world war ii we had now become a world leader as a country. we had a lot of technology that we were very proud of and we were really upping our game in the space race. it became a huge part of american inspiration and american pride as well. >> the space race was very influential in design. >> people were wearing unusual man-made fibers, wearing sleeker silhouettes and moon boots. >> there were bubbles everywhere. they lined mini dresses. >> architecture was changing, it was becoming more modern so the world was really changing. >> the sand in terminal was iconic, and there was a lot of imagination to this approach. >> there was john lot inner who aop ao who made you feel like you were walking into the future. >> i knew him personally and i loved everything he did.

he did something that not very many people did. >> he took nature and this futuristic architectural look and pushed them together like nobody ever had before, and that's what is magical about his architecture, and it's liveable. >> it was a space design across the board. we want nothing for ourselves, only that the people of south vietnam be allowed to guide their own country in their own way. >> when john f. kennedy died, in his place comes lindon b.

johnson. >> he's seen as something alien, and he has none of the cool jack kennedy and none of the cosmopolitan. >> and the vietnam war ultimately comes to split the desire, so when you look at hippie culture -- >> they have no concept of out loving the enemy, so we're going to change it but we're not going to change it with bombs and guns, we're going to change it with flowers. >> fashion has always been a tool of protest. clothing has always been a simple as an opposition. >> people began to realize the

way you presented yourself was something to have fun with. >> young people were having their own style, their own attitudes which were expressed in air o in their own clothing, and it was about asserting your own individuali individualism against certain authority. >> women are not shaving their legs or armpits and nobody is wearing deodorant and jesus sandals are in abundance. >> if you are dropping acid and seeing 85,000 new colors you have not seen before, you are going to wear pretty crazy outfits. >> men are wearing ripped and torn closed and going shirtless and people don't care about grooming. >> that's when long hair began. they grew their beards. everything was about let it go. >> when men had their hair long it was a statement of

antiestablishment attitude and individuality and that you are going to be this own person and not a corporate flunky to serve the man. >> don't be ashamed. we want black power. we want black power. what do you want? >> black power! >> the late '60s sees the emergence of a different approach to racial politics, and it's not the civil rights movement anymore, it's the emergence of what comes to be known as black power. you have the emergence of a younger generation led by groups like the black panther party. >> black panthers adopt add more milita militant stance. the black panthers used style and their bodies and their fashion. >> black panthers, the big

simple becomes the beret. they are taking a military look that is not part of the vietnam soldier look and adopting it to urban warfare. >> the black panther, it was natural hair and it was wearing lots of black clothes, and it was black leather jackets and it was definitely associated with revolutionary liberation movements around the world and that was a powerful and stylish look that presented an image of powerful and chic and proud black people. >> black panthers pioneered a culture that was not just about fashion but also about gestures and language and speech and music as well. >> so the style imagery from the black power movement is something that would be appropriated by various cultural forms and groups in many generations long after the black

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roy h. froic dropped his first and last names and went as hole stun, and he halston put j

pill box hats. >> if you look at clothing fashions in the '60s and saw the '70s, you are like, this is a radical change. >> i worked with halston when he was the hot-start movie star, tpgs designer, and his parties were legendary. >> i knew him socially. i was an actor and i was not in fashion and he was interested in my opinions because i was not in fashion and he offered me a job being one of his assistants. his staff was very young. we were still connected to the streets and to the younger people, and not the rich people that were buying his clothes. that's what we brought as assistants into the house of halsted. he had the class and the street as well, and the street is where the party was. >> halsted first became famous for his hats, his pill box hats, and then he moved into making very modern streamline clothes,

very easy-looking garments but with a lot of paw tphaurb. >> it was revolutionary. it was very new because it was minimalistic, and we had not seen minimal in fashion. >> halsted was all about the fit and movement of whatever the fabric was. >> everyone wore his clothes. >> in the history of american fashion, there really had not been very many famous american designers. he was the first iconic fashion designer. >> and this american alliance decided to put a fashion show on and raise money for the

