Let’s Talk Motown Fashion: Pt. 1
Founded in 1959, Motown Records is one of the single most influential record companies in American history. Signing acts like the Supremes, the Temptations, Mary Wells, Martha and the Vandellas, and more. The label’s founder, Berry Gordy, was a master of the biz — with a decades-long career full of influence and impeccable networking. Gordy’s business savvy would lead the label to a relocation to L.A. in the early 70s, with international expansion following soon after. Gordy’s formula was simple and undeniably effective: make soul music accessible to a wider public. The days of Southern African American blues were over (only to be confined to smaller labels), at least for the greater part of the 60s, and black and white artists alike began producing songs about heartbreak, love, and dancin’.
For about 8 years, black music in the US shifted from Southern ballads with first-person narratives of struggle to the North’s take on blues… as in, there weren’t any blues unless the blues had been brought about by “babies,” or “sweethearts.”
It was a (forced) simpler time, at least in the popular music industry, and for several years nothing would shift the romantic, optimistic world of Motown. It wasn’t until the Detroit Riots of ‘67 that Motown realized politics were unavoidable for a label that was producing the soundtrack to the nation. With a listening population now spanning internationally, Motown shifted their content to reflect the political matters of the times. Whereas the Temptations were churning out tunes like “My Girl,” in ’65, ’70 would bring “Ball of Confusion” with lyrics like:
“People movin’ out, people movin’ in.
Why, because of the color of their skin.”
Although heading the label, Gordy wasn’t necessarily on-board with the political stances of his stars. Temptations member Eddie Kendricks would go on to make one of the most influential tracks of the 60s: “My People, Hold On.” Kendricks’ relationship with Berry Gordy was notoriously rocky post-Temptations, attributed to Kendricks’ outspoken solo career.
Lyrics weren’t the only thing shifting in the dynamic ’60s. The changing times brought major changes in fashion. Stagewear was influenced by the Cold War, the Civil Rights Movement and other events during the ‘60s and early ‘70s. Musical icons’ dress codes were often an exaggerated, theatrical depiction of fashion trends at the time. When stage outfits weren’t representing current attire, they were defining it.
Here we’ve got a snapshot of the Supremes in the early 60s. Take note of their high hemlines, bob cuts, and dramatic eye makeup. The early 60s was heavily influenced by European Modernists, which brought striking color blocking, as seen in the women’s bold makeup and Florence’s magenta and violet dress. The early 60s had a peculiar fixation on youth, as seen in the style of dress — mini skirts and dresses’ high hemlines and colorful tights were reminiscent of the playful fashion of young women… like, really young. This style is commonly referred to as “Dolly Girl.” Space age was also very trendy, as the United States took on the moon and the Cold War.
Later, the Supremes would evolve into women to be taken seriously. Their days of go-go were concluding as their lyrics began approaching topics more relevant to the political times…Okay, The Supremes played it pretty safe throughout their career, but it’s interesting to note the shift in their attire on stage. Diana began taking center stage in the late 60s, and all three women wore regal, full length gowns.
The 70s brought about a great shift in the women of Motown’s attire, with acts embracing pants (!!!), flowy attire, and more natural ‘dos.
The Supremes also ditched Diana Ross following a series of drama-filled events. Diana Ross is known as one as of the greatest divas in showbusiness to this day, which is simultaneously awesome and obnoxious. The woman got what she wanted.
[Side note: Ross takes on a roll as Billie Holiday in the 1972 film Lady Sings the Blues and her voice is painfully ill fitting on songs like “Strange Fruit.” (Here’s a link if you want to investigate further.)]
Bell sleeves, deep V’s, and jumpsuits took the now LA-based Motown label’s acts by storm. Women began wearing more accentuated jewelry and natural makeup. This was a reflection of the hippie movement of the late ’60s. The push for more natural looks proved empowering for all-female Motown acts, who were initially forced into appeasing white audiences, which, in turn, meant conservative attire and weaves.
Sadly, some stars’ body types did not fit the popular type of the times. It was expected that women be thin. Bonus points if they were slightly girl-ish. Curves wouldn’t be embraced until way later in the ’70s. Supremes member Florence Ballard knew this struggle all too well. In the early 60s, she was likely today’s 10/12 while in the company of 4/6s. Following the Dolly Girl body type standard, tall and thin reigned supreme in the early 70s… another construct Ballard did not fulfill. Her struggle is portrayed by Jennifer Hudson in the 2006 Supremes biopic, Dreamgirls.
[Another side note: Some could argue Diana Ross’ departure from the trio was a definitive moment for the resurgence of soul music in the ’70s. Ross’ voice encapsulated the poppy, girl group sound of the early 60s, but Jean Terrells’ deeper vocals was an undeniable precursor to acts like Gladys Knight and the Pips. (This guy agrees with me.)]
As for the guys of Motown, we’ll delve into that in another post. Be right back!