{"id":28877,"date":"2025-01-15T14:45:12","date_gmt":"2025-01-15T14:45:12","guid":{"rendered":"https:\/\/peraltafinancing.com\/american-history\/power-suits-and-mini-skirts-how-1960s-working-women-navigated-office-style\/"},"modified":"2025-01-15T14:45:12","modified_gmt":"2025-01-15T14:45:12","slug":"power-suits-and-mini-skirts-how-1960s-working-women-navigated-office-style","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=28877","title":{"rendered":"Power Suits and Mini Skirts: How 1960s Working Women Navigated Office Style"},"content":{"rendered":"


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\"Black
Johnson County Community College, staff orientation, 1969. Courtesy JCCC Archives.<\/em><\/figcaption><\/figure>\n

Guest written by Audrey Michaelis, Assoc. Prof., Fashion Merchandising and Design, Johnson County Community College<\/strong><\/p>\n

The Johnson County Community College Fashion Department partnered with the Johnson County Museum to create their current special exhibit, Free to Be\u2026 A 1960s Fashion Revolution.<\/em><\/strong> Garments from the JCCC Historical Fashion Collection help tell the stories of four distinct groups of women in the 1960s: The Professionals, The Traditionalists, The Modernists, and The Naturalists. The 1960s marked a significant era in fashion history, particularly for working women. Read on to learn about how The Professionals\u2019 fashion made big waves during the \u201860s!<\/p>\n

The Influence of Social Change on Fashion<\/strong><\/p>\n

As societal norms began to shift in the \u201860s, so did the wardrobe of the modern career woman. Amid societal upheaval, emerging subcultures rise, demanding not only equal rights but also recognition of their individualistic identities. The convergence of politics and fashion becomes a dynamic force, shaping the narrative of an era defined by self-expression, and the pursuit of equality. The decade was a time of rebellion against the rigid styles of the 1950s, with fashion evolving to reflect the changing roles of women in the workplace and society.<\/p>\n

The women\u2019s movement of the 1960\u2019s represented a departure from the ultra-feminine fashions of the 1950\u2019s still idealized by many traditionalists. Influenced by the civil rights movement, women asserted their rights and fought for equality at home, at work and in the eyes of the government.<\/p>\n

There was a divide between traditionally feminine and masculine dressing and debate about the ideologies that accompanied them. Ultra-feminine fashion was considered an enemy of the feminist movement to some, with high heels and painted faces, symbolic of oppression. At the same time, women had more variety in their wardrobe with the introduction of mini-skirts and trousers. These pieces challenged socially acceptable female dress and were reflective of women\u2019s new identity as many moved away from domestic roles and into professional careers.<\/p>\n

\"Newspaper
\u201cHelp Wanted \u2013 Female\u201d advertisement from East Cleveland Leader<\/em> newspaper, March 1963. Courtesy Chronicling America, Library of Congress.<\/strong><\/figcaption><\/figure>\n

Help Wanted \u2013 Female<\/strong><\/p>\n

More women than ever were entering the workforce and gender disparities in opportunity and pay created increasing dissatisfaction. The Equal Pay Act of 1963 offered legislation that supported this agenda. However, pay equality was not fully realized, and equal job opportunities still not available. Through the late 1960s, classified ads were divided by gender: \u201cHelp Wanted-Male\u201d and \u201cHelp Wanted-Female.\u201d Job advertisements followed gender-based stereotypes requesting female employees with descriptions like \u201cpretty-looking, cheerful gal for Mad[ison] Ave agency;\u201d and \u201cPoised, attractive girl for top executive.\u201d Classified advertisements reinforced the idea of \u201cwomen\u2019s work\u201d in popular culture and caused backlash from feminist organizations like the National Organization for Women.<\/p>\n

Dress Code Dynamics<\/strong><\/p>\n

Professional women recognized that fashion was political in a male-dominated workplace. Dress codes, instated by men, had consequences for violations, varying from being sent home to being fired. Women wanted to ensure their appearance at work did not diminish, in a world where they struggled to be considered equals and have their competencies valued. Working women were compelled to be \u201cproperly dressed.\u201d Pants were typically a violation of office dress codes or at the very least, controversial.\u00a0 Most women opted for an appropriate skirt to secure employment. They adopted male symbols of authority in fashion including coordinated suits and chose clothing that utilized menswear patterns like houndstooth and plaids. They wore jackets and skirts in traditional wool and tweed fabrics balanced by more feminine silhouettes. Women could be dismissed for dressing too feminine but feared societal backlash from wearing pants and other looks considered \u201ctoo masculine.\u201d Navigating complex gender roles through fashion challenged working women and the true liberation of being able to choose their own identity through fashion remained unresolved.\u00a0\u00a0<\/p>\n

