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'Mad Men' style: The times, they are a changin'

Perhaps not since 'Sex and the City' have clothes been as woven into the fabric of a TV show as they are on 'Mad Men.' Indeed, from Joan's wiggle dresses to Megan's miniskirts, Janie Bryant's costumes have told the shifting story of not only a clutch of memorable characters, but also a rather noteworthy decade in American history. As season 7 premieres, we trace the threads that tie together Don, Peggy, Betty et al from one year to the next.
Perhaps not since 'Sex and the City' have clothes been as woven into the fabric of a TV show as they are on 'Mad Men.' Indeed, from Joan's wiggle dresses to Megan's miniskirts, Janie Bryant's costumes have told the shifting story of not only a clutch of memorable characters, but also a rather noteworthy decade in American history. As season 7 premieres, we trace the threads that tie together Don, Peggy, Betty et al from one year to the next.
Frank Ockenfels 3, AMC
In season 1, the calendar may read 1960, but America is barely out of the '50s, as evidenced by Betty's perfectly set bob and Don's Brylcreemed hair and sharkskin suit.
In season 1, the calendar may read 1960, but America is barely out of the '50s, as evidenced by Betty's perfectly set bob and Don's Brylcreemed hair and sharkskin suit.
Doug Hyun, AMC
The era was known for fussy, shellacked hairdos and pearl-buttoned twinsets. With her youthful ponytail, Peggy was already paving her own way.
The era was known for fussy, shellacked hairdos and pearl-buttoned twinsets. With her youthful ponytail, Peggy was already paving her own way.
Carin Baer, AMC
In the 1962 of season 2, there was still nothing casual about leisure time (at least for adults). Betty's look -- day dress, red manicure, stiff headband -- stood in formal contrast to Bobby and Sally's swim togs.
In the 1962 of season 2, there was still nothing casual about leisure time (at least for adults). Betty's look -- day dress, red manicure, stiff headband -- stood in formal contrast to Bobby and Sally's swim togs.
Carin Baer, AMC
Keeping up appearances as an early '60s affluent housewife required serious maintenance, including regular trips to the beauty parlor for a roller-set coif.
Keeping up appearances as an early '60s affluent housewife required serious maintenance, including regular trips to the beauty parlor for a roller-set coif.
Carin Baer, AMC
In 1962, guys left the color to the ladies, opting for muted tones even with their more casual duds.
In 1962, guys left the color to the ladies, opting for muted tones even with their more casual duds.
Carin Baer, AMC
In season 3's 1963, bow ties and short sleeves like Harry Crane's weren't nerdy or ironic, and neither were Poindexter specs.
In season 3's 1963, bow ties and short sleeves like Harry Crane's weren't nerdy or ironic, and neither were Poindexter specs.
Carin Baer, AMC
The silhouette of 1963 was still firmly rooted in the prior decade: a full skirt, a belted waist and a bullet bra.
The silhouette of 1963 was still firmly rooted in the prior decade: a full skirt, a belted waist and a bullet bra.
Frank Ockenfels, AMC
In season 4, it's the mid-'60s (1964-65), and even if Peggy is still wearing her hair in a flip and the guys are still slicking down their short hair, sartorial change is afoot: Check out Stan's groovy stripes.
In season 4, it's the mid-'60s (1964-65), and even if Peggy is still wearing her hair in a flip and the guys are still slicking down their short hair, sartorial change is afoot: Check out Stan's groovy stripes.
Michael Yarish, AMC
Narrow lapels, skinny ties, the occasional vest: season 4 showcased the best of mid-'60s men's fashion.
Narrow lapels, skinny ties, the occasional vest: season 4 showcased the best of mid-'60s men's fashion.
Frank Ockenfels, AMC
By the mid-'60s, women's workplace silhouettes are still prim, but the palette is starting to warm up, even pop.
By the mid-'60s, women's workplace silhouettes are still prim, but the palette is starting to warm up, even pop.
Michael Yarish, AMC
Ah, season 5, circa 1966-67: Enter the shift, literally and otherwise. Change is starting to cut through the closets of even upper middle class women. The hemlines are shorter, the prints are bolder and the silhouettes are girdle-free.
Ah, season 5, circa 1966-67: Enter the shift, literally and otherwise. Change is starting to cut through the closets of even upper middle class women. The hemlines are shorter, the prints are bolder and the silhouettes are girdle-free.
Ron Jaffe, AMC
Warm colors (rust, mustard), funkier accessories (loose ties vs. fussy scarves) and the earliest stages of flower power creep in to Megan and Sally's wardrobes during the era of The Beatles' 'Revolver.'
