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Twenties fashion is often remembered for its glitz and glamour, though underlying this was a move toward simplicity in dress. For women, this meant shorter skirts and simple shapes, while men enjoyed casual suits.

At the dawn of the 1920s, the world was still reeling from the First World War. The conflict, which ended just over a year before the new decade began, had a fundamental and irreversible effect on society, culture, and fashion. Essential to these new styles was a simplicity that had not previously been seen in women's fashion. Dress historian Jayne Shrimpton writes in Fashion in the 1920s:

"The development of a more convenient, modern female wardrobe was a major trend of the 1920s and was achieved through the progressive simplification of dress as the decade advanced - a rejection of formality and multiple layers, in favour of comfort and a lighter, more natural effect." (13-14)

This simplicity created the popular tubular " la garçonne " look that dominated much of the decade. Also known as the flapper, the look typified 1920s dress with a dropped waist and creeping hemlines that could be created in economical fabrics. Coco Chanel helped popularize this style (Fig. 1) and was a prominent designer during the period. Both waistlines and hemlines followed similar, though inverse, projections throughout the decade, as waistlines dropped until 1923 before beginning to rise again in 1928; while hemlines rose until 1926, when they started to fall again (Pel 51).

Evening dresses sometimes still nearly reached the ground, though many of the popular styles followed the hemline trends of daywear, as demonstrated in the difference between a 1924 evening dress (Fig. 2) and an evening dress from 1929 (Fig. 3). While simplicity in construction was key to both daywear and eveningwear, the latter benefited from ornate decoration: beadwork, sequins, and embroidery all helped create the glamorous nighttime looks of the decade, like this yellow evening dress made of silk and rhinestones (Fig. 2).

Though this was one of the more popular styles, it was by no means the only. In fact, a style popularized by Jeanne Lanvin could not be further from this "androgynous" look. Instead, these dresses had long, full skirts, sometimes even with panniers, like this black and silver "Robe de Style" dress shown here (Fig. 4). They were feminine and romantic, like the pastel dress designed by Lanvin in 1922, accessorized with a straw hat itself removed from the brimless cloche hats that were popular during the twenties (Fig. 5). Lanvin's dresses were starkly different from the shapeless silhouettes of the flapper, though some interpreted this style with her own feminine twist (Fig. 6).

Another trend for women that enjoyed massive popularity in the twenties was that of sportswear worn as daywear. Sportswear had long been an acceptable form of casual wear for men, but in the 1920s, it also became acceptable for women. The popularity of sports clothes in the 1920s is often attributed, like many of the most popular styles of the twenties, to Coco Chanel, but designers such as Jane Regny and Jean Patou also contributed to the sportswear trend. Patou's yellow skirt and sweater set show how much tennis clothes influenced design (Fig. 7).

Tennis was the most popular sport for women and thus the most popular inspiration for fashion. Indeed, one of the most popular fashion stars of the early twenties was tennis star Suzanne Lenglen whose short sleeved, pleated tennis dress and bandeau were created for her by Patou (Pel 14). Her style both on (Fig. 8) and off the court (Fig. 9) inspired the masses. Shrimpton writes, "By the late 1920s, following her lead and embracing wider fashion trends, sleeveless, knee-length shift-like tennis dresses were fashionable" (59). So popular were elements of these sports clothes that in a 1928 issue of The Tatler, M.E. Brooke wrote, "Sports clothes have been developed to such an extent that they may go to lunch at the fashionable restaurants; as a matter of fact they are often worn until the hour of cocktail" (Brooke 276).

Fashion in the 1920s was all about the whole look and there were trends in how the body itself was fashioned. The simple lines and androgynous shapes of fashion looked best on bodies free from curves. Through exercise, diet, and various shaping undergarments, women attempted to achieve this look. The sporting look also helped facilitate a mode for suntanned skin. Many women cut their hair into a bob, a popular hairstyle that emerged early in the decade. Hairstyles kept getting shorter first with the shingle and then with the Eton crop, but like hemlines, as the decade drew to a close, women were starting to grow their hair longer again. The cloche hat became an extremely popular accessory that looked best with these short hairstyles.

While the designers mentioned above created and sold their styles, as did department stores and the like, the simplicity of the prevailing mode throughout the twenties made it easy for women of all means to recreate those styles at home. This, combined with inspiration taken from typical working-class girls' attire and the use of materials such as jersey and artificial silk, led to what has been deemed a "democratization of fashion" in the 1920s. Anyone could achieve the fashionable look even if it meant the simple lines were created with a less expensive material and made at home rather than in an atelier. This phenomenon is studied by fashion historians but was also felt during the period. In her book Success Through Dress, The Hon. Mrs. C.W Forester declared, "Dress is now no sign of social status; in fact, rather the contrary" (62).

As womenswear valued simplicity in the 1920s so, too, did menswear. Men moved away from starched collars and formal three-piece suits during the day. Instead, they adopted soft collars and one- or two-button suit jackets often worn without a waistcoat as seen in the different styles shown on the fashion plate in figure 1. Pinstripes were popular, as were British wools and English tailoring. Martin Pel writes that "British men were perceived to be sartorially the most elegant, and fashionable men hoped to emulate the style and heritage of Savile Row and the English elite" (28). Popular materials were tweeds and flannels, depending on the season (Shrimpton 31).

The most significant development in men's fashion occurred in two unique kinds of trousers: the Oxford bags and the plus-fours. Oxford bags grew in popularity around 1924-25 when undergraduates at Oxford adopted these wide-legged trousers. Though the origin of the style is contentious, it is generally agreed that it derived from the trousers that rowers on Oxford's crew teams pulled on over their shorts, and you can see how The Bystander satirized this in 1924 (Fig. 2). The original style was about 22 inches wide at the bottom, several inches wider than the average men's trouser leg. Oxford undergraduates began wearing these around the university and soon the style spread. As the style spread, so too did the width of the trouser legs until at one point they reached up to 44 inches wide. The trousers were made out of flannel and came in a variety of colors. They were mostly worn by youths - perhaps the male counterparts of the flapper - and became a favorite of Britain's "Bright Young People," a group of wealthy, aristocrats known for their antics in London's nightlife.

The other development in menswear in the twenties was the plus-fours. Plus-fours developed out of ordinary knickers - short-legged trousers that gather around the knee - and like Oxford bags were a bit baggier version of their precursor. They had four extra inches of material (hence the name) but instead of extending the trouser leg, they still fastened around the knee and the extra material hung over the band, creating the baggy look as seen at a racecourse in 1920 (Fig. 3). Often worn with a sweater, plus-fours were popular golf attire, but much like how tennis-wear crept into casual womenswear, this style was also popular daywear for men, as was tennis-wear for men, too. You can see the casual way men dressed to play tennis, though some still wore ties in 1920 (Fig. 4).

Though many men looked to Britain generally for their sartorial inspiration, one man stuck out for his influence: Edward, Prince of Wales. Though later a controversial figure, in the twenties, the Prince of Wales was the good-looking, well-dressed son of the king who was often seen at parties in London. He had the reputation of a playboy but he was also known for his fashion sense and many men on both sides of the Atlantic aspired to dress like him. Though often photographed in morning suits and tuxedos, he was also a big fan of the plus-fours mentioned above, often wearing them with argyle sweaters and socks both on and off the golf course. This portrait from 1927 showed him in this attire (Fig. 14). He was the epitome of the English style that men looked to in the 1920s.

Like womenswear, the look had to be completed. Men generally wore their hair short and covered with a hat: popular styles included the felt hat, the fedora or trilby, flat caps or the straw boater depending on the season and the man's status. Men moved away from uncomfortable lace-up boots and preferred lower-cut oxfords or brogues (Shrimpton 33-34).

Children's wear in the 1920s benefited from new technology and research into children's development (Shrimpton 49). Freedom of movement and comfort were prioritized as the layers of previous decades came off and, much like womenswear and menswear, simplicity became key as seen in the simple styles that home-sew patterns offered (Figs. 2 & 4).

Young girls wore simple loose dresses often made in cotton or linen, though velvet, like this coat, was popular for special occasions (Fig. 1). The length of the dresses varied by age getting longer as the girls got older (Shrimpton 49). Peter pan collars, smocking, patterned fabrics, and embroidery were all popular in girls' clothing throughout the decade (Shrimpton 49). Many styles looked to womenswear for inspiration, though in the twenties, children's wear was not just a miniature version of adult clothing (Grindstaff). There were modifications, but many popular styles for women in the decade already looked girlish, so it made sense to dress girls in similar styles.

Like girls' clothing, the length of a boys' trouser was determined by his age. Young boys wore shorts with a tunic or sweater, while older boys began wearing long trousers, often with similar tops. Like men, Fair Isle sweaters and blazers were popular for young boys, with blazers often a required component of a school uniform, like the uniforms worn by the young boys below (Fig. 4). Like both womenswear and menswear, boys' clothing was inspired by sportswear as the flannel trousers and woolen blazers of cricket and tennis became acceptable daywear for boys (Shrimpton 51). Uniforms were literally topped off with caps that looked inspired by cricket, like this one below, as well (Fig. 6).

The most important development in babywear during the decade was the rise of the romper which we might now refer to as a onesie, an example seen on the smallest model above (Fig. 3). Shrimpton writes:

"Rompers (first offered by Harrods in 1919) were revolutionary new garments - like small boiler suits, they had long sleeves, a yoked bodice and short knickerbockers. Made in plain, easily laundered fabrics, these were convenient for mothers and enabled much more freedom of movement for babies at the crawling stage and toddlers than traditional cumbersome petticoats." (47)

This new simplicity in dress reached nearly everyone: from women to men, young boys to young girls, and even the tiniest members of society.