\"Dark
Norman Norell suit, 1960s. Courtesy JCCC Billington Library Digital Collection<\/a>. <\/figcaption><\/figure>\n

The \u2018Power Suit\u2019<\/strong><\/p>\n

The tailored skirt suit became a staple for professional women in the 1960s. Designers such as Norman Norell and Hubert Givenchy contributed to the popularization of the \u201cpower suit\u201d \u2013 a set consisting of a jacket and skirt or coordinating dress, often in muted tones like brown, black, or beige. These suits conveyed a sense of authority and professionalism, allowing women to assert themselves in male-dominated workplaces.<\/p>\n

One of the defining features of the 1960s suit was the boxy jacket, which offered a less restrictive fit than the tailored jackets of previous decades. Paired with a pencil skirt, this look became a safe uniform for the professional woman. The suit represented a balance between power and femininity.<\/p>\n

Who Wears the Pants?<\/strong><\/p>\n

One of the most revolutionary changes in 1960s workwear was the introduction of the pantsuit for women. While pants were traditionally seen as masculine, trailblazing designers like Yves Saint Laurent began creating stylish trouser suits for women, which became a symbol of liberation. Though initially met with resistance, pantsuits slowly gained acceptance, particularly in more progressive work environments. By the late 1960s, women wearing trousers to work were no longer a rare sight. The pantsuit reflected the changing perception of women\u2019s roles in the professional world. It was practical, comfortable, and symbolized equality, giving women a sartorial option that reflected their evolving status.<\/p>\n

\"Colorful
Clothing from The Professionals section of the Free to Be<\/em> exhibit at Johnson County Museum. Clothing from the JCCC Historical Fashion Collection.<\/figcaption><\/figure>\n

The JCCC Historical Fashion Collection<\/strong><\/p>\n

The JCCC Fashion Department\u2019s partnership with the Johnson County Museum features more than two-dozen outfits from the Historical Fashion Collection. This is a welcome opportunity to get this cherished resource out of the closet<\/em> and share it with the local community. The JCCC Historical Fashion Collection brings transformative value to its students and the community through the preservation and celebration of fashion and local history. The collection at JCCC includes over 1,800 apparel pieces dating back to the 1850s, advancing the understanding of history through the lens of fashion.<\/p>\n

Fashion faculty are working diligently to increase awareness about the needs of the Historical Fashion Collection and to raise funds to adequately preserve this important educational resource and increase community engagement opportunities for generations to come. You can learn more and support this mission by donating to the JCCC Historical Fashion Collection. Visit: https:\/\/www.jccc.edu\/academics\/credit\/fashion-merchandising-design\/fashion-design-collection.html<\/a><\/p>\n

The <\/em>Free to Be<\/strong> special exhibit is on display at the Johnson County Museum at 8788 Metcalf Ave. through January 11, 2025. It is included in regular Museum admission, and free to Museum members. Plan your visit at: jcprd.com\/museum<\/a>.<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

Johnson County Community College, staff orientation, 1969. Courtesy JCCC Archives. Guest written by Audrey Michaelis, Assoc. Prof., Fashion Merchandising and Design, Johnson County Community College The Johnson County Community College Fashion Department partnered with the Johnson County Museum to create their current special exhibit, Free to Be\u2026 A 1960s Fashion Revolution. Garments from the JCCC […]<\/p>\n","protected":false},"author":1,"featured_media":28878,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12032],"tags":[5066,1605,19590,1811,1783,8244,1539,1262,313,1600],"dealstore":[],"offerexpiration":[],"class_list":["post-28877","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-american-history","tag-1960s","tag-mini","tag-navigated","tag-office","tag-power","tag-skirts","tag-style","tag-suits","tag-women","tag-working"],"yoast_head":"\nPower Suits and Mini Skirts: How 1960s Working Women Navigated Office Style - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=28877\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Power Suits and Mini Skirts: How 1960s Working Women Navigated Office Style - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Johnson County Community College, staff orientation, 1969. 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