restoration of versailles, because versailles was in bad shape. >> it was the brainchild of eleanor la eleanor lambert. >> eleanor lambert knew it was no fashion show, she was telling everybody it was a battle. >> it featured five american designers and five french designers. >> as far as the american designers are concerned we had halsted, boss, anne klein, and -- >> anne was the only woman. all of the practicing was going on in new york, you know, in picking out the clothes and how we were going to do and then we hit versace. >> the french put on very elaborate fashion shows with beautiful clothes and elaborate sets. the french part lasted 2 1/2

hours. they had so much scenery and so much things that had nothing to do with the presentation. big imitation boats that were highly decorated coming in with a girl standing still with the french designs on it. the french show was so long and so boring and over stuffed, the fashion was lost, it was a hodgepodge. when the americans came on from the first moment, we pumped up the music. ♪ >> i don't think they ever heard al green played in a royal theater. >> the whole idea of models moving to contemporary music was new. >> the show was opened with liza

minnelli. >> our girls strutted and walked, the movement and energy and the throwing of the clothes and the throwing of the clothes and the clothes never stopped moving. >> that was the first time that ever kind of modeling had hit the runway. the clothes were free and the bodies were free, and the energy was free, and the french didn't know what was happening. >> they had never seen anything like this at all. >> they went wild. >> they were standing up. they were trying to dance. when it was all over, these beautiful silk programs that i think cost $200 to buy, they were throwing them up in the air and on the stage as if they were at a rock concert. >> we were dominated by african-american models. >> it was a coincidence there were so many black models in the show. >> we weren't counting. nobody was counting quotas and nobody was saying we have eight black girls and only four white

girls. nobody was doing that kind of math. >> it was not intentional. these were all girls that knew how to show clothes beautifully. >> american designers totally cast the french fashion world into the shade and the battle of versailles became famous right away, and it was such a shock for the french and americans to see the americans doing so well. >> the battle legitimized the battle, and it was not just copi copies of fashion. >> it changed from then on. because france started imitating america after that. it really was the beginning of a seismic shift in fashion, in the world.

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once upon a time there were three little girls that went to the police academy. ♪ >> "charlie's angels" was a popular television show in the late '70s. farrah fawcett was the most identifiable of the show's

stars. >> farrah fawcett was best known for the iconic poster she did in the 1970s. >> there was a blanket behind her and her blond locks were feathered to the gods. >> her hair was the first thing that entered into the room. it was like, hair. it did this just without any help. >> she chose to wear her red norma kamauy bathing suit. >> i did a test of the red swimsuits and i made a few of them and said we have to change the fit, and then i see this poster and that was the suit that she wore. >> that was on the wall of every little straight boy that i knew when i was an add adolescent in the 1970s.

>> lucky for me it's in the smithsonian now if you can imagine. >> i think one of the reasons it resinated so much is she embodied a look of what the ideal american girl was in the 1970s, outdoors, athletic, healthy. >> but there is kind of a sexual fur ross tea also mixed in there. >> they are trying to give a look, and they say farrah fawcett. >> everybody talks about farrah fawcett in the red bathing soot and it shows how a item can become a symbol in our culture. >> when it comes to a period of time, you cannot leave out farrah fawcett. >> in the 1970s, as women are going into the workforce more,

some women moved towards trousers and pantsuits, and some said can you wear a dress and still be a successful working woman? >> and a lady said i had an idea of a dress and can you make it for me? >> i made a couple samples and came to america and i knew nothing about american fashion and lived the american dream at age 25. >> diane was really in the middle of the cool because she was hanging out with everybody at studio 54, and everybody looked at diane as becoming the new girl in town with an incredible look of her own, with her mane, and the wrap dress. >> it existed before, but nobody did it in jersey sib annual

shepherd wore it for the taxi driver. >> it was so easy. put it on like a shirt and wrap it around. nothing could be easier. >> it was relatively affordable. it came in a million different prints. it sold like hotcakes. >> it's proper and sexy, and you get the guys and their mother's won't mind. >> the little wrap dress was not only worn by secretaries and soci socialites. >> how many iconic items of fashion can we cite that were created fairly recently that had staying power. that wrap dress is a phenomenon. >> diane became a symbol of

women's liberation and women's empowerment and that dress embodied all of it. >> 45 years later it's still around. i made the dress but really the dress made me. >> there's a new form of assault on city streets these days, an audio assault. the sound of disco music pouring from portable -- >> disco gets it start from funk and soul music from the 1960s and '70s. >> disco was a drug-saturated party scene. you danced the night away with all your gyrations and you were covered in sweat and people were captivated by the whole experience. ♪ >> disco was very important in