Warm colors (rust, mustard), funkier accessories (loose ties vs. fussy scarves) and the earliest stages of flower power creep in to Megan and Sally's wardrobes during the era of The Beatles' 'Revolver.'
Michael Yarish, AMC
Megan is a mid-60s fashion plate, with her groovy, graphic-printed dress and thigh-grazing hemline.
Megan is a mid-60s fashion plate, with her groovy, graphic-printed dress and thigh-grazing hemline.
Frank Ockenfels, AMC
Harry, like other men his age of the era, starts to loosen up in season 5, swapping his retro glasses for something a little more modern, walking away from the pomade jar when it comes to sculpting his coif. (Paul is another story.)
Harry, like other men his age of the era, starts to loosen up in season 5, swapping his retro glasses for something a little more modern, walking away from the pomade jar when it comes to sculpting his coif. (Paul is another story.)
Jordin Althaus
Even as of-the-moment beehives were the all the beauty buzz, throwback accessories still lingered, like short white gloves.
Even as of-the-moment beehives were the all the beauty buzz, throwback accessories still lingered, like short white gloves.
Michael Yarish, AMC
In 1967-68, even as interior design is basking in the mirrored glow of modernity (thanks to Saarinen and Le Corbusier), Roger seems stuck in another decade.
In 1967-68, even as interior design is basking in the mirrored glow of modernity (thanks to Saarinen and Le Corbusier), Roger seems stuck in another decade.
Courtesy Of AMC
By the late '60s, the counterculture was becoming less fringe, rubbing its paisleyed shoulders alongside the old guard. Other trappings of hippie chic: shaggy hair, beaded jewelry, flowy tunics and leather minis.
By the late '60s, the counterculture was becoming less fringe, rubbing its paisleyed shoulders alongside the old guard. Other trappings of hippie chic: shaggy hair, beaded jewelry, flowy tunics and leather minis.
Michael Yarish, AMC
Protest wear -- anti-war buttons, military fatigues -- had only just begun to infiltrate the teen set. Most rebelled in quieter, arguably more subtle ways (like via hemlines).
Protest wear -- anti-war buttons, military fatigues -- had only just begun to infiltrate the teen set. Most rebelled in quieter, arguably more subtle ways (like via hemlines).
Jordin Althaus, AMC
Those sideburns, that color and that ascot: Harry Crane looks like he just stepped out of a 'Scooby Doo' cartoon. The Poindexters are long pitched. In their place: some sleek aviators.
Those sideburns, that color and that ascot: Harry Crane looks like he just stepped out of a 'Scooby Doo' cartoon. The Poindexters are long pitched. In their place: some sleek aviators.
Jordin Althaus, AMC
The towering, teased black tresses and thick, kohl-rimmed eyes: Megan looks like Priscilla Presley on her 1967 wedding day.
The towering, teased black tresses and thick, kohl-rimmed eyes: Megan looks like Priscilla Presley on her 1967 wedding day.
Frank Ockenfels, AMC
As season 7 dawns, the cast captures 1969 in all its Woodstock-to-Nixon White House glory: Stan is sporting fringe and copious amounts of facial fur, Ginsberg has grown a rug on his upper lip (and is that a bolo tie?!) and Harry's ascot is wider and louder than ever, while Ken looks almost Spiro Agnew-conservative -- and Peggy is still wearing those white gloves.
As season 7 dawns, the cast captures 1969 in all its Woodstock-to-Nixon White House glory: Stan is sporting fringe and copious amounts of facial fur, Ginsberg has grown a rug on his upper lip (and is that a bolo tie?!) and Harry's ascot is wider and louder than ever, while Ken looks almost Spiro Agnew-conservative -- and Peggy is still wearing those white gloves.
Frank Ockenfels, AMC
The end of the '60s: Could Megan's dress be any more day-glo? Her hem any more hiked up? Don, not surprisingly, hasn't embraced tog trends quite like his younger colleagues. Betty, meanwhile, is straddling two sartorial (and cultural) eras: She's showing off her knees in graphic stripes, but she's clinging to her pearls.
The end of the '60s: Could Megan's dress be any more day-glo? Her hem any more hiked up? Don, not surprisingly, hasn't embraced tog trends quite like his younger colleagues. Betty, meanwhile, is straddling two sartorial (and cultural) eras: She's showing off her knees in graphic stripes, but she's clinging to her pearls.
Frank Ockenfels 3, AMC
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