Young Brunette Girl Outside With A Miniskirt

1970s
During the mid-1970s, the fashion industry largely returned to longer skirts such as the midi and the maxi. Journalist Christopher Booker gave two reasons for this reaction: firstly, that "there was almost nowhere else to go ... the mini-skirts could go no higher"; and secondly, in his view, "dressed up in mini-skirts and shiny PVC macs, given such impersonal names as 'dolly birds', girls had been transformed into throwaway plastic objects". Certainly this lengthening of hemlines coincided with the growth of the feminist movement. However, in the 1960s the mini had been regarded as a symbol of liberation, and it was worn by some, such as Germaine Greer and, in the following decade, Gloria Steinem, who became known for their promotion of women's issues. Greer herself wrote in 1969 that:
"The women kept on dancing while their long skirts crept up, and their girdles dissolved, and their nipples burst through like hyacinth tips and their clothes withered away to the mere wisps and ghosts of draperies to adorn and glorify ..."
Indeed, miniskirts never entirely went away and, for example, were often worn by Deborah Harry, of the group Blondie, during the "new wave" of the late 70s. The song "I Don't Want to Go to Chelsea" (1978), by new wave artist Elvis Costello, contained the line: "There's no place here for the mini-skirt waddle."