Adult feminine clothes and head gear!

Overview
These various items of clothing did and still have many normal uses and were part of normal and sporting fashions around the world, but these garments had also become the outfits warn by many of the Hippies, sexed up teens and related groups in their era.

Whilst rebellious and rude teens naturally gravitated to wards rude and sexed-up stuff like miniskirts, Hippies chose new era stuff like caftans. The new-era idea was to promote these pretty items evoke a spirit of a long lost care-free, happy, peaceful, peasant cultured, environmentally friendly, non-capitalist and pre-modern working class world utopia; but sadly this image was generally a idealised myth constructed in a marijuana/LSD induced dope haze. Such people relay lived in poverty and were often discriminated against by rich people.

Gypsy tops


Gypsy tops are another feminine variety of T-shirt. In general a Gypsy top is white, have short puffed sleeves that are gathered in at the shoulder and bottom, (balloon sleeves), a low-cut boat necked, décolleté or scoop necked neckline, full or cropped-off loose fitting bodice and for the most part have either lace, frilly or embroidered decorations on the neckline, hems and cuffs since the 1970's. Layla and Flora wore such tops in the Winx Club's 2006 series There are now other more revealing, knitted, or ¾ length sleeved versions to.

Their origins
The Gypsy top was derived from the short sleeved tops traditionally worn by Gypsies in Eastern and Central Europe in the 18th and 19th centuries.

1930-1939
As a modern fashion article, Gypsy tops and peasant blouses first occurred in the USA in the 1930s as the original Eastern European styled peasant blouses had first appeared in the USA during 1936. They had embodied patterns, puff sleeves of various length and the fabric was in various colours on most 'Slavic styled' peasant blouses

1940-1949
By the 1940's the shortages caused by World War 2 had caused them to become more of a pretty looking, up-market, embroidered, T-shirt than anything else.

During the 1940's the Americans created the 'Spanish style' or 'Gypsy style' blouse. The item was basically a puff sleeved white t-shirt with a gathered neckline that was worn under either a drab coloured Bolero jacket, boleroised waistcoat, Bolero jacket or boleroised shrug type cardigan and along with a long, coloured flamenco skirt.

1950-1959
1952 saw the modern, white, off the solder décolleté (decolletage) neckline and short (ballooned) puffed sleeved style come in to being in the USA. Both the coloured fabric and long sleeved versions were still going around at this time, while the posh t-shirt continued on during the decade.

1970-1999


They were both still faily liked in U.S to a degree in the early 1970s (including Cincinnati in early 1970) and early 1980s. When they permanently took on their present short sleeved, friily edged and smocked form in both cloth and crocheted material. They then started to spread to the British Isles, Ireland, France and Switzerland as a passing fashion article the early to mid 1980s. They then became briefly popular with some UK teens in the mid 1980s. Popularity declined the U.S. and the British Isles up to the late 1990s. The neckline had become scooped, smocked and\or frilly in the 1980's, with knitted versions having crochet work collars in the 1990's.

The comeback
Gypsy tops were also briefly popular in the UK, France and Ireland from about 1998 to 2002. It emerged in Scotland slightly in 2006. They briefly caught on in parts of the USA, Italy, Mexico, Brazil and Argentina during the mid-2000s. Layla and Flora wore them in the Winx Club show's 2006 series. They have been generally out of fashion since then. The mid 2000's some have become more revealing around the chest like this one worn by America’s Christina Aguilera in 2007, while others types are now also being knitted with Crochet work collars, elasticated smocking-styled edging and\or ¾ length puffed-out sleeved in the UK and Ireland as of the late 2000s.

They still occurred as children's ware in 2010. As of 2011 they became children's ware and the term was used for any fashionably styled teenage or young adult t-shirt or blouse, including the genuine article.

1980s school acceptance note

 * 1) Smartly cut.
 * 2) White cloth.
 * 3) Embroidery in mostly school clours.
 * 4) Embroidery covers 25% or less of the cloth.
 * 5) No plunging necklines.
 * 6) No off-the-sholder necklines

As tunic tops
A stretched and baggier mid thigh variant that belted around the waist occurred in the 1970s and 1990 in parts of the UK, Southern Russia, Ukraine, France, Canada, Australia, the USA, Germany, Italy and Ireland.

As dresses
A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

Their origins


A woman's blouse, based on traditional and largely Eastern European and Germanic European peasant dress of the 19th and early 20th Century, with puffed sleeves and square neckline. The national and folk costume of those regions still retain them.

