From 1960 onward synthetics dominated the textile field. With each succeeding decade a new generation of man-made fibres would appear with advanced technological improvements in spinning, weaving, dying and finishing. Patterns became more daring, bold floral and geometric prints. The Baby doll dresses of 1966 were full and flared into tent shapes mostly with cutaway armholes or/and a halter neck.  They were made of transparent tulles, lace or chiffons plain or tree bark mounted. Black and white was a sixties combination and was used in op art dresses and block pieced dresses worked in Mondrian style. 

Ironically by the late 70’s few would even know how to sew as most schools had discontinued home economics courses by then, but women chose who they wanted to be and if they felt like wearing a short mini skirt one day and a maxi dress, midi skirt or hot pants the next day that's what they did. For evening women often wore full length maxi dresses or evening trousers or glamorous halter neck catsuits. Some of the dresses oozed Motown glamour, others less so.

The Hippies of the sixties had brought with them clothes from other ethnic groupings which had often never even been seen before. Nehru jackets and loose flowing robes from hot countries made their way to world cities and permeated down to mainstream fashion, helped of course by designers like Yves St Laurent. From the mid to late 70s, caftans, kaftans, kimonos, muumuus, djellaba (a Moroccan robe with a pointed hood) or jalabiya (a loose eastern robe) and other styles from every part of the Indian sub continent and Africa were translated into at home style robes and comfort wear. They were worked in every fabric imaginable, but were especially suited as glamour dressing. Despite the fact that synthetic fabrics were used in many items of clothing there was still a great following for natural fibres. Cotton velvet and cotton corduroy in particular were worn at all hours of the day by both sexes, and many of the more lurid flower power prints were cotton based.