terms of people being free to express themselves. it showed us that we can party together, you know, we can enjoy one another. >> there were there are elements of disco culture that grow out of gay culture. it had been going on, but it was underground. and in the '70s, it became above ground. >> it was definitely an important music phenomenon and had a big impact on fashion for that decade. >> disco brought out some peacocking. disco very much said i want to look good and not just women but men. >> what did you wear to studio 54? the flashiest outfit you could possibly find. >> guys would often wear suits, women would often wear dresses, platform shoes were big. disco sunglasses were sometimes

envogue as well. it was a very much upscale, aspirational music. and so the sense of fashion was also upscale and very much aspirational, too. denny's new super slampler bacon. eggs. french toast. and buttermilk pancakes for $5.99. $5.99 are you out of your mind??? why are we still out of our minds!?!?! denny's new super slampler - all for $5.99. [indistinct conversation]

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♪ macho man ♪ i've got to be a macho man >> each member of the village people was dressed as a kind of enthemic male masculine style. >> gay men eroticized art types that are typically very gay friendly, construction workers, cops are cliche bigots and ho homophobes. >> there were a lot of straight people who didn't even know what was happening at all. >> when i was a little kid, one of my favorite groups was the village people i was kind of naive, no gay dar at all. i was taking village people at face value i was like, man, these guys are cool-looking dudes, an indian, police officer acres guy with all the leather. these guys are amazing.

i'm singing songs called fire island. yeah, this is the bomb, man. i didn't get it until, you know, somebody broke it down. but then even after that i was like, so what? their music is still great. >> officially the largest anti-disco rally. >> 50,000 people, the largest crowd of the season, showed up at chicago's komisky park. many came for disco night. >> he is anti-disco. >> between gangs, as planned, a huge box containing thousands of di disco records was blown up. >> yeah! >> fans stormed out on to the field in thousands, disco records were hurled like frisbees, bombs were set, the mele lasted an hour and a half, and resulted in arrests.

>> why did they get all hyper? >> he wanted to blow up the disco records because they don't like them. >> it destroyed sox park, burning dsko records. they had to cancel the game because they so screwed up the ball field. >> there was a lot of pushback and some of it was racist and some of it was sexist, and some of it was homophobic. >> so many of the major disco artists were black or latino. part of the reaction was the idea that let's get some whiter music back on the radio, back into popular culture. >> disco was just perceived by some as a threat because this was the music of queers and this was the music that was pouring out of clubs where there were gay people dancing with straight people and white people dancing with black people. and it was just perceived as violating multiple levels at multiple times different taboos. >> disco was such a phenomenon,

you look at what was happening in america, there wasn't much fun. >> there's a malaise that comes into the american life and disco was a way to break from the malaise. >> disco brought so many different cultures and gender and race, class together. the music had a joy to it. and no matter what was going on in your life while that music was on, you were free. >> the 1960s were a combination of sort of the highest of highs in american history and the lowest of lows. >> the '60s was an era of assassinations, civil rights and counter culture and the birth of fen nichl. >> all the many different styles

that american youth adopted in the late '60s and early '70s had some bearing upon rebellion in american society. >> so you had everything from blue jeans, black leather jackets, natural hair. >> there's a transition in the 1970s. >> a lot of stuff that came out in the '70s, wide ties, flares, the terrible muddy colors, things we first looked at and go oh, god, that was a mistake, have become part of the grab bag of history that is endlessly referenced by designers. >> one cannot overestimate how the '60s and '70s just smashed paradigms. it divide the country into two between mainstream culture and counter culture. we look at the '60s and '70s as a 20-year period of revolution in style. >> the 1980s was excess on top of excess. >> with everything ying there's a yang.

the pendulum swings so far with to one side it swings back to the other. >> and the world changes profoundly. xxxx. how you live and what your values are, that's what style is. >> style is is how you surround yourself. >> it's each generation finding their identity. >> have you ever broken any rules? >> i'm looking at the '40s and '50s. there's a tremendous amount of change. >> the bikini was the biggest thing since the atom bomb. it's scandalous. >> hollywood has always been so