1930-1939
As a modern fashion article, Gypsy tops and peasant blouses first occurred in the USA in the 1930's as the original Eastern European styled peasant blouses had first appeared in the USA during 1936. They had embodied patterns, puff sleeves of various length and the fabric was in various colours on most 'Slavic styled' peasant blouses.

A similar ‘Russian style blouse’ with embroidered geometric patterns a similar designed garment only occurred in in America during the 1930’s.

1940-1949
By the 1940's the shortages caused by World War 2 had caused them to become more of a pretty looking up-market, embroidered, blouse than anything else.

1960-1999
The modern idea of the 'peasant blouse' styled tops, were those mostly worn during and occasionally before the 1960's. They had a squire neckline, gathered or scooped neckline and long puffed sleeves that were gathered in at the shoulder and wrist, baggy sleeves or flared sleeves that were wider at the wrist than at the armpit, like those traditionally worn by the people of Eastern European. They mostly became fashionable with the hippie movement in North America during the 1960's, up until 1969.

They were still fashionable to a degree in the U.S. during the early 1970s and as late as 1977. The remained in use until the mid 1980s. They were briefly trendy in Ireland and Australia during the mid 1970s. The UK, Spain, France, Italy, Switzerland and Germany took them up in the mid 1970's and dropped them during the early 1980'. Collars with and without V-necklines were the in-thing at this juncture time.

By 1978 a 'Bavarian style' type of blouse had also emerged in the USA. It consisted of a plain white blouse with a gathered necked with ties and long puffed sleeved worn with a dark coloured corselet and skirt, which has now largely gone goth.

The comeback
The 'Bavarian style blouse', corset and skirt set took off with some teenage girls in the late 1990’s and went goth in the mid 2000's and has gone goth.

Trinidad ant Tobago tried out the Slavic peasant blouses in the in the early 1990's. Peasant blouses were the in thing with peater pan cloars in Mexico in 1995-2000, V-necks for Ecuador in 2005-2009 and with scoop necks for Ecuador and Bolivia in 2008. Colombia, Peru and Venezuela had some in the late 2000's.

They still occurred as children's ware in 2010 and 2011. As of 2011 they became children's ware and the term was used for any fashionably styled teenage blouse.

1980s school acceptance note

 * 1) Smartly cut.
 * 2) White cloth.
 * 3) Embroidery in mostly school clours.
 * 4) Embroidery covers 25% or less of the cloth.
 * 5) No plunging necklines.

As tunic tops
A stretched and baggier mid thigh variant that belted around the waist occurred in the 1970s and 1990 in parts of the UK, Southern Russia, Ukraine, France, Canada, Australia, the USA, Germany, Italy and Ireland.

As dresses
A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

Huipil


Huipil [ˈwipil] (from the Nahuatl word huīpīlli [wiːˈpiːlːi]) is the most common traditional garment worn by indigenous women from central Mexico to Central America.

It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric which are then joined together with stitching, ribbons or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are heavily decorated with designs woven into the fabric, embroidery, ribbons, lace and more. However, some huipils are also made from commercial fabric.

Lengths of the huipil can vary from a short blouse-like garment or long enough to reach the floor. The style of traditional huipils generally indicates the ethnicity and community of the wearer as each have their own methods of creating the fabric and decorations. Some huipils have intricate and meaningful designs. Ceremonial huipils are the most elaborate and are reserved for weddings, burials, women of high rank and even to dress the statues of saints.

They derive from traditional garments warn by the natives of the region. The art was lost by mid 19th Century, but a modern version was rehashed, using some original patterns mixed with modern ones after World War 2.

The ceremonial huipils of the Tzotzils have maintained aspects of pre-Hispanic feather art with white feathers found on the chest and lower hem.

In Ocotepec and Cuquila in Oaxaca, which are high in the Mixtec mountains, there are huipils made of wool to combat the cold with cotton ones usually for festive occasions.

Their origins
The huipil has been worn by indigenous women of the Mesoamerican region (central Mexico into Central America) of both high and low social rank since well before the arrival of the Spanish to the Americas. It remains the most common female indigenous garment still in use.

It is most often seen in the Mexican states of Chiapas, Yucatán, Quintana Roo, Oaxaca, Tabasco, Campeche, Hidalgo, Michoacán (where it is called a huanengo), Veracruz and Morelos. In Central America it is most often used among the Mayas in Guatemala.