Events:

1920 - The 19th Amendment to the US Constitution gives women the right to vote. Some believe that the women's rights movement affected fashion, promoting androgynous figures and the death of the corset. The Prohibition Era begins in the US but is largely ignored by fashionable young men and women of the time. "Flappers" dance the night away to jazz tunes at illegal speakeasies.

1922 - Howard Carter and George Herbert, 5th Earl of Carnarvon, discover the tomb of Ancient Egyptian ruler Tutankhamun. Fashion designers are inspired to use moths from ancient cultures in their creations.

1923 - The Broadway show Runnin' Wild includes the popular tune 'The Charleston'. It becomes a dance craze, requiring low-waisted dresses with fullness at the hemline to kick up the heels.

1924 - The diplomatic visit of Edward, Prince of Wales to the US popularizes a kind of short breeches for men- plus fours.

1925 - Fashion designers make up a large number of the artists who display their luxury wares at the "Exposition Internationale des Arts Décoratifs et Industriels Modernes" in Paris, which gave art deco its name.

1926 - The ideal haircut for showcasing cloche hats- the fashionable Eton crop- is first mentioned in The Times. It is popularized by Josephine Baker, an African American expatriate singer, dancer, and entertainer, who becomes an overnight sensation at the Foiles Bergere music hall.

To discover primary/period sources, explore the categories below.
Have a primary source to suggest? Or a newly digitized periodical/book to announce? Contact us!

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Twenties fashion is often remembered for its glitz and glamour, though underlying this was a move toward simplicity in dress. For women, this meant shorter skirts and simple shapes, while men enjoyed casual suits. At the dawn of the 1920s, the world was still reeling from the First World War.

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Modern Talking, Pop Duo

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Marlene Dietrich

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Lady Gaga

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Lady Gaga

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Playing on the tradition of the 1970s leisure suit, American designer Ralph Lauren, presented a three-piece denim suit as a part of his 2015 luxury Purple Label Collection. Hybridizing two classically favored menswear items such as the navy suit and contemporary favorite dark denim, Lauren is able to suggest the marriage of two very distinct garments. The look tiptoes the line between dressy and casual daring the fashion industry and consumers alike to keep evolving beyond the status quo.

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Playing on the tradition of the 1970s leisure suit, American designer Ralph Lauren, presented a three-piece denim suit as a part of his 2015 luxury Purple Label Collection. Hybridizing two classically favored menswear items such as the navy suit and contemporary favorite dark denim, Lauren is able to suggest the marriage of two very distinct garments.

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clouet, francois, "karl IX. von frankreich", 1560.JPG

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Was ist Mode Vorgeschichte Mittelalter Renaissance

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Twenties fashion is often remembered for its glitz and glamour, though underlying this was a move toward simplicity in dress. For women, this meant shorter skirts and simple shapes, while men enjoyed casual suits.

At the dawn of the 1920s, the world was still reeling from the First World War. The conflict, which ended just over a year before the new decade began, had a fundamental and irreversible effect on society, culture, and fashion. Essential to these new styles was a simplicity that had not previously been seen in women's fashion. Dress historian Jayne Shrimpton writes in Fashion in the 1920s:

"The development of a more convenient, modern female wardrobe was a major trend of the 1920s and was achieved through the progressive simplification of dress as the decade advanced - a rejection of formality and multiple layers, in favour of comfort and a lighter, more natural effect." (13-14)

This simplicity created the popular tubular " la garçonne " look that dominated much of the decade. Also known as the flapper, the look typified 1920s dress with a dropped waist and creeping hemlines that could be created in economical fabrics. Coco Chanel helped popularize this style (Fig. 1) and was a prominent designer during the period. Both waistlines and hemlines followed similar, though inverse, projections throughout the decade, as waistlines dropped until 1923 before beginning to rise again in 1928; while hemlines rose until 1926, when they started to fall again (Pel 51).

Evening dresses sometimes still nearly reached the ground, though many of the popular styles followed the hemline trends of daywear, as demonstrated in the difference between a 1924 evening dress (Fig. 2) and an evening dress from 1929 (Fig. 3). While simplicity in construction was key to both daywear and eveningwear, the latter benefited from ornate decoration: beadwork, sequins, and embroidery all helped create the glamorous nighttime looks of the decade, like this yellow evening dress made of silk and rhinestones (Fig. 2).

Though this was one of the more popular styles, it was by no means the only. In fact, a style popularized by Jeanne Lanvin could not be further from this "androgynous" look. Instead, these dresses had long, full skirts, sometimes even with panniers, like this black and silver "Robe de Style" dress shown here (Fig. 4). They were feminine and romantic, like the pastel dress designed by Lanvin in 1922, accessorized with a straw hat itself removed from the brimless cloche hats that were popular during the twenties (Fig. 5). Lanvin's dresses were starkly different from the shapeless silhouettes of the flapper, though some interpreted this style with her own feminine twist (Fig. 6).

Another trend for women that enjoyed massive popularity in the twenties was that of sportswear worn as daywear. Sportswear had long been an acceptable form of casual wear for men, but in the 1920s, it also became acceptable for women. The popularity of sports clothes in the 1920s is often attributed, like many of the most popular styles of the twenties, to Coco Chanel, but designers such as Jane Regny and Jean Patou also contributed to the sportswear trend. Patou's yellow skirt and sweater set show how much tennis clothes influenced design (Fig. 7).

Tennis was the most popular sport for women and thus the most popular inspiration for fashion. Indeed, one of the most popular fashion stars of the early twenties was tennis star Suzanne Lenglen whose short sleeved, pleated tennis dress and bandeau were created for her by Patou (Pel 14). Her style both on (Fig. 8) and off the court (Fig. 9) inspired the masses. Shrimpton writes, "By the late 1920s, following her lead and embracing wider fashion trends, sleeveless, knee-length shift-like tennis dresses were fashionable" (59). So popular were elements of these sports clothes that in a 1928 issue of The Tatler, M.E. Brooke wrote, "Sports clothes have been developed to such an extent that they may go to lunch at the fashionable restaurants; as a matter of fact they are often worn until the hour of cocktail" (Brooke 276).

Fashion in the 1920s was all about the whole look and there were trends in how the body itself was fashioned. The simple lines and androgynous shapes of fashion looked best on bodies free from curves. Through exercise, diet, and various shaping undergarments, women attempted to achieve this look. The sporting look also helped facilitate a mode for suntanned skin. Many women cut their hair into a bob, a popular hairstyle that emerged early in the decade. Hairstyles kept getting shorter first with the shingle and then with the Eton crop, but like hemlines, as the decade drew to a close, women were starting to grow their hair longer again. The cloche hat became an extremely popular accessory that looked best with these short hairstyles.

While the designers mentioned above created and sold their styles, as did department stores and the like, the simplicity of the prevailing mode throughout the twenties made it easy for women of all means to recreate those styles at home. This, combined with inspiration taken from typical working-class girls' attire and the use of materials such as jersey and artificial silk, led to what has been deemed a "democratization of fashion" in the 1920s. Anyone could achieve the fashionable look even if it meant the simple lines were created with a less expensive material and made at home rather than in an atelier. This phenomenon is studied by fashion historians but was also felt during the period. In her book Success Through Dress, The Hon. Mrs. C.W Forester declared, "Dress is now no sign of social status; in fact, rather the contrary" (62).

As womenswear valued simplicity in the 1920s so, too, did menswear. Men moved away from starched collars and formal three-piece suits during the day. Instead, they adopted soft collars and one- or two-button suit jackets often worn without a waistcoat as seen in the different styles shown on the fashion plate in figure 1. Pinstripes were popular, as were British wools and English tailoring. Martin Pel writes that "British men were perceived to be sartorially the most elegant, and fashionable men hoped to emulate the style and heritage of Savile Row and the English elite" (28). Popular materials were tweeds and flannels, depending on the season (Shrimpton 31).

The most significant development in men's fashion occurred in two unique kinds of trousers: the Oxford bags and the plus-fours. Oxford bags grew in popularity around 1924-25 when undergraduates at Oxford adopted these wide-legged trousers. Though the origin of the style is contentious, it is generally agreed that it derived from the trousers that rowers on Oxford's crew teams pulled on over their shorts, and you can see how The Bystander satirized this in 1924 (Fig. 2). The original style was about 22 inches wide at the bottom, several inches wider than the average men's trouser leg. Oxford undergraduates began wearing these around the university and soon the style spread. As the style spread, so too did the width of the trouser legs until at one point they reached up to 44 inches wide. The trousers were made out of flannel and came in a variety of colors. They were mostly worn by youths - perhaps the male counterparts of the flapper - and became a favorite of Britain's "Bright Young People," a group of wealthy, aristocrats known for their antics in London's nightlife.

The other development in menswear in the twenties was the plus-fours. Plus-fours developed out of ordinary knickers - short-legged trousers that gather around the knee - and like Oxford bags were a bit baggier version of their precursor. They had four extra inches of material (hence the name) but instead of extending the trouser leg, they still fastened around the knee and the extra material hung over the band, creating the baggy look as seen at a racecourse in 1920 (Fig. 3). Often worn with a sweater, plus-fours were popular golf attire, but much like how tennis-wear crept into casual womenswear, this style was also popular daywear for men, as was tennis-wear for men, too. You can see the casual way men dressed to play tennis, though some still wore ties in 1920 (Fig. 4).

Though many men looked to Britain generally for their sartorial inspiration, one man stuck out for his influence: Edward, Prince of Wales. Though later a controversial figure, in the twenties, the Prince of Wales was the good-looking, well-dressed son of the king who was often seen at parties in London. He had the reputation of a playboy but he was also known for his fashion sense and many men on both sides of the Atlantic aspired to dress like him. Though often photographed in morning suits and tuxedos, he was also a big fan of the plus-fours mentioned above, often wearing them with argyle sweaters and socks both on and off the golf course. This portrait from 1927 showed him in this attire (Fig. 14). He was the epitome of the English style that men looked to in the 1920s.

