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the abbreviated reign of “neon” leon spinks

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CULTURAL NORMS RESIST RADICAL CHANGE 163<br />

a client? Can a white-collar worker work with his collar open? Yes, thanks<br />

to <strong>the</strong> leisure suit revolution!”<br />

Moreover, because <strong>of</strong> <strong>the</strong> limitations <strong>of</strong> <strong>the</strong> <strong>the</strong>n-crude syn<strong>the</strong>tic<br />

fabrics from which <strong>the</strong>y were made—an expensive version didn’t look<br />

that much different from a cheap one—leisure suits’ popularity had <strong>the</strong><br />

subtle effect <strong>of</strong> blurring <strong>the</strong> rank and class distinctions usually signifi ed by<br />

one’s tailoring. Some even saw <strong>the</strong>m as evidence <strong>of</strong> an evolutionary change<br />

in corporate culture, away from rigid conformity and toward a more relaxed,<br />

convivial atmosphere. New York Times fashion critic Philip H.<br />

Dougherty boldly proclaimed in 1975 that <strong>the</strong> leisure suit and its variations<br />

were “symbols <strong>of</strong> a new lifestyle and are with us for good, as far as<br />

some experts are concerned.” In 1976, Chip Tolbert, an <strong>of</strong>ficial <strong>of</strong> <strong>the</strong><br />

Men’s Fashion Association <strong>of</strong> America, a clothing industry group, went so<br />

far as to refer to <strong>the</strong> leisure suit itself as “a way <strong>of</strong> life.” The leisure suit was<br />

so ubiquitous that toy maker Mattel updated Barbie’s companion Ken by<br />

dressing him in a rakish white version. As fashion historian Valerie Steele<br />

has noted, leisure suits became “a middle-class spin-<strong>of</strong>f <strong>of</strong> hippie clothing,<br />

part <strong>of</strong> <strong>the</strong> experimentation with men’s wear and <strong>the</strong> breakdown <strong>of</strong><br />

formality.”<br />

Conversely, to traditionalists <strong>of</strong> that era, <strong>the</strong> leisure suit was not so<br />

much laughable as a potentially cataclysmic threat to <strong>the</strong> status quo <strong>of</strong><br />

men’s fashion. Brooks Bro<strong>the</strong>rs president Frank Reilly told <strong>the</strong> Washington<br />

Post in 1977 that he found <strong>the</strong> 1970s leisure suit far more disturbing<br />

than <strong>the</strong> unkempt, denim-clad sixties counterculture’s rejection <strong>of</strong> traditional<br />

fashion. “Everybody was going to buy one,” he reflects with distaste,<br />

“because <strong>the</strong>y were cheap. That was much scarier to me.”<br />

And <strong>of</strong> course, it didn’t happen. After several years <strong>of</strong> astounding<br />

popularity, <strong>the</strong> leisure suit abruptly went from sartorial sensation to object<br />

<strong>of</strong> ridicule—an extraordinarily rare event in <strong>the</strong> normally glacially slow<br />

evolution <strong>of</strong> men’s attire. But even though <strong>the</strong> leisure suit flopped, <strong>the</strong> notion<br />

behind it—that men felt constrained and uncomfortable in traditional

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