After the Spanish conquest of the Aztec Empire and subsequent Spanish expansion, the huipil endured but it evolved, incorporating elements from other regions and Europe. One of the oldest known huipils in existence is the "La Malinche", named such because it was believed to have been worn by Hernán Cortés’ interpreter as it looks much like ones in depictions of her in the Lienzo de Tlaxcala and the Florentine Codex. However, carbon 14 tests date it to the 18th century. It is exceptional not only for its age but there is none like it in any collection and it is larger than usual at 120 by 140 cm. It is made of cotton with feathers, wax and gold thread. The design is dominated by an image of a double headed eagle, showing both indigenous and Spanish influence. It is part of the collection of the Museo Nacional de Antropología.

Some huipils, such as those from the Isthmus of Tehuantepec show Asian influence due to cloth brought from the Philippines. In addition, the huipil began to be worn with other garments, especially European skirts, during the colonial period. This led to changes in the garment itself and how it was used. In some cases, the huipil became shorter, to function as a kind of blouse rather than a dress. In the same region, the huipil also evolved into a long flowing and sometimes voluminous head covering which frames the face.

To this day, the most traditional huipils are made with hand woven cloth on a back strap loom. However, the introduction of commercial fabric made this costly and many indigenous women stopped making this fabric, or making simpler versions. By the early 1800s, women began to wear undecorated huipils or embroided European style blouses. By the end of the 19th century, most Maya women had forgotten the technique of brocade weaving entirely.

The huipil endures in many indigenous communities, if not as an everyday garment, as one for ceremonies or special occasions. When a woman puts on a huipil, especially a ceremonial or very traditional one, it is a kind of ritual. She becomes the center of a symbolic world as her head passes through the neck opening. With her arms, she forms a cross and is surrounded by myth as between heaven and the underworld.

1900-1989
It carried on in the countryside unabated in a primitive style format.

The comeback
Guatemala, Chapapas, Belize and Yucatan retained it and wore it in public. It's use increased as time went on. Examples were found in locations including Todos Santos in Guatemala, during November 2008, Yucatán in Mexico in 1993 and Palenque, Chiapas, Mexico during the 16th of April, 2011.

Native Mexican\Guatemalan Huipil were the in thing in Mexico, with peter-pan collars added in urban Mexico in 1995-2000, V-necks for Ecuador and Chile in 2005-2009 and with scoop necks for Colombia, Panama, Ecuador and Bolivia in 2008. Colombia, Peru and Venezuela had some in the late 2000's. It was publicly worn by a woman in Tijuana, Mexico during 2005.

They still occurred as children's ware in 2010, 2011 and 2012. As of 2011 they became children's ware and the term was used for any fashionably styled teenage or young adult's dress. Adults wore in in rural Guatemala in 2010.

Natives publicly ware traditional clothing in Chenalhó and Tzotzil, Chiapas, Mexico, during 2015. It was also publicly warn in Mezquital Huasteca, Mexico and Belize in 2012. It was also warn on mass by adults and children in Guatemala in 2013 and 2012.

It is now forming the clothing norm in Guatemala and southern Mexico's native populations.The immigrant community has made it's own Americanised version in Texas as of the late 1990s and it has caught on with members of all ethnicity as children's and party were.

British websites were selling a pornographically skimpy version of it in 2016.

Tourists bought it back to New Zealand in 2012 and the USA in 2016 as a suvinear, party were and posh were.

Overview
A prairie skirt is an American style of skirt, an article of women's and girls' clothing originally rural parts of United States and the Canada prairies.

Prairie skirts are slightly flared to very full, with one or more flounces (deep ruffles) or tiers, and are often worn over a ruffled eyelet or lace-trimmed petticoat. In keeping with their design inspiration, traditional prairie skirts are usually made of "country" fabrics such as denim and flowered Calico fabric. Prairie skirts are a staple of women's western wear, and very full prairie skirts are worn for square dancing.

Their origins
Prairie skirts are so-called after their resemblance to the home-sewn skirts worn by pioneer women in the mid-19th century, which in turn are a simplified version of the flared, ruffled skirts characteristic of high-fashion dresses of the 1820s. The style originated as an adaptation of high fashion to the practicalities of rural life in the Western United States. Deep colors and prints were used as they did not show dirt, while decorations were used to update clothing to changing fashions.

1960-1990
They had died out until a Hippy revival style started in the late 1960s.

Counterculture Hippies rejecting mainstream fashion looked to historical and non-Western styles. While 19th century prairie clothing was usually homemade, new companies such as Gunne Sax in San Francisco began manufacturing ready to wear prairie clothing. The style grew in popularity in the 1970s with the approach of the United States Bicentennial and was introduced to high fashion by Ralph Lauren in his fall 1978 Western-themed collection.

