Perhaps no artefact is as evocative of temporality (i.e. the lived experience of time), as fashion and, arguably, no other period in history represents such a marked change in our notions about the relationship between the two as the 1960s did. In contrast to the Platonic-Apollonian fashion ideals of the 1950s, as exemplified by Dior’s New Look, the mod and the hippy came to represent competing bodily ideals. Their Dionysian fashions aestheticized time in three complementary ways: first, the celebration of the now, with its emphasis on the ephemeral, the physically pleasurable and the situated body in motion; second, the re-appropriation of the past, which involved the postmodern rejection or subversion of grand historical narratives that privileged certain iterations of race, class and gender and touted imperialism and cultural hegemony; and third, a utopian optimism about the future based on a belief in the increased possibilities of individual human potential as well as the prospect of societal transformation into a post-bellum, post-racial, post-classist, post-gender ‘Age of Aquarius’. These aesthetic values had political implications. Although the most radical of street fashions was worn by comparatively few 1960s youth, the deeper reasons why they came to be viewed with suspicion and outright anger were not so much due to particular styles, but rather what they revealed about our changing relationships to temporality and the postmodern fracturing of metanarratives concerning the proper existential comportment towards tradition and change, while laying the symbolic groundwork for what would later be referred to as the ‘culture wars’ in popular media.
The Kim Kardashian’s bunda