Like womenswear, the look had to be completed. Men generally wore their hair short and covered with a hat: popular styles included the felt hat, the fedora or trilby, flat caps or the straw boater depending on the season and the man's status. Men moved away from uncomfortable lace-up boots and preferred lower-cut oxfords or brogues (Shrimpton 33-34).

Children's wear in the 1920s benefited from new technology and research into children's development (Shrimpton 49). Freedom of movement and comfort were prioritized as the layers of previous decades came off and, much like womenswear and menswear, simplicity became key as seen in the simple styles that home-sew patterns offered (Figs. 2 & 4).

Young girls wore simple loose dresses often made in cotton or linen, though velvet, like this coat, was popular for special occasions (Fig. 1). The length of the dresses varied by age getting longer as the girls got older (Shrimpton 49). Peter pan collars, smocking, patterned fabrics, and embroidery were all popular in girls' clothing throughout the decade (Shrimpton 49). Many styles looked to womenswear for inspiration, though in the twenties, children's wear was not just a miniature version of adult clothing (Grindstaff). There were modifications, but many popular styles for women in the decade already looked girlish, so it made sense to dress girls in similar styles.

Like girls' clothing, the length of a boys' trouser was determined by his age. Young boys wore shorts with a tunic or sweater, while older boys began wearing long trousers, often with similar tops. Like men, Fair Isle sweaters and blazers were popular for young boys, with blazers often a required component of a school uniform, like the uniforms worn by the young boys below (Fig. 4). Like both womenswear and menswear, boys' clothing was inspired by sportswear as the flannel trousers and woolen blazers of cricket and tennis became acceptable daywear for boys (Shrimpton 51). Uniforms were literally topped off with caps that looked inspired by cricket, like this one below, as well (Fig. 6).

The most important development in babywear during the decade was the rise of the romper which we might now refer to as a onesie, an example seen on the smallest model above (Fig. 3). Shrimpton writes:

"Rompers (first offered by Harrods in 1919) were revolutionary new garments - like small boiler suits, they had long sleeves, a yoked bodice and short knickerbockers. Made in plain, easily laundered fabrics, these were convenient for mothers and enabled much more freedom of movement for babies at the crawling stage and toddlers than traditional cumbersome petticoats." (47)

This new simplicity in dress reached nearly everyone: from women to men, young boys to young girls, and even the tiniest members of society.

Events:

1920 - The 19th Amendment to the US Constitution gives women the right to vote. Some believe that the women's rights movement affected fashion, promoting androgynous figures and the death of the corset. The Prohibition Era begins in the US but is largely ignored by fashionable young men and women of the time. "Flappers" dance the night away to jazz tunes at illegal speakeasies.

1922 - Howard Carter and George Herbert, 5th Earl of Carnarvon, discover the tomb of Ancient Egyptian ruler Tutankhamun. Fashion designers are inspired to use moths from ancient cultures in their creations.

1923 - The Broadway show Runnin' Wild includes the popular tune 'The Charleston'. It becomes a dance craze, requiring low-waisted dresses with fullness at the hemline to kick up the heels.

1924 - The diplomatic visit of Edward, Prince of Wales to the US popularizes a kind of short breeches for men- plus fours.

1925 - Fashion designers make up a large number of the artists who display their luxury wares at the "Exposition Internationale des Arts Décoratifs et Industriels Modernes" in Paris, which gave art deco its name.

1926 - The ideal haircut for showcasing cloche hats- the fashionable Eton crop- is first mentioned in The Times. It is popularized by Josephine Baker, an African American expatriate singer, dancer, and entertainer, who becomes an overnight sensation at the Foiles Bergere music hall.

To discover primary/period sources, explore the categories below.
Have a primary source to suggest? Or a newly digitized periodical/book to announce? Contact us!

# data[].attributes.attachment_link.description
Twenties fashion is often remembered for its glitz and glamour, though underlying this was a move toward simplicity in dress. For women, this meant shorter skirts and simple shapes, while men enjoyed casual suits. At the dawn of the 1920s, the world was still reeling from the First World War.

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In the 1930s, fashion saw a profound influence from films and specifically Hollywood. Men’s, women’s, and children’s styles were based on fashions seen on screen with stars like Clark Gable, Jean Harlow, and Shirley Temple among the many who directly influenced fashion. A return to conservatism afte…

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Fashion in the 1950s saw a clear gender divide. While men and boy's fashion moved towards a more casual day-to-day style, women and girl's fashion prioritized elegance, formality, and perfectly matched accessories. Couture womenswear saw rapid change with new designers such as Cristobal Balenciaga and Hubert de Givenchy disrupting the overtly feminine silhouette popularized by Christian Dior while novel prints and colors marked a playfulness in fashion for both men and women.

Fashion is rarely contained neatly in one decade, and the popular look that dominated womenswear in the 1950s actually emerged in the late 1940s. When Christian Dior's "New Look" appeared in February 1947, it became an instant success and the nipped-in waist and full-skirted silhouette remained the leading style until the mid-1950s. As the decade progressed, the dominant silhouette became progressively straighter and slimmer, and as fashion began to look to the new "teenager" for inspiration, the elegance and formality of the early part of the decade began to lessen.

As the 1950s began, the initial resistance to the extravagance of the New Look had died down and the silhouette was entrenched in both women's daywear and eveningwear. Dior himself continued to produce designs that followed the feminine line even while incorporating new elements, like the structural collar seen in figure 1. While this shape remained popular until at least 1954, in his Fashion Sourcebooks: The 1950s, John Peacock describes how this figure evolved throughout the decade:

"from the comparatively early days of the 'New Look,' when the square shoulders and masculine details of the 1940s still lingered, through the ultra-feminine and luxurious styles of the mid-1950s - clothes with gently softened shoulderlines, tiny corseted waists, roundly padded hips and long, swirling skirts only eleven inches above the ground" (7).

Even as the silhouette evolved, its core style was seen in evening gowns, day dresses, and separates. A Givenchy dress from 1953 shows how the shape was restyled throughout the decade while remaining true to the nipped-in waist and full skirt (Fig. 3). The pea motif, along with the bright patterned dresses in Better Living magazine (Fig. 2), demonstrates a playfulness that emerged in pattern while the Charles James "Clover Leaf" dress (Fig. 4) and Balenciaga evening dress (Fig. 5) show the experimentation in construction that took place in the fifties.

However, while the look was ubiquitous, it was not the only look that rose to prominence in the fifties. In fact, fashion curator Daniel Milford-Cottam writes in Fashion in the 1950s:

"One particularly striking aspect of the decade was the emergence of stylish options. Two ladies could walk down the street in different outfits, yet appear equally modish, be their skirts full and narrow, or one in a form-fitting sheath and the other in a loose sack dress." (13)

He continues to explain that the idea of choice rather than following one specific style was relatively new in the 1950s. As the decade continued, these choices became varied as new designers such as Cristobal Balenciaga, Charles James, and Hubert de Givenchy introduced different silhouettes. In Costume and Fashion: A Concise History, James Laver writes, "As the decade progressed, clothing became less structured and straighter in cut" (258). Introduced by Chanel, Dior, and Balenciaga around the same time, the straight-cut suit, in contrast to the New Look, emphasized a woman's natural shape with the jacket hanging at the widest point of the hips, as seen in figure 6. In the latter half of the decade, sheaths - like the Givenchy suit in figure 8 - and high-waisted chemise dresses, introduced by Balenciaga in 1957, became popular. The Balenciaga suit worn by model Suzy Parker (Fig. 7) shows the swing outline that he favored.

While designers such as Dior, Balenciaga, and Charles James created beautiful couture pieces, the craze for sportswear continued. Claire McCardell, the American designer who rose to prominence in the 1940s, continued to produce her popular wrap-over dresses and also introduced pedal-pushers with matching tops (Laver 258). While overall, fashion in the 1950s prided elegance, young women turned to McCardell and other sportswear and less formal designs, like the sundress and swimsuit in figure 10. Perhaps one of the most enduring images of everyday fashion in the fifties is the "poodle skirt." Credited to Juli Lynne Charlot from California, these simple felt skirts were cut in a circle and could have any sort of embellishment, not just a poodle (Milford-Cottam 20). They were paired with tight-knitted twinsets and while much more casual than the haute couture coming out of Paris, these skirts still followed the line of the New Look with a defined waist and full skirt as seen in figure 9.

Though it became increasingly acceptable for women to wear slacks for some occasions, overall the fashion mood in the fifties leaned towards femininity and formality. This was especially true in eveningwear as the cocktail dress was introduced to the public. Worn to the new cocktail party, these dresses lay in-between daywear and evening gowns, falling at the length of a day dress but embellished like eveningwear (Fig. 11). For formal eveningwear, even as sheaths and form-fitting dresses became popular, the full-skirted dress remained the mode throughout the decade, like the highly embellished evening gown by Dior in figure 13. The relatively new strapless bodice was especially popular as the pared-down bodice balanced out the wide skirts.

No matter what time of day, throughout the decade, it was exceedingly important that a woman be impeccably turned out. This meant perfectly groomed hair, spotless makeup, and sets of matching accessories. This was encouraged through the glamorous fashion photography of the day (Fig. 14). Fashion historian Gerda Buxbaum writes in Icons of Fashion: The 20th Century, "The long years of deprivation during World War II brought forth a yearning for luxury and fashionable things, and women made a special effort to dress appropriately for every occasion; it was considered imperative that one's accessories matched perfectly" (69). Whether she was wearing a twinset and slacks, a poodle skirt, a sheath dress, or one of Dior's New Look styles, a woman did her best to ensure that she looked pulled together through her accessories and overall styling. Those infamous black-toed Chanel shoes (Fig.12) appeared at the end of this decade, after all.