Mid-calf length, button-front denim prairie skirts with a single flounce, worn with a 1950's-style petticoat that was slightly longer than the skirt, became a mainstream fashion in the 1970s and early 1980s following Lauren's introduction.

The comeback
Short, many-tiered prairie skirts of voile, chiffon fabric or other lightweight fabrics were a fashion trend in 2005. Some wear longer-length prairie skirts with a slip or underskirt to preserve their modesty.

1980s school acceptance note
Allowed as long as it was in school colours, not too tight, longer than knee length and shorter than ankle length.

As dresses
A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

Overview


They were various tie-on head coverings made of cloth created at various times before 1900 for both decoration, modesty and head protection. They had a mini-revival in the late 1960s and early 1970s, especially for girls.

Their origins
A Dutch cap or Dutch bonnet is a style of woman's hat associated with the various traditional Dutch woman's costumes. Usually made of white cotton or lace, it is sometimes characterised by triangular flaps or wings that turn up on either side. It can resemble some styles of nurse's cloth\paper uniform hat. It is now part of the traditional costumes of the Netherlands. Many parts of the Netherlands have their own traditional costumes and other Western European nations also us similar caps. A less lacy and show-offish version was worn by agricultural workers in North America, Australasia and Western Europe. Sorbian bonnets were similar, but made out of heavy cloth and did not have the option of a back of the neck protecting flap, since their primary role was to keep heads and ears warm in the bitter weather of eastern Germany.

The Pioneer Bonnet/Western Women's Pioneer/Prairie Sunbonnets/Children's Pioneer Prairie Sunbonnet are a versatile accessory in pioneer days of mid to late 19th century. It was the meting point of modesty and hair protection in cloth.

A mob cap or mob-cap is a round, gathered or pleated cloth (usually linen) bonnet consisting of a caul to cover the hair, a frilled or ruffled brim, and (often) a ribbon band, with a full crown, worn by married women in the British Georgian period, when it was called a "bonnet". Originally an informal style, the bonnet became a high-fashion item as part of the adoption of simple "country" clothing in the later 18th and early 19th centuries. It was an indoor fashion, and was worn under a hat for outdoor wear. During the French Revolution, the name "Mob Cap" caught on because the poorer women who were involved in the riots (riotus mobs) wore them, but they had been in style for middle class and even aristocracy since the century began.

By the British Victorian period, mob caps lingered as the head covering of servants and nurses, and small mob caps, not covering the hair, remained part of these uniforms into the early 20th century.

All of them were common for girls and some younger teenage women in the 19th and early 20th Centuries as a way to keep their heads warm in damp and chilly houses; or as a cover for their heads after they had been shaved due to either fever, ringworm and\or fleas. Agricultural and peasent labourers wore them to protect their heads and hair.

1920-1959
The great British flea and ring worm outbreak of the 1920s and unheated housing during the Great Depression lead to them becoming a girls' dress norm and a teenage girls common article of clothing. All bonnets became useful during WW2 as bombed out families lived in barns, basements, ruins and tents. The thinker Sorbian bonnet and knitted versions of all bonnet types were popular. This re-occurrence had fizzled out by about 1955.

1970-1980
They had a mini-revival of the cloth variants in the late 1960s and early 1970s, especially for girls. They were cheep and easy made as well as ruralistic, anti-capitalist and environmentally friendly. It started to get traction in about 1962 and had taken of by about 1969. They were cheep and easily made as well as ruralistic, anti-capitalist and environmentally friendly. It was prey much over by 1975 and had passed by 1977.

The comeback
Today's girls' party were may include any of them on occasion. The modern adult versions of mob caps are still worn in the pharmaceutical industry, in clean-rooms, and in other sectors where the hair has to be contained. These mob caps are usually a simple circle shape with an elastic band and may be made of disposable materials such as spun-bound polypropylene or of nylon netting.

1980s school acceptance note
Banned.

Overview
Culottes are items of clothing worn on the lower half. The case of culottes meaning split skirts, historical men's breeches, or women's under-pants is an example of fashion-industry words taken from designs across history, languages and cultures, then using them to describe different garments, often creating confusion among historians, and readers. The French word culotte is (a pair of) panties, pants, knickers, trousers, shorts, or (historically) breeches; derived from the French word culot, meaning the lower-half of a thing, the lower garment in this case.

