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Beyond the Knee: How the Miniskirt Became the Ultimate Symbol of 1960s Fashion

The 1960s marked a dramatic shift in fashion, and no single garment captured this change more than the miniskirt. This new, shorter hemline became a symbol of youth, freedom, and a break from the conservative styles of the previous decade. Its adoption was not just a fashion choice; it was part of a wider cultural movement that challenged traditional norms.

A New Hemline for a New Generation

The miniskirt is most famously associated with British designer Mary Quant, who introduced the daringly short skirt at her London boutique, Bazaar, in the early 1960s. Quant’s designs were aimed at a new youth market that rejected the formal, structured clothing worn by their parents. The skirt’s hemline, which often sat four to seven inches above the knee, offered a sense of freedom and mobility that was new to women’s fashion. In Paris, designer André Courrèges also presented short skirts as part of his futuristic, space-age collections.

The silhouette of the 1960s miniskirt was typically simple. It often featured an A-line shape, which flared out gently from the hips, or a straight, simple cut. The skirts were made from a variety of modern materials, including wool crepe, PVC for a high-gloss, wet look, and cotton. They were produced in a wide range of bold, solid colors like orange and yellow, as well as graphic patterns like houndstooth and geometric prints.

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How the Miniskirt Was Worn

The way the miniskirt was styled was just as important as the skirt itself. The shorter length made traditional stockings, which required a garter belt, impractical. As a result, pantyhose and tights became essential parts of the look. These were not just functional; they were a key fashion accessory. Women wore tights in a rainbow of bright, opaque colors like red, blue, and white, or with bold patterns like stripes, checks, and floral prints.

Footwear was also critical to the overall silhouette. The miniskirt was almost always paired with low-heeled shoes or boots. Go-go boots, which were typically white, mid-calf, and had a low, blocky heel, became the signature footwear of the era. Flat, Mary Jane-style shoes were another popular choice. This combination of a short skirt and low-heeled footwear created a youthful, almost childlike look that was a sharp contrast to the high heels and pencil skirts of the 1950s. On top, miniskirts were often worn with simple, high-necked tops like turtlenecks or sleeveless shells.

A Symbol of Change

The appearance of the miniskirt sparked considerable debate. For many young women, it was a symbol of liberation. It represented a break from the past and an embrace of a more active and independent lifestyle. The fashion was championed by youth icons of the era, such as the supermodel Twiggy, whose thin, androgynous frame became the ideal physique for the new styles.

However, the look was met with resistance from more conservative parts of society. Schools and workplaces established dress codes specifically to ban skirts that were deemed too short. Older generations often viewed the style as shocking and inappropriate. This controversy only added to the miniskirt’s appeal for the young people who saw it as a form of rebellion and a clear visual statement of their new identity.

#1 Eight inches above the knee? O, No, skirts couldn’t be that short…or could they?” — Tribune archive photo, June 18, 1965

#2 “Two London birds wear Christian Dior’s striped suits, short and narrow, with emphasis on the hips. Suit at left is navy and white pin stripes, with navy blouse, pleated culottes, and horizontally striped tie. The cardigan version is in red and white stripes with scarlet socks and blouse.” — UPI, May 12, 1966

#3 “Tiffeau’s sweater dress.” On the runway in New York. Recognize Lauren Hutton? — Tribune archive photo, July 7, 1966

#4 “Bolder than ever conception of a total look comes from Yves St. Laurent, youngest member of the Paris couture. He’s extended the red, white and blue chromatic scheme in this sweater dress with zigzags of the three colors. Argyle wool stockings combine muted blue and red; white leather cap with attached snood of black beaver has brass buckle, as do patent leather, chunky-heeled shoes. Model is Carol Robins of Aquinas Dominican High school.” — Tribune archive photo, Sept. 10, 1966

#5 Big blocks of color and reversible. Lavender and yellow with matching suede lavender boots. — Tribune archive photo, Sept. 14, 1966

#6 “SLEEK CHIC NEW YORK: Chic is the word for this zippy, young shift modeled by actress Joey Heatherton. The short dress with its surge of electric stripes and leather trim is one of the “Leather Girls” designed by Don Simonelli for Mia’s fall collection.” — UPI, Sept. 19, 1966

#7 “Abstract houndstooth checks of stretch nylon are fashioned into tights with fencer-front tunic top plus cap ($20) at Cheetah boutique.” — Ron Bailey, Chicago Tribune, Oct. 10, 1966

#8 “Venetian lace is used for this pair. Pam Kimmell, left, Wheaton high school, wears a short dress of turquoise and white lawn ($35), trimmed with giant bow and cut-outs at hemline. Teri’s blue on white plaid cotton skimmer ($22.95) features wide band of lace and narrower lace edging at hem.” — Earl Gustie, Chicago Tribune, Nov. 3, 1966

#9 “Dressed in British designer Paul Blanche’s “Raingear,” a flared hipster miniskirt and Ike jacket, model Lorna McDonaugh brightens the scene at the plaza at 59th St. Such outfits could make rainy days popular.” — UPI Telephoto, Nov. 9, 1966

#10 “Gayle Kirkpatrick of Atelier uses tiger-stenciled calf for a sliplike discotheque dress secured with jeweled straps. At the Horse of a Different Color shop.” — Tribune archive photo,, Nov. 14, 1966

#11 “Mary Quant, the leggy, sexy London fashion designer, was her own best model for the miniskirts that dressed the decade.” Quant named the brief skirt mini after her favorite car, the Mini Cooper. — UPI, Oct. 21, 1967

#12 “Mother chose not to accent an empire waist in her dress No. 8383, instead used a smart chain belt at the normal waistline. Daughter’s dress, identically styled, is made from pattern No. 8384.” — Earl Gustie, Chicago Tribune, July 17, 1968

#13 “Chic in a Mini, young lady unwraps her lunch to delight of the males.” — Jack Mulcahy, Chicago Tribune, Jan. 30, 2014

#14 “Kicky checkerboard pattern of the crew necked pullover (about $16) banded with two-tone stripes at hips, cuffs and neck is echoed in the high socks. Welt seamed skirt (about $11) is an easy A line.” And, of course, white go-go boots, another Mary Quant innovation. 1965. — handout

#15 “A windswept rainy fall day in Chicago, but fashion prevails come wind or high water. Only the maxi-coat seems to offer protection from the elements, but the attention of girl-watchers makes the mini the choice of most young women.” — Jack Mulcahy, Chicago Tribune, Nov. 3, 1969

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Written by Rachel Mitchell

Rachel Mitchell is a vintage fashion enthusiast with a passion for all things retro. She is interested vintage fashion styles, trends, and accessories, and provides tips and tricks for incorporating vintage pieces into modern wardrobes.

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