Though he lived an astonishingly short life, James Dean had an undeniable influence on men's fashion in the 1950s. Starring in only three movies within one year, Dean was killed in a car accident at the age of 24 in 1955. But his portrayal of Jim Stark in Rebel Without a Cause (Figs. 21-22) left an indelible mark of men's fashion. Released after his death, Dean's uniform of a white t-shirt, jeans, and red jacket was easily and readily copied.

Despite his short career in film, the popularity of his Rebel Without a Cause character struck a chord with the new generation of young men. The Encyclopaedia Britannica writes:

"His character defiantly rejects the values of his elders while desperately aching to 'belong' and attempting to find a purpose in life. Dean's performance spoke eloquently on behalf of disenchanted, disenfranchised teenagers and gave them a hero they could respect and admire."

This hero status, along with similar feelings towards fellow actor Marlon Brando's characters in A Streetcar Named Desire and The Wild One, influenced young men's fashion as they emulated these characters (Buxbaum 77). Together, Dean and Brando ensured the rise of the white t-shirt, jeans, and greased back hair that was pervasive throughout the 1950s.

Although womenswear in the 1950s prided formality, men's fashion moved towards an informality it had not yet seen before. Though young women wore tight sweaters and sought clothes that suited her age, it was young men who really started the so-called "youth culture" of the 1950s. Since the rise of the suit in the 18 th century, men's fashion had seen little dramatic change until the rise of the Teddy Boys in Britain and the rebellious youths who looked to Hollywood stars Marlon Brando and James Dean in the fifties. Significantly, both of these styles were adopted or inspired by working-class men, rather than coming from the elite.

In the years after World War II, tailors on Savile Row in London introduced a slim cut suit with a velvet-collared suit that was referred to as the New Edwardian (Milford-Cottam 53). While it was originally elegant, upper-class men who wore these suits with narrow trousers, in the early 1950s, young working-class men began to adopt and adapt the style for their own purposes. Nicknamed "Teddy Boys" (Teddy being a nickname of Edward), these young men, seen in figure 15, wore extremely narrow trousers, velvet-collared jackets and greased their hair back into quiffs. While the style was popular and signified a certain type of rebellious young working-class man, it also signified a shift in the ability of the working-class young to consume. Laver writes:

"What was important in this development was not the adoption by the working class of an upper-class style, but the fact that young men from poor backgrounds could now afford relatively expensive clothes and accessories and had the confidence to make them part of their own distinctive style." (260)

The Teddy Boys were just one part of a rise in youth culture that was seen across both genders and on both sides of the pond.

As young men in Britain were looking to Savile Row tailoring, the youth in America - and in Europe, too - were looking to rebellious Hollywood stars and singers. With inspiration from Marlon Brando-in A Streetcar Named Desire (Fig. 16) and, popularizing the leather jacket in 1955 in The Wild One (Fig. 17)-James Dean, and Elvis Presley-promoting Jailhouse Rock in 1957 (Fig. 18)-young men in the US began adopting a working-class look of jeans, a white t-shirt, and leather jacket. Like their British counterparts, American men adopted the greased-back quiff hairstyle to go along with their casual look. This style was seen as a youthful rejection of their parents' generation, which earned them a rebellious and trouble-making reputation, much like that of the Teddy Boys in Britain. The clothes they adopted, in contrast to the elegant suits of their British counterparts, were items associated with the working-class: jeans had previously only been acceptable for farmers and other outdoor laborers, never for everyday wear.

Even as young men in both Europe and the United States began adopting new styles, formal daywear and eveningwear for men continued along the same lines throughout the 1950s. Suits maintained the baggy shape that had started in the forties, while skinny ties, like the one in figure 19, rose to prominence. The biggest change in men's formal wear was the increasing presence of color, as seen in the ad for the bright yellow Arrow shirt (Fig. 20). Tuxedo accessories such as ties and cummerbunds added a pop of color, while less formal eveningwear such as the smoking jacket might come in a color other than black. Color began to creep into daywear shirts and sweaters, as well (Milford-Cottam 48-51). The Hawaiian shirt, first seen in the late forties, continued to be a popular option for men throughout the fifties.

Children's fashion in the 1950s echoed the trends found in their adult counterparts. Young girls wore dresses with full skirts and perfectly matching accessories while young boys saw their clothing options becoming more casual. New synthetic materials, which were also being used in adult clothing, were increasingly used for children's clothes as they were easier to launder.

In previous decades, young boys had typically worn collared shirts, ties, blazers, and shorts until they were old enough to transition to long trousers. However, in the 1950s, like teenagers and young men, it became increasingly acceptable for boys to wear jeans for most occasions. It became rare throughout the decade for young boys to wear ties and collared shirts were abandoned in the most casual settings. Colorful and patterned short-sleeved, collared shirts were popular options for everyday wear (Fig. 23). Knitted sweaters and cardigans, popular in the forties, continued to be popular in the fifties as it became less common for young boys to wear jackets or blazers. SJ Stratford writes on Love to Know, "Although conformity was the guiding principle for everyone's dress, boys were able to enjoy a level of comfort and casualness that they hadn't before and that girls would not share for another few decades."

In contrast to this casual approach to boys' fashion in the 1950s, like their mothers, young girls' wardrobes prided formality and perfectly matched accessories. Primarily wearing dresses, these styles began by following the lines of the previous decade: natural waists, full skirts, and puffed sleeves. As the decade progressed, dresses became more varied and you can see options coming into play as they did in women's wardrobes.

Dropped waists (still with full skirts, like that in figure 25), smock dresses, pinafores, bold colors, and playful patterns all offered different styles. For less formal occasions, girls might wear a blouse and full skirt held up with suspenders (as seen on the right in figure 24) and covered in a matching jacket or cardigan. Novelty items like the poodle skirt (Fig. 28) were also popular, while sheath dresses and slacks became acceptable options later in the decade. Stripes, florals, plaids, rickrack (Fig. 27), bows, and more could all be found embellishing girls' clothes. Whether at a party or at school, these looks were almost always accompanied by white ankle socks and shiny black patent leather shoes and carefully styled hair perhaps adorned with a ribbon or two bows, as evidenced in the Sears ad in figure 26. At home, girls might have worn overalls or playsuits in casual settings.

Upon becoming a father himself, womenswear designer Charles James designed a line of infant clothes in 1956. The cotton playsuits, shorts, and dresses were simple yet finished with beautiful mother-of-pearl buttons and other luxurious touches (Fig. 30). But what made the line significant was its construction, as seen in the multi-piece sunsuit on the left in figure 31. The Met writes of the blue playsuit in Fig. 29:

"James considered all practicalities, designing this playsuit with curved, crossing straps, cut in one with the front panels, that fit to the body and stay in place, and with diaper-front shorts that open to lay flat for ease of ironing. Its curved fronts follow the lines of a child's rounded belly, while accommodating and hiding the bumps of diapers" (Playsuit, 1956).

The classic pieces come in reds and blues, show subtle nautical inspiration, and give a glimpse into luxury infant pieces from the decade.

References:

Bramlett, Lizzie. "Interview with Juli Lynne Charlott." The Vintage Traveler, April 28, 2010. Accessed May 29, 2019. https://thevintagetraveler.wordpress.com/2010/04/28/interview-with-juli-lynne-charlot/.

Buxbaum, Gerda. Icons of Fashion: The 20thCentury. Munich: Prestel Verlag, 2005. http://www.worldcat.org/oclc/773599428.

"James Dean." Encyclopaedia Britannica. Accessed May 29, 2019. https://www.britannica.com/biography/James-Dean-American-actor.

Ewing, Elizabeth. History of 20thCentury Fashion. 4th ed. London: B.T. Batsford Ltd, 2001. http://www.worldcat.org/oclc/456545252.

James Dean. "Biography." Accessed May 29, 2019. https://www.jamesdean.com/biography/.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History.5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

The Met. "Playsuit, 1956." Accessed May 29, 2019. https://www.metmuseum.org/art/collection/search/767965.

Milford-Cottam, Daniel. Fashion in the 1950s. Oxford: Shire Publishing, 2017. http://www.worldcat.org/oclc/992690449.

Peacock, John. Fashion Sourcebooks: The 1950s. London: Thames and Hudson Ltd, 1997. http://www.worldcat.org/oclc/924866505.

The People History. "Vintage 1950s Children's Fashion Clothes." Accessed May 29, 2019. http://www.thepeoplehistory.com/1950skidsfashion.html.

Stratford, SJ. "1950s Kids Clothing." Love to Know. Accessed May 29, 2019. https://childrens-clothing.lovetoknow.com/1950s_Kids_Clothing.

Victoria and Albert Museum. "History of Fashion 1900 - 1970." Accessed April 30, 2019. http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/.

Victoria and Albert Museum. "Introduction to 20thCentury Fashion." Accessed April 30, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Events:

1950 - Father of the Bride, starring Spencer Tracy and Elizabeth Taylor, is released. The lace wedding dress worn by Taylor in the movie is considered one of her most iconic books.

1951 - American disc jockey Alan Freed popularizes the term "Rock 'n' roll." New teen styles emerge linked to the music, such as "Teddy boys" and prom dresses.

1952 - Jack Kerouac publishes On the Road, which inspires a generation of beatniks who wear slim-fitting, black clothes, berets, and dark glasses. Audrey Hepburn's Funny Face in 1957 further popularizes the style. Balenciaga shows the sack dress, an early stylistic move toward looser-fitting garments, which appear in the late 1950s and 60s, and include cocoon coats and shift dresses.

1953 - Coronation of Queen Elizabeth II, and London couturiers including John Cavanagh, Victor Stiebel, and Mattli make ball gowns for guests at coronation balls and dances. The Wild One is released; Marlon Brando's representation of disaffected youth popularizes blue jeans and leather jackets. Pierre Cardin shows his first collection in Paris.

1954 - Easy-to-wash and easy-to-dry nylon twin sets advertised in British Vogue fashion magazine.