There origins
Modern English use of the word culottes describes a split or bifurcated skirt or any garment which "hangs like a skirt, but is actually pants." During the Victorian Era (mid- to late-nineteenth century European culture) long split skirts were developed for horseback riding so that women could sit astride a horse with a man's saddle rather than riding side-saddle. Horse-riding culottes for women were controversial because they were used to break a sexual-taboo against women riding horses when they were expected to hide their lower limbs at all times. Later, split skirts were developed to provide women more freedom to do other activities as well, such as gardening, cleaning, bike riding, etc. and still look like one is wearing a skirt.

School uniforms
Culottes are used in school uniforms for girls. They can be used along with skirts, or they may be used as a replacement for skirts. Culottes are worn as part of a uniform mainly to primary and middle schools. Culottes were also part of the uniform of UK Brownie Guides up until recently, when the uniform was modernised and the traditional brown culottes (and the navy blue culottes worn by the Girl Guides) were replaced.

1980s school acceptance note
Allowed as long as it was in school colours, not too tight, longer than knee length and shorter than ankle length.

As dresses
A dress format was made of the literal or metaphoric a pare of culottes stitched on to a pinafore dress's body section. This occurred during the early 1970s and early 1990 in parts of the UK, Ireland, France, Italy, the USA and Australia.

Their origins
In place of the term culotte, the term skort (a portmanteau for skirt and shorts) is more widely used in some areas. While some garments sold as culottes resemble short trousers, to be a skort they need to look like skirts. They are distinguished from trousers or shorts by a fuller cut at the bottom (hem) than at the waist.While some garments sold as culottes resemble short trousers, to truly be a skort it needs to look like a skirt. Thus, they differ from trousers or shorts by being much fuller at the bottom (hem) than at the waist. A skort is shorts that have a front covering to resemble a skirt or short pant legs with a same length or longer skirt sewn over the top.

Some culottes have a part sewn over only the front, some are shorts with a skirt sewn over them. While these may not be completely the same as skorts, they are often called by either name, so either term can apply.

Skorts were developed to provide more freedom to do activities such as sports, gardening, cleaning, or bike riding, and give the appearance of a skirt.

Montgomery Ward claimed in their 1959 Spring/Summer catalog to have invented the garment they called a skort. It was a short knife or accordion pleated skirt with an attached bloomer. Years later, the term was applied to a pair of shorts with a flap of fabric across the front (and often the back) making the garment appear to be a skirt. In recent years, the term skort has been given to any skirt with an attached pair of shorts.

1960-1970
Women began to play golf in large numbers in the 1960s which led to the development of the famous Leon Levin "Q" skirt or "skort" which offered the freedom of shorts and soft lines of a skirt. The article became an immediate favorite on the Ladies Professional Golf Tour. Professional golfers famously known for wearing skorts are Natalie Gulbis and Paula Creamer. Skorts became popular in the West, especialy the UK and USA.

The comeback
Skorts are popular in sports such as field hockey, tennis, golf, ten-pin bowling and camogie, and are often part of girls' athletic uniforms.

1980s school acceptance note
Allowed for sports as long as it was in school colours, not too tight, longer than mid thigh length and shorter than knee length.

As dresses
A dress format was made of the literal or metaphoric a skort stitched on to a pinafore dress's body section. This occurred during the early 1980s and early 1990 in parts of the UK, Ireland, the USA and Australia.

Their origins
Women had traditionally, woman wore skirts or dresses to play tennis, and well into the twentieth century, with shorts gaining popularity with both men as a whole and a few of the women in the 1940s. Skirts had reached mid calf length by 1920, knee length by 1930 and mid thigh length by 1952.

1950-to date
The modern miniskirt like garment had come in to exsistance by 1952 and remained popular in sports ever since. Rebellious and sexed-up teens wore them of the sports ground in the 1960s, 1970s and 1980s.

Feminine shorts soon gained popularity in the 1990s. Tennis skirts have remained, like feminine shorts, the in thing to were at tennis ever since.

1980s school acceptance note
Allowed for sports as long as it was in school colours, not too tight, longer than mid thigh length and shorter than knee length.

As a dress
It was an ordinary dress, but with the lowers skirt part shortened in to tennis-player-format.

Overview
A miniskirt (sometimes hyphenated as "mini-skirt") is a skirt with a hemline well above the knees, generally at mid-thigh level, normally no longer than 10 cm (4 in) below the buttocks; and a minidress is a dress with such a hemline. A micro-miniskirt or microskirt is a miniskirt with its hemline at the upper thigh.

