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| This photograph, taken in front of College House at the University of Colombo in 1975 |
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| Photo credit: Reproduced from the Facebook group Old London Photographs, originally submitted by Lee Angel. |
This photograph, taken in front of College House at the University of Colombo, captures more than a personal moment from my youth. With me standing on the left, the image reflects how global fashion currents of the early 1970s reached Sri Lanka and became part of everyday life. The bell‑bottom trousers we are wearing were not simply a local trend; they were part of a broader international movement that had its origins in the cultural transformations of the late 1960s.
The bell‑bottom style first emerged in the United States and the United Kingdom, shaped by the counter‑culture, popular music, and a growing rejection of post‑war sartorial conventions. By 1975, the silhouette had become firmly established in British cities, where young people embraced wide‑legged trousers, patterned shirts, and relaxed tailoring as expressions of modernity and generational identity.
Although geographically distant, Sri Lanka was closely connected to these developments. The circulation of global fashion was facilitated by cinema, radio, imported magazines, and the increasing visibility of international youth culture. Local tailoring traditions adapted quickly, enabling young Sri Lankans to participate in the same aesthetic vocabulary that defined the era in London or Manchester. The trousers I am wearing in this photograph represent that convergence: a Sri Lankan interpretation of a style simultaneously visible on British streets.
The setting adds another layer of meaning. College House, with its colonial architecture and long academic history, stands as a symbol of intellectual life in Sri Lanka. To see global youth fashion expressed in this space is to witness the intersection of tradition and modernity, local identity and international influence.
In this sense, the photograph becomes a small historical document. It shows how global cultural currents were absorbed and re‑shaped within local contexts, and how young people in Sri Lanka engaged with the same visual language of modernity that defined the 1970s worldwide. My presence in the image places me within that broader story — a reminder that even in a pre‑digital age, ideas, styles, and aspirations travelled widely, linking lives across countries and cultures.



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