1955 - Rebel Without a Cause is released, launching its star, James Dean, as a style icon for the rising youth culture. His death a year later cements his legendary status. Stiletto heels are popular by the mid- 1950s aided by new technology. Ultra-thin, ultra-high steel heels could sustain great pressure in comparison to wood heels. Mary Quant opens her influential store, Bazaar, in London.

1956 - Movie star Grace Kelly marries Prince Rainier of Monaco in a religious ceremony, wearing a lace wedding dress designed by Helen Rose.

1957 - Jailhouse Rock, starring Elvis Presley, marks the spread of rock- and-roll style.

1958 - The youthful Yves Saint Laurent shows his first collection at Dior- Trapeze- after Dior's death in 1957.

1959 - Debut of Barbie doll, marketed as a "Teen-age Fashion Model." Lycra, also known as spandex or elastane, is invented. It revolutionizes performance sportswear and then fashionable dress.

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Fashion in the 1950s saw a clear gender divide. While men and boy's fashion moved towards a more casual day-to-day style, women and girl's fashion prioritized elegance, formality, and perfectly matched accessories.

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As the 20th century came to a close, fashion reached its most casual. Both men and women adopted grunge fashion in the early part of the decade and loose, oversized clothing and jeans became staples. As the decade progressed, women's fashion became more streamlined as minimalism became de rigueur, while children's clothing often featured popular Disney characters.

In the final decade of the twentieth century, fashion continued to move towards a more casual style of dressing and minimalism. While there were periods of more formal dress, the twentieth century largely saw fashion moving towards a much more minimalist and casual style and as the eighties ended, this approach became widespread. By the end of the decade, it was clear that this approach to dressing was here to stay.

At the beginning of the decade, the high fashion supermodel peaked with models such as Cindy Crawford and Naomi Campbell pictured on the front of Vogue in 1990 (Fig. 1). Kathryn Hennessey writes in Fashion: The Ultimate Book of Costume and Style (2012):

"The phenomenon of the 'supermodel' reached its height in the 1990s and among the most celebrated were Linda Evangelista, Cindy Crawford, Naomi Campbell, and Christy Turlington. When these four strutted down the catwalk arm in arm during Versace's 1991 Autumn/Winter fashion show in Milan they were more famous than the clothes." (409)

While the decade began with the popularity of these high fashion and larger-than-life styles of the eighties, fashion quickly moved toward less glamorous and more casual dress.

The sportswear looks of the eighties continued into the early nineties with biker shorts, leggings, Keds, and oversized sweatshirts continuing to be favorite choices for young women. The early part of the decade also saw a revival of 1960s and 1970s styles such as mini-skirts, flares, and Punk styles (Laver 281).

The desire for vintage clothing encouraged the spread of second-hand clothing stores which were also used for the grunge fashion. A style that emerged in Seattle in the late 1980s, by the early nineties, it was a widespread look that was based on everyday clothing such as baggy, worn-out jeans, flannel shirts and Doc Martens boots (Fig. 2). For women, this also included simple slip dresses often worn with chunky boots. In 1993, grunge made it to the catwalk in Marc Jacobs' collection for Perry Ellis (Hennessey 412; Figs. 3 and 5).

Along with the popularity of grunge came a shift away from the earlier popularity of supermodels to a new type of model epitomized by Kate Moss (Fig. 4). Moss became known for her "heroin chic" photoshoots in run down locations. Hennessey writes:

"It was out with the glossy and wholesome supermodels and in with a new breed of fragile, individual-looking, and often younger, models. A new phrase 'heroin chic' described the down-at-heel settings for fashion shoots presented in magazines. Such a dressed-down styles didn't suit the personalities of the supermodels, and designers opted to make the clothes the star of the show once more" (409).

The casual grunge look didn't work with the glamour of the supermodels while Moss' waif-like thinness and delicacy enhanced the unkempt look that was popular in the early nineties.

In the mid-nineties, styles became more feminine again. Slip dresses epitomized the minimalist look during this period (Fig. 6). Silky versions were worn as formalwear (Fig. 7) while a popular daytime look was a slip dress over a white t-shirt. The "sexy schoolgirl" look as seen in movies like Clueless (Fig. 9) and later in the decade in Britney Spears' "...Baby One More Time" music video became popular during the middle of the decade. Undersized sweaters, baby doll t-shirts and knee high socks all made up this look that was worn by young women.

As the decade progressed, the casual style remained. Utilitarian styles such as cargo pants and The Gap's sweatshirts became popular for everyday wear. Amy de la Haye and Andrew Tucker note in Costume and Fashion: A Concise History:

"American retailer The Gap, founded in San Francisco in 1969, universalized the popularity of garments such as the hooded sweatshirt and cargo pant (the latter contributing to a massive downsizing in the denim market), making once-basic items a wardrobe staple for all generations." (Laver 284-285)

This was paralleled in high fashion as designers such as Helmut Lang put a fashion spin on styles such as parkas, combat trousers and other items worn by outdoor adventurers (Laver 284; Fig. 8). Along with this came a move towards logoed clothing. Tommy Hilfiger perfected this with casual clothing featuring heavy branding (Laver 286; Fig. 10).

With the new millennium looming, women's fashion turned to a more bohemian style with influences from the 1970s. Embroidery, mixed fabrics and Eastern influences made their way into fashion once again. De la Haye and Tucker write:

"From 1996 to the end of the decade, the bohemian look became the overriding trend within womenswear at all market levels, incorporating the adapted ethnic embroideries of Belgian designer Dries Van Noten, the bold colour sense of young British designer Matthew Williamson and the irreverent mixtures of fabrics from Milanese design houses such as Marni and Fendi." (Laver 288)

With the new casual, bohemian styles came low-slung jeans and crop-tops, which would be the hallmark of the coming decade.

Like womenswear, in the 1990s menswear also became more and more casual. Jeans and untucked shirts became typical casualwear as trends in music like grunge, hip-hop and Britpop influenced styles throughout the decade.

In the early part of the decade, the sartorial influence of grunge bands like Nirvana and Pearl Jam pervaded. The look was simple: an oversized flannel shirt, sometimes worn over a t-shirt, and jeans. Other grunge styles included beanies, band t-shirts, knitted sweaters with patterns and Converse shoes. Nirvana's Kurt Cobain epitomized the look with holes in his jeans and cardigan sweaters (Fig. 1). The overall look was disheveled and could be bought second-hand in a thrift store. Though it became a fashion trend, it was born of a desire to not engage with fashion at all.

Towards the mid-nineties, grunge began to fade in popularity, but the casual approach to fashion remained. Other styles of music, including hip-hop and rap, continued to influence fashion during this period. The popular styles to come from this predominantly included sportswear, including baseball caps and jackets, basketball shorts, tracksuits, and hoodies, but flannel shirts also carried over from grunge (Fig. 2). De la Haye and Tucker note the connection between sportswear and the more casual styles of the decade writing:

"The prevalence of urban sportswear in male dress can also be directly correlated to the increasingly informal approach to workplace clothing. Jeans and sweatshirts became acceptable during the mid-nineties in all but the most formal industries as 'Friday wear' began to extend its influence throughout the week." (Laver 285)

Men's fashion as a whole was simply more casual, allowing sportswear to become more acceptable for everyday wear.

Other subcultures also heavily influenced fashion throughout the decade. The Britpop movement in music resulted in a revival of 1960s Mod styles while rave and clubwear included retro sportswear. Will Smith wore bright, zany colors and patterns on The Fresh Prince of Bel-Air alongside clothing influenced by hip-hop styles (Fig. 3). On the other end, preppy style continued from the 1980s which khaki pants, navy blazers and Oxford shirts continuing to be popular until the end of the decade.

Later in the decade, jeans were joined by khaki pants as a popular option for men. A "dressy casual" style emerged as jeans and khakis were worn with blazers and dress shirts for a hybrid formal look. Characters on Dawson's Creek typified the late-nineties baggy look (Fig. 4) while Brad Pitt embraced the casual khakis and white t-shirt look (Fig. 5). In 1998, The Gap advertised khaki pants for both men and women in a striking commercial (Fig. 6). Around this time, untucked shirts also became the norm, while there was also a return to designers such as Ralph Lauren and Calvin Klein.

Like womenswear and menswear, children's wear in the 1990s also saw casual styles prevail. Fashions for children largely followed those of adult's with flannels, jeans, and The Gap all playing a prevalent role in nineties children's styles. Shows like Boy Meets World, which ran from 1993 to 2000, grew up with the characters and demonstrate the progression of styles for young people. While the girls' fashion varied more, boys' fashion maintained a theme of baggy jeans and loose shirts, often layered (Figs. 1-2).

Young boys and girls in the 1990s wore casual styles throughout the decade. Jeans with flannels or sweatshirts worn over turtlenecks were popular in the early part of the decade for both boys and girls. Layers were especially prominent, as were denim accents (Fig. 3).

Sportswear was also popular for children with Champion sweatshirts and track suit jackets popular styles. Team pride could be on full display as boys could find tops and bottoms with their team logo (Fig. 4). Babydoll dresses were a favorite of young girls during the early part of the decade.

For both boys and girls, logoed t-shirts and sweatshirts were wardrobe staples. Some of Disney's most famous animated films came out during the early to mid-nineties and many children wore clothing themed around movies such as The Lion King, The Little Mermaid, Beauty and the Beast, and Aladdin (among others) throughout the early part of the decade (Fig. 5). Later in the decade, The Gap's branded sweatshirt was nearly ubiquitous.

T hough music had a huge impact on adult style in the nineties, children's fashion often looked to movies and television. For girls, a powerful influence throughout the decade was Mary-Kate and Ashley Olsen. From matching outfits in early 1990s films like Double, Double, Toil, and Trouble (Fig. 1) to more distinctive looks as they grew older to their red carpet looks, the pair were an inspiration to many young girls growing up throughout the decade.