Short skirts have existed for a long time, though they were generally not called "mini" until the 1960s. Instances of clothing resembling miniskirts have been identified by archaeologists and historians as far back as c.1390–1370 BCE. In the early 20th century, the dancer Josephine Baker's banana skirt that she wore for her mid-1920s performances in the Folies Bergère was subsequently likened to a miniskirt. Extremely short skirts became a staple of 20th-century science fiction, particularly in 1940s pulp artwork such as that by Earle K. Bergey who depicted futuristic women in a "stereotyped combination" of metallic miniskirt, bra and boots. Hemlines were just above the knee in 1961, and gradually climbed upward over the next few years. By 1966, some designs had the hem at the upper thigh. Stockings with suspenders were not considered practical with miniskirts and were replaced with coloured tights. The popular acceptance of miniskirts peaked in the "Swinging London" of the 1960s, and has continued to be commonplace among many women, especially teenagers, pre-teens, and young adults. Before that time, short skirts were only seen in sport and dance clothing, such as skirts worn by female tennis players, figure skaters, cheerleaders, and dancers.

Several designers have been credited with the invention of the 1960s miniskirt, most significantly the London-based designer Mary Quant and the Parisian André Courrèges.

Their origins
While very short skirts have existed for a long time, they were generally not called "mini" until after the 1960s. Instances of clothing resembling miniskirts have been identified by archaeologists and historians as far back as c.1390–1370 BCE. This is the date of the Egtved Girl, a Nordic Bronze Age burial of a young girl who was wearing a short woollen skirt with bronze ornaments that has been compared to a miniskirt.

One of the earliest known cultures where women regularly wore clothing resembling miniskirts was a subgroup of the Miao people of China, the Duan Qun Miao (Chinese: 短裙苗; pinyin: duǎn qún miáo, literally "short skirt Miao"). In albums produced during the Qing dynasty (1644–1912) from the early eighteenth century onwards to illustrate the various types of Miao, the Duan Qun Miao women were depicted wearing "mini skirts that barely cover the buttocks." At least one of the "One Hundred Miao Pictures" albums contains a poem that specifically describes how the women's short skirts and navel-baring styles were an identifier for this particular group.

1900-1939
In the early 20th century, the dancer Josephine Baker's banana skirt that she wore for her mid-1920s performances in the Folies Bergère was subsequently likened to a miniskirt.

1939-1959
Extremely short skirts became a staple of 20th-century science fiction, particularly in 1940s pulp artwork such as that by Earle K. Bergey who depicted futuristic women in a "stereotyped combination" of metallic miniskirt, bra and boots. The "sci-fi miniskirt" was seen in genre films and television programmes as well as on comic book covers. The very short skirts worn by regular female characters Carol and Tonga (played by Virginia Hewitt and Nina Bara) in the 1950–55 television series Space Patrol have been suggested as probably the first 'micro-minis' to have been seen on American television. It was later seen as remarkable that only one formal complaint relating to the skirts could be recalled, and that by an ad agency in relation to an upwards shot of Carol climbing a ladder. Hewitt pointed out that even though the complainant claimed they could see up her skirt, her matching tights rendered her effectively clothed from neck to ankle.

Otherwise, Space Patrol was applauded for being wholesome and family-friendly, even though the women's short skirts would have been unacceptable in other contexts. Although the 30th-century women in Space Patrol were empowered, experts in their field, and largely treated as equals, "it was the skirts that fuelled indelible memories." The Space Patrol skirts were not the shortest to be broadcast at the time – the German-made American 1954 series Flash Gordon showed Dale Arden (played by Irene Champlin) in an even shorter skirt. Such skirts become a American younger woman's fashion trend.

1960-1969


The manager of an unnamed shop in London's Oxford Street began experimenting in 1960 with skirt hemlines an inch above the knees of window mannequins, and noted how positively his customers responded. Hemlines were just above the knee in 1961, and gradually climbed upward over the next few years. By 1966, some designs had the hem at the upper thigh. Stockings with suspenders were not considered practical with miniskirts and were replaced with coloured tights. Towards the end of the 1960s, an even shorter version, called the microskirt or micro-mini, emerged. Mini-skirts became a global must have 1960s fashion trend outside of a few hardline states like the USSR, N. Korea and the PRC.

