QUILTING

1970′s Sundresses   by Ariel Honomua

The seventies brought with it a fashion mutiny. Feminist apparel allowed women to pick how they felt like dressing each day, even if it differed from time to time. Wee skirts, long dresses, midi skirts, short-shorts, trousers, and sundresses echoed the designers that were fishing for insight. The prints for these sundresses contained colorful and Pollynesian motifs, ever inspiring the would-be clothing designer. Dressy occasions permitted for designer or pret a porte sundresses that incorporated sequined fabric or colorful patterns. These dresses evolved from high existing necklines full of lace embellishments to tiny and mini dresses which stopped at the knee or above. Sundresses from the Seventies were made with a yoked neck, or dresses with a square neckline bodice. In either instance, these dresses shaped the urge to get a tan. The halter neck sundress was the greatest success of the Nineteen Seventies in the world of party dress and day wear. The dresses’ cuts were maxi or above one’s knee making it a smash at the discoteques.
Travel was more available during the Seventies that influenced the culture of self-styled hippie attire which combined embellishments and ideals from every global village. Closed-in heated vehicles and central heating and air conditions systems called for dresses that were lighter and user friendly to the heat. While allowing women using exposure, sundresses were excellent for touring and women no longer felt compelled to don a full body length coat. The UK began installing central heating in every house and market, making it easy for women to don sheerer and more revelatory dresses conscious that they need only withstand cold for the period spent walking between cars and their homes. Sundresses were matched with summer wool velour jackets, colored raincoats, napped jackets, and quilted duvet coats.
Other countries left their mark on 1970s sundresses with exotic materials and designs. Nehru shirts were worn with dresses, while Yves St. Laurent carefully extracted ideals from djellabas of Morocco, jalabiyas, caftans, kaftans, muumuus, and asian garb to frame leisure dresses and house type robes. The racial influences of the Seventies sundresses did not stop here. Crochet waistcoats, shawls, ponchos, bikinis, and embellished petticoat hemlines beneath sundresses became quite legendary. Softly pleated skirts were joined with patchwork print with other effects to develop a ladylike style line. Indian designers added dresses fashioned of cotton voile and overlayed in gold. These colors expressed themattically the quieter plaid of the initial sundresses and incorporated bright pinks, blues, and sea greens.
Cultural variations were extended with Afghan fur decorations as well as cheesecloth fabric during the 1970s. Chiffons were combined with cotton voiles while Broderie Anglaise offered a wholesome fashion style and cheesecloths were used flared away from the midriff, a higher flare than the first sundresses which began beneath the waist. Modifying the sundress’ vibe were platform soled shoes. These shoes crested in popularity with 4 inches of platform with a sole one inch thick. Cream colored sundresses were popular when combined with black platform shoes. Mixing and matching knitwear complemented the sundresses of the 1970′s. Making them passable anytime clothing in the autumn and cold spring mornings, matching knitted and jersey cloth were styled in zig zag patterns and cheerful hues, accenting an everyday sundress or complementing a patterned dress. When cooler weather came, acrylic scarves, wool scarves, knitted chenille hats, and mated gloves were joined with knitted sweaters on top of dresses.

About the Author

Ariel Honomua is an passionate traditional quilt maker and lifelong Hawaii resident. She lives with her two dogs and husband on the island of Maui where she continues to write and sew. Find her latest sundresses at http://www.sundresses.net
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