In the early part of the decade, the twins were often dressed in matching or coordinating outfits. In addition to wearing bright dresses, they also wore the typical casual styles such as overalls (Fig. 2). As they grew older, the girls and their characters began to wear more distinctive outfits (Fig. 3). In mid- to late-nineties movies like Billboard Dad and Passport to Paris, along with their late-nineties TV show Two of a Kind, Mary-Kate preferred pants and "tomboy" outfits while Ashley favored dress, skirts, and more feminine styles (Fig. 4). This allowed the twins to appeal to a wide range of personalities.

Mary-Kate and Ashley had firmly established themselves as style icons by the end of the nineties. They had grown up throughout the decade and their style had grown with them. Young girls followed both their characters' styles and clothes worn by them on the red carpet (Fig. 5). By the end of the decade, they even had a line of clothing at Walmart so that young girls could continue to emulate their style.

References:

"1990s Fashion: A Brief History of What We Wore." CNN Style, April 30, 2020. Accessed June 23, 2020. https://edition.cnn.com/style/article/1990s-fashion-history/index.html

"1990s in Fashion." Wikipedia. Accessed June 23, 2020. https://en.wikipedia.org/wiki/1990s_in_fashion.

"Grunge Fashion." Wikipedia. Accessed June 23, 2020. https://en.wikipedia.org/wiki/Grunge_fashion.

Hennessey, Kathryn. Fashion: The Ultimate Book of Costume and Style. London: Dorling Kindersley, 2012. http://www.worldcat.org/oclc/816318024.

Ilyashov, Alexandra. "The Olsen Twins' Ex Stylist Tells All." Refinery29, April 5, 2017. Accessed June 23, 2020. https://www.refinery29.com/en-us/2017/04/148569/olsen-twins-stylist-child-stars-clothing-line.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History. 5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

Victoria and Albert Museum. "Introduction to 20th-Century Fashion." Accessed August 31, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Events:

1990 - Madonna creates a fashion sensation when she wears the notorious Jean Paul Gaultier corset during her Blonde Ambition World Tour. Vera Wang opens her own design salon in New York, featuring her trademark bridal gowns. Fashion models become increasingly successful and recognizable; the age of the supermodel begins.

1991 - Vivienne Westwood wins the British Fashion Award for Designer of the Year.

1991 - Rifat Ozbek's all-white New Age collection is launched. It is viewed as a backlash against the 1980s and a spiritual new dawn for fashion at the beginning of a new decade. Nirvana releases its "Smells Like Teen Spirit" single, which is a big influence on "grunge" style.

1992 - Marc Jacobs wins the Council of Fashion Designers of America's award for Women's Designer of the Year. He is later dismissed from Perry Ellis for designing a "Grunge" collection.

1994 - Tom Ford becomes creative director of Gucci.

1995 - Friends actress Jennifer Aniston debuts "the Rachel haircut." It is copied around the globe.

1996 - John Galliano begins as head designer at the House of Dior.

1997 - The Fendi Baguette Bag emerges. It is the first of the designer "it bags" and becomes an overnight sensation.

1997 - Italian fashion designer Gianni Versace is murdered outside his Miami Beach home; his sister Donatella Versace becomes head of design at Versace

Resources for Fashion History Research

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# data[].attributes.attachment_link.description
As the 20th century came to a close, fashion reached its most casual. Both men and women adopted grunge fashion in the early part of the decade and loose, oversized clothing and jeans became staples. As the decade progressed, women's fashion became more streamlined as minimalism became de rigueur, while children's clothing often featured popular Disney characters.

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Fashion in the 1960s became progressively more casual across all genders and ages. Womenswear followed three broad trends: a continuation of the previous decade's ladylike elegance, the youthful styles of Mary Quant and the Space Age influence, and the late 1960s "hippie" style. Menswear saw an increasing amount of color and pattern, military influence, and new fashion icons in the form of rock stars. Children's wear saw less change, but also became more casual and bright in color and pattern.

Broadly categorized, there were three main trends in 1960s womenswear: 1) the lady-like elegance inherited from the previous decade seen on the likes of First Lady Jacqueline Kennedy, 2) the fun, youthful designs popularized by Swinging London, and 3) the Eastern-influenced hippie styles of the late 1960s. Along with these diverse styles, there came a shift in the way that women shopped and for whom the styles were created.

In the early years of the decade, fashion continued along the lines of the 1950s. Skirt suits and coordinating accessories were emphasized as one decade transitioned into the next. First Lady Jacqueline Kennedy epitomized this look during her husband's presidential campaign and short presidency. She was admired around the world for her put-together, lady-like look consisting of boxy skirt-suits like the Givenchy suit in figure 1 and navy suit in figure 2, sheath and A-line dresses (Fig. 3), and luxurious coats-all accessorized with white gloves, pearls, and a matching hat. This look was being produced by the likes of Hubert de Givenchy and Cristóbal Balenciaga (Fig. 4), but as the decade progressed, it became clear that the momentum was towards a new kind of designer in the 1960s.

The cultural phenomenon termed Swinging London began in 1955 but reached its zenith in the early- to mid-1960s. It was a phenomenon that focused on youth, spotlighting music and fashion. It brought us The Beatles and the miniskirt, Twiggy (Fig. 9) and The Who. The designer who led the way in the "youthquake" was Mary Quant who opened her first shop, Bazaar, on the King's Road in Chelsea, London in 1955. Quant's simple, colorful designs appealed to teenagers and young people who had more disposable income than any generation before. It differed from the stuffy looks of the older generation and appealed to young women who embraced the child-like styles Quant produced (Fig. 7). Fashion historian James Laver writes of Quant in Costume and Fashion: A Concise History,

"Rejecting the constraints of seasonal shows, she produced as many as twenty-eight collections during her early years, creating simple, practical, often mix n'match designs which had an element of classlessness perfectly suited to the mood of the sixties" (261-262).

Bazaar was in the new boutique style, a revolutionary new way to shop that differed from the traditional designer atelier and the department store. Besides the accessibility of the clothes in the shop, boutiques also created a frenetic atmosphere, as seen in figure 5. In her book The Lost Art of Dress, Linda Przybyszewski writes, "Boutiques were groovy places where modern music played and young owners and customers collaborated on new looks that came only in small sizes" (202).

One of the most revolutionary designs attributed to Quant was the miniskirt and minidress (Fig. 6). Eschewing the prim below-the-knee skirts of the late 1950s and early 1960s, by the mid-sixties, young women were wearing skirts that fell at the upper thigh. Like the short skirts of the 1920s, the miniskirt shocked but was also a highly popular look for young women. Miniskirts and minidresses were adopted by Parisian designers as Quant and her contemporaries continued to gain popularity.

Along with the miniskirt came a craze for the playful, innovative use of new materials and a focus on scientific progress. Newly developed materials such as acrylics, polyesters, and shiny PVC were used in women's clothing while designers were inspired by pop art and space, like the miniskirt in figure 10 and the dress in figure 11. Pierre Cardin and André Courrèges debuted space-inspired designs in shades of white and silver. Laver writes, "Courrèges' Spring/Summer 1964 'Space Age' collection featured 'astronaut' hats and goggles, white and silver PVC 'moon girl' loon trousers, catsuits and white patent or kid leather, mid-calf-length boots" (264, Fig. 8). Sheath and A-line minidresses, both without defined waists, were popular silhouettes. These modern designs dominated the mid-sixties as fashion moved toward a more playful and freeing look.

While the miniskirt reached its height mid-decade, by the late 1960s, a new style and culture was emerging. Skirts dipped back to mid-calf and by 1969, the full-length maxi-skirt had emerged (Fig. 12). This came with the move towards the "hippie" aesthetic. Elizabeth Wilson writes in Gerta Buxbaum's Icons of Fashion: The Twentieth Century, "Between 1965 and 1967, the uncluttered, futuristic design of André Courrèges and Mary Quant - featuring short skirts, childish pinafores, and boxy shapes - were superseded by a return to the styles of Art Nouveau, Hollywood, and William Morris" (98). Suede, headbands, kaftans, Afghan coats, beads and other non-Western elements of adornment were embraced as were flowing skirts and secondhand clothing (Laver 267-268). Janis Joplin, seen in figure 13, embraced this style in the late 1960s.

Both the "Mod" movement, to which Quant contributed, and the hippie movement were part of a new model of "street style" in which fashion is disseminated from the streets up to the designers rather than vice versa. Jane Mulvagh writes in Icons of Fashion, "1962 to 1968 were crucial years in which the allure and originality of street style challenged, and finally broke, the hegemony of high fashion" (86). The trajectory of fashion in the 1960s saw three very diverse overarching styles but also a shift from a designer-centric fashion ecosystem to one where the consumer was at the center of creation.

An enduring icon of the 1950s and '60s, movie star Audrey Hepburn embraced the progression of sixties fashion up to the hippie aesthetic of the last part of the decade. Having firmly established herself as a leading lady in 1950s films like Roman Holiday, Sabrina, and Funny Face, Hepburn's influence continued into the sixties.

In 1961, she starred as Holly Golightly in one of her most iconic films, Breakfast at Tiffany's (Fig. 14). In this film, like so many others, Hubert de Givenchy designed the costumes, including the iconic black dress from the opening scene (Fig. 17). Hepburn and Givenchy worked together both on- and off-screen to create a simple, but stylish wardrobe that was easily copied by women of all means.

In the early 1960s, Hepburn wore feminine, Jackie Kennedy-esque skirt suits. Like the First Lady, she paired these suits with the requisite accessories: gloves and hat, like the green Givenchy suit worn in Paris When It Sizzles in 1962 (Fig. 18). The clothes she wore in 1963's Charade would not have looked out of place on Kennedy but also cut a stylish figure as she gallivanted through Paris (Fig. 15). As the decade progressed, so did her fashion. In the mid-sixties, Hepburn began to wear more "Mod" styles with bright colors and minidresses working their way into her wardrobe. In the 1966 film How to Steal a Million, she sported white-rimmed sunglasses à la Space Age styles and a stylish bob hairstyle accented by dark eyeliner to give her the popular doe-eyed look of the period (Fig. 16).