Extremely short skirts, some as much as eight inches above the knee, were observed in Britain in the summer of 1962. The young women who wore these short skirts were called "Ya-Ya girls," a term derived from "yeah, yeah" which was a popular catcall at the time. One retailer noted that the fashion for layered net crinoline petticoats raised the hems of short skirts even higher. The designer Mary Quant was quoted as saying that "short short skirts" indicated youthfulness which was seen as desirable, fashion-wise.

The earliest known reference to the miniskirt is in a humorous 1962 article datelined Mexico City and describing the "mini-skirt" or "Ya-Ya" as a controversial item of clothing that was the latest thing on the production line there. The article characterised the miniskirt as stopping eight inches above the knee. It referred to a writing by a psychiatrist, whose name it did not provide, who had argued that the miniskirt was a youthful protest of international threats to peace. Much of the article described the reactions of men, who were said to favor the fashion on young women to whom they were unrelated, but to oppose it on their own wives and fiancés. in the heart of fashionable "Swinging London", the miniskirt was able to spread beyond a simple street fashion into a major international trend. The style came into prominence when Jean Shrimpton wore a short white shift dress, made by Colin Rolfe, on 30 October 1965 at Derby Day, first day of the annual Melbourne Cup Carnival in Australia, where it caused a sensation. According to Shrimpton, who claimed that the brevity of the skirt was due mainly to Rolfe's having insufficient material, the ensuing controversy was as much as anything to do with her having dispensed with a hat and gloves, seen as essential accessories in such a conservative society.

Upper garments, such as rugby shirts, were sometimes adapted as mini-dresses. With the rise in hemlines, the wearing of tights or pantyhose, in place of stockings, became more common. Some European countries banned mini-skirts from being worn in public, claiming they were an invitation to rapists. In response, Quant retorted that there was clearly no understanding of the tights worn underneath.

1970-1979
From 1969 onwards, the fashion industry largely returned to longer skirts such as the midi and the maxi. Journalist Christopher Booker gave two reasons for this reaction: firstly, that "there was almost nowhere else to go ... the mini-skirts could go no higher"; and secondly, in his view, "dressed up in mini-skirts and shiny PVC macs, given such impersonal names as 'dolly birds', girls had been transformed into throwaway plastic objects". Certainly this lengthening of hemlines coincided with the growth of the feminist movement. However, in the 1960s the mini had been regarded as a symbol of liberation, and it was worn by some, such as Germaine Greer and, in the following decade, Gloria Steinem,.

Germaine Greer herself wrote in 1969 that:

''The women kept on dancing while their long skirts crept up, and their girdles dissolved, and their nipples burst through like hyacinth tips and their clothes withered away to the mere wisps and ghosts of draperies to adorn and glorify ... ''

''Indeed, miniskirts never entirely went away and, for example, were often worn by Deborah Harry, of the group Blondie, during the "new wave" of the late 70s. The song "(I Don't Want to Go to) Chelsea" (1978), by new wave artist Elvis Costello, contained the line: "There's no place here for the mini-skirt waddle". ''

1980-1989
In spring of 1982, (June: Time Magazine) short skirts began to re-emerge, notably in the form of "rah-rahs", which were modeled on those worn by female cheerleaders at sporting and other events. In 1985, the British designer Vivienne Westwood offered her first "mini-crini," an abbreviated version of the Victorian crinoline. Its mini-length, bouffant silhouette inspired the puffball skirts widely presented by more established designers such as Christian Lacroix. In 1989, Westwood's mini-crini was described as having combined two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance in woman's dress," and the "equally dubious mythology of liberation" associated with the miniskirt.

From the 1980s, many women began to incorporate the miniskirt into their business attire, a trend which grew during the remainder of the century. The titular character of the 1990s television program Ally McBeal, a lawyer portrayed by Calista Flockhart, has been credited with popularising micro-skirts. Rah-rah skirts became a noted UK and US teen party fashion trend.

1990-1999
The very short skirt is an element of Japanese school uniform which since the 1990s has been exploited by young women who are part of the kogal (or gyaru) subculture as part of their look. Gyaru deliberately wear their skirts short enough to reveal panties (actually a second pair worn over actual knickers) as a form of exhibitionism known as panchira.

The comeback
In the early 21st century micro-minis were once again revived. In 2003 Tom Ford, at that time described as one of the few designers able to effortlessly dictate changes in fashion, stated that micro-skirts would be the height of fashion for Spring/Summer 2003. For fashionable wear, early 21st century microskirts were often worn with leggings or tights in order to avoid revealing too much. At this time, an even briefer version of the micro-mini emerged, creating a garment sometimes described as a "belt-skirt." Rah-rah skirts became a minor UK and US teen and child party fashion trend in the early 21st

1980s school acceptance note
Allowed for sports as long as it was in school colours, not too tight, longer than mid thigh length and shorter than knee length.

