feel. Introduced by designer Kenzo Takada in 1973, carried further by Karl Lagerfeld in 1974, adapted for the US by Geoffrey Beene shortly thereafter, and endorsed in silhouette the same year by the most influential designer of the time, Yves Saint Laurent, it came to influence everyone from Calvin Klein to Mary McFadden to Givenchy to Perry Ellis, who was probably the look's biggest US exponent. The Big Look relied on loose, billowy, oversized shapes; comfortable, thin, gossamer-weight, natural-fiber fabrics like cotton gauze, crepe de chine, and challis, often left naturally wrinkled; a mostly neutral or earthtone, forest-tone, or wine-tone color palette, with prints small, muted, and often floral; layering; drawstrings, wrapping/tying, and rope-cords as opposed to hardware like buttons, zippers, and belts; capes, serapes, and shawls more than structured coats; oversized, unlined jackets and vests; extensive use of hoods and cowlnecks; full sleeve cuts like raglan, dolman, batwing, and bishop; big, rustic-textured sweaters; blouson tops; full, often ruffled blouses cut so large that they slid off the shoulder; camisoles; smock tops and smock dresses; tent dresses; full sundresses; and mostly longer lengths in skirts, high-fashion versions generally ranging from mid-calf to ankle, though mini-tunics and mini-blousons were also part of the picture. Occasional slits or slashes allowed for some show of leg amid all the billowing fabric. Skirts were almost entirely dirndls, with tiered or flounced versions called gypsy skirts or peasant skirts particularly popular. Skirts were also sometimes layered, with, say, a white underskirt beneath a hiked-up, floral-print top skirt. Pant shapes varied from full dungarees to full culottes and gauchos to full shorts called paper bag shorts, but most were tapered from full, pleated or drawstring-closed waists to narrow ankles, a style called "pegged" at the time, sometimes cut too long so they bunched up at the ankle. Dhotis, zouaves, and harem pants were also frequently shown. Comfort and ease were watchwords during this period, reflected in the Big Look's ubiquitous rolled-up sleeves. Accessories worn with the Big Look were minimal, things like unobtrusive hemp-cord necklaces maybe strung with a very few earthy-looking beads, stickpins to hold layers of shawls together, and tasseled fiber cords worn instead of belts, the ends dangling over tunic hems and layers of skirts. When proper belts were worn, they tended to be in leather, narrow, and sometimes long enough to be double-wrapped. On the legs, you might find more of the