Though she would remain admired for her fashion for the rest of her life, by 1969, when the fashion world had started to turn to Eastern influences and longer skirts, Hepburn married Andrea Dotti in a pink minidress (Fig. 19). Looking happy, she represented the part of the population, including couture designers like Givenchy, who had not yet embraced the new style.

Just as womenswear became more casual and colorful throughout the 1960s, so too did menswear. While menswear began moving towards a more casual style in the 1950s, the frenetic energy of Swinging London found its way with bright prints and colors for men. As there had not been very much movement in men's fashion for over a hundred years, the change was striking. The V&A writes,

"Perhaps the most remarkable development in 1960s dress was the dramatic change in menswear. For the past 150 years, clothing for men had been tailor-made, and plain and sombre in appearance. Now, colourful new elements were introduced, such as the collarless jacket, worn with slim-fitting trousers and boots" (History of Fashion 1900-1970).

Where the mid- to late-1950s saw a rise in the popularity of Italian style suits with narrow striped ties, menswear gradually incorporated brighter colors and patterns, and ties began to widen again as the decade progressed. The difference between the conventional suit seen in 1963 (Fig. 20) and those designed by Cardin (Figs. 22-24) and worn by George Harrison (Fig. 21) is striking.

By the mid-1960s, even the suit itself was seeing changes. Brightly striped or patterned suits were worn by bold young men, while even the trousers and jacket did not escape from new styling. The V&A writes,

"As the 1960s gathered pace, the standard template for a man's suit began to accommodate subtly daring new elements: the collarless jacket (a look popularised by The Beatles in 1963, the year they launched their first album) and slim-fitting trousers, matched with heeled boots rather than shoes" (The Peacock Revolution: 1960s Menswear).

As mentioned, even who was inspiring men's style was changing: where movie stars had been the primary style icons since the 1930s, rock stars such as The Beatles, Jimi Hendrix, and Mick Jagger, among others, became a primary influence on men's fashion.

From the mid-1960s, men's fashion was influenced by military elements, with many of the rock influences contributing to its popularity. Mick Jagger (Fig. 26) and Jimi Hendrix (Fig. 25) both sported military jackets during performances, while The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band showed the band wearing neon versions of the styles (Buxbaum 100). Partly thanks to this style, army-and-navy surplus clothing stores and secondhand stores became popular in the late 1960s. Like womenswear, menswear also saw an influence from space as Pierre Cardin designed futuristic clothing for men, too. In Swinging Sixties, Jenny Lister writes,

"His 'Cosmos' collection of 1966/7 was too extreme to enter the mainstream, but elements of the look such as turtle-neck sweaters, and zipped tunics in bonded jersey, were taken up and worn with more accessible styles" (34).

You can see some of these elements in the green suit from 1960 (Fig. 22) and the space-inspired suit from 1965 (Fig. 24). By 1968, Cardin's suits had returned to a more conventional look, though the jacket still had a bold pattern (Fig. 24).

Like women's fashion, menswear turned to Eastern influences and secondhand shopping in the late 1960s. Rejecting the consumerism and synthetic materials of the earlier part of the decade, men began to wear vintage clothes, especially those from the 1930s and 1940s. This meant that men's suits began to widen again, as they had in the thirties and forties. George Harrison was an early adopter of the style and the boldly patterned suit jacket from boutique shop Granny Takes a Trip he wore in the mid-sixties foreshadows the style to come (Fig. 21). Tie-dye, loose-fitting shirts, and velvet vests were all a part of the men's hippie aesthetic in the later part of the 1960s while color continued to remain front and center. As the 1960s moved into the 1970s, flared trousers, jeans, and long hair were all widespread men's styles.

Children's clothing in the 1960s saw less change than their adult counterparts. While women's and men's fashion were changing quickly and radically, children's fashion changed at a much slower, subtler pace. Both boys' and girls' fashion continued along the same lines in the early sixties, but they did wear clothes made from the new synthetic materials which were easier to care for.

Girls continued to wear dresses with defined waists and full skirts at the beginning of the decade, like those seen in the 1962 Good Housekeeping feature (Fig. 28). Mary-janes, white ankle socks, and peter pan collars all continued to be popular aspects of young girl's clothing, and girls were sometimes even still required to wear white gloves for special occasions. As the decade progressed, however, girls' fashion slowly started to become more casual. Bright colors, bold patterns such as plaids and bright florals, and oversized bows became popular, like the fun styles featured in the McCall's patterns (Fig. 27). New silhouettes such as the A-line, dropped waist, and babydoll began to replace the nipped-in waist of earlier in the decade (Fig. 29). As styles became more casual, it became more acceptable for young girls to wear pedal pushers, shorts, and trousers while playing.

One of the areas where girls did follow the trends of adults was in accessories. Young girls could be seen wearing the same brightly colored and patterned tights that young women wore with their miniskirts. Others might wear the shiny white go-go boots that went along with the Space Age fashions. In some ways, many of the adult styles actually took after young girl's fashion rather than the other way around.

Boy's fashion saw the popularity of denim and plaid throughout the decade. In the early 1960s, cuffed jeans and corduroy pants were favorites paired with tucked in polo shirts and athletic jackets or blazers. As the decade progressed, the color and pattern that was seen in men's clothing began to slowly creep into young boy's fashion (Fig. 30). Striped and plaid blazers were popular formal options, while turtlenecks, a popular style among men, and brighter colors such as red, yellow, and orange were worn in the mid-sixties. Neither girl's nor boy's fashion saw a strong influence from hippie fashion, although some boys began to wear bell-bottom jeans in the later part of the decade.

References:

Breward, Christopher, David Gilbert and Jenny Lister. Swinging Sixties: Fashion in London and Beyond 1955-1970. London: V&A Publications, 2006. http://www.worldcat.org/oclc/552142953.

Brown Jones, Bonny. "Fashion for Children in the 1960s." Our Everyday Life, January 10, 2019. Accessed June 27, 2019. https://oureverydaylife.com/fashion-for-children-in-the-1960s-12487774.html.

Buxbaum, Gerda. Icons of Fashion: The 20thCentury. Munich: Prestel Verlag, 2005. http://www.worldcat.org/oclc/773599428.

Ewing, Elizabeth. History of 20th-Century Fashion. 4th ed. London: B.T. Batsford Ltd, 2001. http://www.worldcat.org/oclc/456545252.

Moseley, Rachel. "Audrey Hepburn - Everybody's Dream Girl." The Observer, March 7, 2004. Accessed June 27, 2019. https://www.theguardian.com/film/2004/mar/07/highereducation.gender.

Olivier, Lucy. "Jackie Kennedy - A True Fashion Icon." The Telegraph, January 6, 2017. Accessed June 24, 2019. https://www.telegraph.co.uk/films/jackie/true-fashion-icon-jackie-kennedy/.

The People History. "Vintage 1960s Children's Fashion Clothes." Accessed June 27, 2019. http://www.thepeoplehistory.com/1960skidsfashion.html.

Przybyszewski, Linda. The Lost Art of Dress: The Women Who Once Made America Stylish. New York: Basic Books, 2014. http://www.worldcat.org/oclc/1023179396.

Stratford, SJ. "1960s Clothes for Girls." Love to Know. Accessed June 27, 2019. https://childrens-clothing.lovetoknow.com/1960s-clothing-girls.

Victoria and Albert Museum. "An Introduction to 1960s Fashion." Accessed June 24, 2019. https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion.

Victoria and Albert Museum. "History of Fashion 1900 - 1970." Accessed June 24, 2019. http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/.

Victoria and Albert Museum. "Introduction to 20th-Century Fashion." Accessed June 24, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Victoria and Albert Museum. "The Peacock Revolution: 1960s Menswear." Accessed June 24, 2019. https://www.vam.ac.uk/articles/the-peacock-revolution-1960s-menswear.

Events:

1961 - John F. Kennedy becomes president. His wife, first lady Jacqueline Kennedy, soon becomes a fashion icon. Fur coats are much sought after because they are seen as a status symbol. Movements in the following decades protest vigorously against the wearing of fur.

1962 - The Sidney Janis Gallery in New York exhibits works by contemporary American pop artists and the "Nouveau Realisme" movement in a groundbreaking show called the "International Exhibition of the New Realists."

1963 - The Beatles make their first national TV appearance. Their identical haircuts became a popular look among young men on both sides of the Atlantic.

1964 - Young designers, including Mary Quant and Andre Courreges, introduce the miniskirt and minidress.
Maija Isola designs the iconic Unikko (poppy) print for Finnish fashion firm Marimekko.
The first Biba store, the inspiration of designer Barbara Hulanicki, opens in London, selling young, creative styles at budget prices.

1965 - Yves Saint Laurent's Mondrian- inspired color blocks sweeps through the international fashion world.
Young fashion designers, including Foale and Tuffin and Mary Quant, go on the British "Youthquake" tours to the US arranged by the Puritan Fashion Corporation and J.C.Penney in New York.

1966 - By early 1966 the waistline disappears, and designers like Norman Norell showcase loose-fitting dresses with loose sleeves. Twiggy, the "Face of 66" and one of the world's first supermodels, shoots to fame. Jewelry designer Paco Rabanne causes a sensation when he launches his linked chain and plastic paillettes and minidresses in Paris.

1967 - American fashion designer Geoffrey Beene presents his sequined football jersey evening gowns, following his ball gowns in gray flannel and wool jersey shown the previous year.

1968 - The rock musical Hair opens on Broadway and in London's West End, making Marsha Hunt a star and proclaiming "black is beautiful."The first Ossie Clark for Radley collection is shown at Chelsea Town Hall.