As a dress
It was an ordenery dress, but with the lowers skirt part shortened in to Mini-format.

There origin
Since the adoption of trousers in Western Europe in Late Antiquity, trousers have been largely worn by men and not by women until the early 20th century.

In 1919, Luisa Capetillo challenged the mainstream society by becoming the first woman in Puerto Rico to wear trousers in public. Capetillo was sent to jail for what was then considered to be a "crime", but the judge later dropped the charges against her. Some factory workers also wore them in WW1.

Women increasingly wore trousers as leisurewear in the 1920s and 30s. In the early 20th century female pilots and other working women often wore trousers. Actresses Marlene Dietrich and Katharine Hepburn were often photographed in trousers from the 1930s.

1939-1969
During World War II, American women working in industrial work in war service wore their husbands' (suitably altered) trousers and dungarees. In the post-war era trousers were still common casual wear for gardening, youth socialising, working, horse riding, cycling and various active leisure pursuits.

Similarly, in Britain during the Second World War, because of the rationing of clothing, many women took to wearing their husbands' civilian clothes to work while their husbands were away in the armed forces. This was partly because they were seen as work garments, and partly to allow women to keep their clothing allowance for other uses. As the men's clothes wore out, replacements were needed, so that by the summer of 1944 it was reported that sales of women's trousers were five times more than in the previous year. The women also wore dungarees at times.

In the post-war era trousers were still were used in many places casual wear for gardening, youth socialising, working, horse riding, cycling and various active leisure pursuits.

Youngsters wore trousers as casuals in the 1950s and early 1960s, but skirts and dresses were still worn for formal and posh occasions, which the youngsters hated.

In 1969 Rep. Charlotte Reid (R-Ill.) became the first woman to wear trousers in the U.S. Congress. Pat Nixon was the first American First Lady to wear trousers in public.

1970 to 1999
For a period in the 1970s, trousers became quite fashionable for women. In the United States, this may be due to the passage of Title IX of the Education Amendments of 1972, which declared that dresses could not be required of girls. Dress codes thus changed in public schools across the United States.

The late 1970s saw the baby boomers in the UK and USA refusing to conform or psychologically grow up and and refused to give up their jeans and slacks (trousers) in favor of 'oldie'\'sexist'\'ugly'\'square'\'pro-establishment' skirts and dresses. Both feminism a youth-obsessed fashion swing made it a norm by the early 1980s for adults, teens by the mid 1980s and children in the early 1990s. The trend continues to this day, getting ever stronger amongst all age groups. Dungarees have futtered on in some places with teens, workers and pubidecent children, but much less than trousers.

In 1989 California state senator Rebecca Morgan became the first woman to wear trousers in a U.S. state senate.

Hillary Clinton was the first woman to wear trousers in an official U.S. First Lady portrait.

Women were not allowed to wear trousers on the U.S. Senate floor until 1993. In 1993, Senators Barbara Mikulski and Carol Moseley Braun wore trousers onto the floor in defiance of the rule, and female support staff followed soon after, with the rule being amended later that year by Senate Sergeant-at-Arms Martha Pope to allow women to wear trousers on the floor so long as they also wore a jacket.

2000 to date
Since 2004 the International Skating Union has allowed women to wear trousers instead of skirts in competition if they wish.

In 2012 the Royal Canadian Mounted Police began to allow women to wear trousers and boots with all their formal uniforms.

Until 2016 some female crew members on British Airways were required to wear British Airways’ standard "ambassador" uniform, which has not traditionally included trousers.

1980s school acceptance note
Allowed as long as they were in school colours and not to tight.

Their origins
The desinge emerged in the UK during 1969.

1970-1985
It flourished between 1970 and 1975. It slowly faded until it finally winked out in 1985.

1980s school acceptance note
They were allowed.

1980s school acceptance note
Banned.

1960-1990
A often white, flair sleeved, baggy, square necked and lace trimmed hybrid Hippy garment style occurred in the USA from the late 1970’s to the mid 1980’s and in the UK, France, Australia, Canada and Ireland in the late 1970’s mid 1980’s.

The comeback
It is now children's were in Bali and The USA as of 2016, but both now call them Gypsy tops and\or peasant blouses, not caftans.

1980s school acceptance note
Banned.

Also see

 * 1) OTL
 * OTL Decolonisation notes
 * OTL Natural disasters