Skirts get shorter, ties wider on ‘Mad Men’

The Washington Times Daily - - Life - BY SA­MAN­THA CRITCHELL

From the mo­ment “Mad Men” de­buted, the styl­ized AMC drama about the men and women who work in Madi­son Av­enue ad­ver­tis­ing in the 1960s has been a tastemaker fa­vorite.

A steady pa­rade of Betty, Peggy and Joan look-alikes have ap­peared on the cat­walks as de­sign­ers in­ter­preted their fa­vorite looks from the early ’60s. But time has marched on in sea­son five, mim­ick­ing the fast evo­lu­tion of fash­ion dur­ing that decade.

View­ers likely can ex­pect skirts to be a lit­tle shorter and eye­lashes to be thicker when the sea­son pre­mieres Sun­day. Psy­che­delic colors and pat­terns could be com­ing into fash­ion, too.

The nipped-waist, full-skirt, al­most pet­ti­coated sil­hou­ette that in­tro­duced the fe­male char­ac­ters in sea­son one, set in 1960, would look out of touch with what was hap­pen­ing in the world just a few years later. Af­ter Jackie Kennedy started step­ping out in more body-con­scious sheath dresses and looser shifts, ev­ery­one did. And the col­lec­tive eye was ad­just­ing to the mi­nis in­tro­duced in London by de­signer Mary Quant that were mak­ing their way across the At­lantic when the show left off last sea­son in 1965.

For men, change likely won’t be as ob­vi­ous, but by the mid-’60s not ev­ery shirt had to be white and not all hair­cuts were buzzed above the ears. Thank the Bea­tles and their mop-top hair­cuts for that.

“The world was chang­ing in­cred­i­bly fast then,” said Scott F. Stod­dart, dean of lib­eral arts at Man­hat­tan’s Fash­ion In­sti­tute of Tech­nol­ogy. “It starts in the ’60s, and the ’70s were just as packed — it was a tra­jec­tory. Things slowed down a lit­tle in the ‘80s, which were ac­tu­ally more con­ser­va­tive, more like the ’50s when the whole decade looked the same.”

Cul­tur­ally, beat­niks were be­com­ing mods, rock ’n’ roll was tak­ing hold, and the move from stock­ings to pan­ty­hose — and even­tual bra-burn­ing — all in­flu­enced mid-’60s fash­ion. It prob­a­bly all will mean a lot to up­wardly mo­bile Peggy Ol­son, who started off wear­ing ma­tronly clothes when she was Don Draper’s sec­re­tary but is a fem­i­nist at heart, said Mr. Stod­dart, who wrote “An­a­lyz­ing Mad Men: Crit­i­cal Es­says on the Tele­vi­sion Se­ries.”

He’s most in­ter­ested in the fash­ion evo­lu­tion of Draper’s daugh­ter, Sally, who will be in mid­dle school in sub­ur­bia, which even­tu­ally be­comes a

on a per­sonal level,” Mr. Sachs, who re­cently moved to Ne­vada from Sara­sota, Fla., told the As­so­ci­ated Press in an email. “It feels like vin­di­ca­tion for my fa­ther, a final recog­ni­tion of the life he lost and never got back.”

The case ended up with the Karl­sruhe court be­cause of the posters’ unique and tu­mul­tuous jour­ney through more than 70 years of Ger­man his­tory. The posters were col­lected by Sachs, stolen from him by the Nazis’ Gestapo, be­came the pos­ses­sion of com­mu­nist East Ger­many for decades, and then moved to the Ber­lin mu­seum af­ter Ger­many’s re­uni­fi­ca­tion in 1990.

The court ac­knowl­edged that Mr. Sachs did not file for resti­tu­tion of the posters by the of­fi­cial dead­line for such claims, and that the post­war resti­tu­tion reg­u­la­tions in­sti­tuted by the Western Al­lies could not specif­i­cally be ap­plied in his case. But the judges ruled the spirit of the laws was clearly on Mr. Sachs’ side.

Not to re­turn the posters “would per­pet­u­ate Nazi in­jus­tice,” the judges wrote. “This can­not be rec­on­ciled with the pur­pose of the Al­lied resti­tu­tion pro­vi­sions, which were to pro­tect the rights of the vic­tims.”

Ha­gen Philipp Wolf, a spokesman for Ger­many’s cul­tural af­fairs of­fice, which over­sees the public Ger­man His­tor­i­cal Mu­seum, said the decision would be re­spected.

“The Fed­eral Court of Jus­tice has de­cided; we have a clear rul­ing, the Ger­man His­tor­i­cal Mu­seum must re­turn the Sachs posters,” he said.

A to­tal of 4,259 posters have been iden­ti­fied so far as hav­ing be­longed to Mr. Sachs’ fa­ther. They were among a col­lec­tion of 12,500 that his fa­ther owned, which in­clude ad­ver­tise­ments for ex­hi­bi­tions, cabarets, movies and con­sumer prod­ucts, as well as po­lit­i­cal pro­pa­ganda — all rare, with only small orig­i­nal print runs. It is not clear what hap­pened to the re­main­der.

The Ger­man His­tor­i­cal Mu­seum rarely had more than a hand­ful of the posters on dis­play at any given time, though it had said the col­lec­tion was an in­valu­able re­source for re­searchers.

Mr. Sachs’ at­tor­ney in Ger­many, Matthias Druba, said his client now hopes he can find a new home for the col­lec­tion where they can be dis­played to a wider public.

“Hans Sachs wanted to show the poster art to the public, so the ob­jec­tive now is to find a de­pos­i­tory for the posters in mu­se­ums where they can re­ally be seen and not hid­den away,” Mr. Druba told the AP.

The posters were seized from Sachs’ home in 1938 on the or­ders of Nazi Pro­pa­ganda Min­is­ter Joseph Goebbels, who wanted them for a mu­seum of his own.

Born in 1881, Sachs was a den­tist who be­gan col­lect­ing posters while in high school. By 1905, he was Ger­many’s lead­ing pri­vate poster col­lec­tor and later launched the art pub­li­ca­tion “Das Plakat (The Poster).”

Af­ter the seizure of the posters in the sum­mer, Sachs was ar­rested dur­ing the Nov. 9, 1938, pogrom against the Jews known as Kristall­nacht and thrown in the Sach­sen­hausen con­cen­tra­tion camp north of Ber­lin.

When he was re­leased about two weeks later, the fam­ily fled to the United States.

Af­ter the war, Sachs as­sumed the col­lec­tion had been de­stroyed and ac­cepted com­pen­sa­tion of about 225,000 Ger­man marks (then worth about $50,000) from West Ger­many in 1961.

He learned five years later, how­ever, that part of the col­lec­tion had sur­vived the war and been turned over to an East Ber­lin mu­seum. He wrote the com­mu­nist au­thor­i­ties about see­ing the posters or even bring­ing an ex­hibit to the West to no avail. He died in 1974 with­out see­ing them again.

The posters be­came part of the Ger­man His­tor­i­cal Mu­seum’s col­lec­tion in 1990 af­ter the 1989 fall of the Ber­lin Wall.

PETER SACHS VIA AS­SO­CI­ATED PRESS

A poster by P.H. Mar, circa 1932, is part of a col­lec­tion of thou­sands of rare posters be­lieved to be worth be­tween $6 mil­lion to $21 mil­lion.

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