1969 - The Woodstock festival takes place in New York state, and is seen as a defining moment of the "hippie era" and the counterculture of the 1960s. The US lands the first men on the Moon, after space exploration earlier in the decade, which inspires space-age fashion looks.

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Fashion in the 1960s became progressively more casual across all genders and ages. Womenswear followed three broad trends: a continuation of the previous decade's ladylike elegance, the youthful styles of Mary Quant and the Space Age influence, and the late 1960s "hippie" style.

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Seventies fashion saw bold colors and patterns take center stage. Women's fashion looked back to the 1940s by day and pumped up the glamour by night. Men had an array of suit types to choose from and favored colorful plaids. Children's fashion followed adult fashion with bold plaids and bright colors with the distinction between genders lessening throughout the decade.

As the Swinging Sixties turned into the 1970s, the influence of boutique stores and diffusion lines made ready-to-wear clothing increasingly accessible. New synthetic fabrics meant that fashionable styles could be bought at any price point. So pervasive were these materials that the seventies became known as the "Polyester Decade." The decade saw a wide range of popular styles: from the early prairie dresses influenced by hippie fashion, to the flashy party wear worn to disco nightclubs, to the rise of athletic wear as the decade looked towards the 1980s, the seventies was a decade that explored fashion, but also looked back.

Seventies fashion began with a continuation of the late 1960s hippie style. In the early 1970s, this meant an emphasis on handmade materials and decorations. While the hippies of the sixties had embraced these items as a way of rejecting mainstream fashion, designers in the early seventies began to incorporate them into their high fashion collections. Patchwork, crochet and knitting, embroidery were among the details used by designers. The silk evening gown by Zandra Rhodes shows how patterns and the loose, flowing quality of the hippie style crept into high fashion (Fig. 2). "Quilting, felting, dyeing, beading, smocking, leather craft and hand-painted fabrics were also reclaimed from craft fairs for the fashion world," says Daniel Milford-Cottam in Fashion in the 1970s (15). The styles from Seventeen magazine show an influence from homemade crafts in the embroidered patterns while being made in the decade's signature polyester (Fig. 1).

Along with an emphasis on handmade crafts, seventies designers looked to the past for inspiration. A pervasive style of the early 1970s was the prairie dress. Midi-length with flounces and delicate floral patterns, these dresses were popularized by designers and retailers like Gunne Sax and Bill Gibb. The style bore a resemblance to Victorian styles while also feeling not dissimilar to some of the hippie styles of the late 1960s (Fig. 6).

In the early- to mid-seventies, designers looked to the 1930s and 1940s for inspiration. In 1971, Yves Saint Laurent was especially inspired by 1940s style (Figs. 3, 5). His 1940s-inspired collection, Libération, caused a stir as fashion reporters and other consumers who had been alive during World War II were reminded of the German occupation. Milford-Cottam writes,"They [fashion reporters] reacted with revulsion to the turbans, flirty crêpe dresses and dyed fur boxy jackets that reminded them of Second World War era prostitutes" (29). Though this collection was not necessarily well-received by all, the 1930s and 1940s continued to be a strong influenced on the styles of the 1970s. Other designers also looked to the past in the seventies. The dress by Halston (Fig. 4) is reminiscent of 1950s shirt dresses but made modern with its ultrasuede material.

While daywear looked to the past, evening wear was thoroughly modern. While it may have been known as the "Polyester Decade," satin, sequins and velvet ruled the dance floor. As disco became increasingly popular, women's evening wear became increasingly glamorous. The evening dress by Halston is covered in shimmering sequins with a swirling skirt ready for the disco floor (Fig. 7). In the early seventies, women could be seen wearing sequins and hot pants to the disco. Editor Kathryn Hennessy writes of the glamorous styles in Fashion: The Ultimate Book of Fashion and Style:

"Classy, full-length figure-huggers battled with short, sparkly halter necks and hot pants for centre stage. Lycra, satin, and velvet were the fabrics of choice, while feathers and sequins added extra sparkle" (382).

Sparkle and glamour remained ubiquitous throughout the decade and the short minidresses and hot pants earlier in the decade became longer, swirling dresses and skirts in the later part. This change was accompanied by a shift from chunky heels to strappy sandals (Milford-Cottam 47).

Throughout the sixties and seventies, women were gaining increasing sexual freedoms and this was reflected in their clothing. New styles were created and women began to wear clothing heavily inspired by menswear (Figs. 9, 10). In 1974, Bianca Jagger wore a white tuxedo by Halston to Studio 54 (Hennessy 382). The look was not dissimilar to Yves Saint Laurent's 1966 Le Smoking suit and trousers became increasingly acceptable for both formal wear and work wear. Trouser suits became less form-fitting and feminine (Fig. 8), and Diane Keaton as Annie Hall inspired a trend for layered menswear in 1977 (Milford-Cottam 39-40). This was a shift from the years before when trousers were only seen as acceptable for days spent around the house. New patterns, such as animal print, and accessories like fur coats made them all the more glamorous (Figs. 11, 12).

Another look that reflected women's sexual freedom was the wrap dress. Producing one of the most famous and popular iterations in 1974, Diane von Fürstenberg sold over five million dresses in just two years (Fig. 13). The dress allowed women to transition from day-to-evening and Von Fürstenberg specifically touted its ability to be taken on and off easily. Milford-Cottam writes,

"With long sleeves and at midi length, wrap dresses offered a professional appearance in the office, and could then be dressed up with strappy sandals, jewelry and loosened hair for an evening on the town immediately after work... Von Fürstenberg openly stated that she designed for the empowered woman seeking a simple little dress that whipped off in an instant, and, more usefully, could be swiftly and silently pulled back on in a dark bedroom without waking last night's sexual conquest" (46).

As women gained more opportunity to work outside the home, they looked for clothing, like trousers and the wrap dress, that afforded them more freedom. Later in the decade, fashion became even more comfortable. As the 1970s slipped into the 1980s, an emphasis on personal fitness foreshadowed the rise of athletic wear as informal wear (Fig. 14). James Laver writes in Costume and Fashion: A Concise History, "In the late 1970s the American designer Norma Kamali was instrumental in bringing sportswear into the fashion arena, introducing sweat-shirting, ra-ra skirts, bandeau tops, jumpsuits, leotards and leggings" (272). These styles would, of course, come to typify 1980s fashion, but originated in the later years of the seventies.

Seventies glamour is perhaps epitomized in the relationship between Mick and Bianca Jagger. The British frontman of The Rolling Stones met the Nicaraguan-born Bianca backstage at a concert in 1970. By 1971, the two were married and their wedding ensured their status as fashion icons. Bianca wore a sleek white Yves Saint Laurent tuxedo jacket (with little underneath it) and a bias-cut skirt, full-length skirt topped with a veiled hat (Fig. 16). Mick wore a three-piece suit with a paisley shirt and the rest is fashion history.

Though their marriage only lasted until 1978, both Mick and Bianca continued to be stalwarts of rock and glamour throughout the decade. Mick's long hair and rock-star lifestyle became the stuff of legend, while Bianca became friends with stars of the fashion and pop worlds such as Halston and Andy Warhol (Fig. 17). Further cementing her status as a glamour icon, her name became synonymous with Studio 54, the famous New York nightclub. Here, she wore sequins and skin-tight silk dresses, and created some of the most iconic fashion moments of the 1970s.

In 1974, she wore a white satin trouser suit by Halston, not dissimilar to the white suit in figure 15 (probably Yves Saint Laurent) and on her thirtieth birthday in 1977, she was pictured in a red off-the-shoulder dress on top of a white horse in the nightclub. Her impact on fashion has endured with her name being synonymous with 1970s glamour and she is often cited as a fashion muse by designers today.

Men's fashion in the 1970s continued to get brighter and bolder. By the early seventies, the so-called "Peacock Revolution" that had started in the 1950s had made it acceptable for men to wear brighter colors, bolder prints and wear their hair long. While the suit continued to be a staple for many men, new, inventive styles were popularized (Fig. 18).

In the early 1970s, men's fashion tried to emphasize a tall, lean figure. Turtlenecks, slim-fitting shirts, and tight-fitting flared pants all worked to popularize the silhouette. Milford-Cottam writes,

"Wide belts with large buckles focused the eye on the centre of the torso, making broader bodies appear slimmer. Over the top, a sleeveless waistcoat or jerkin, a classic single-breasted sports jacket in tweed, denim, or corduroy, or a blouson jacket in leather or synthetic fabric was usually worn" (37).

Shirts and trousers were tighter than they'd ever been and the long hair popularized by the hippies in the late 1960s continued to be widespread.

Just as womenswear embraced elements of menswear, men's fashion also became more gender-neutral in the 1970s (Fig. 21). "Fashion had reached a new level of gender equality, particularly in informal wear," says Milfrod-Cottam (40). Tight t-shirts, jeans, shirts and sweaters were worn by both men and women and some skinny men even opted to wear women's clothing instead of men's.

Though more informal looks were increasingly acceptable, suits were still required by many. The traditional suit reflected the prevailing styles with slim-fitting jackets and flared trousers, often with wide lapels. However, while suits and tuxes were still required, they also came in new materials like patterned velvet (Fig. 19).

However, there were new varieties that provided less formal versions. All materials were utilized, resulting in plaid and denim suits (Fig. 20, 22). The safari suit (Fig. 23), popularized by Roger Moore as James Bond, was a popular option in the summer. The light-colored suit was worn belted and had large patch-pockets. It came many variations of long- or short-sleeves and pants or shorts. It was an alternative to the suit for slightly less formal occasions.

Similarly, the leisure suit was a less formal option. These suits were made in lightweight fabrics and came in pastel colors. However, while the safari suit was seen on the suave James Bond, the leisure suit was often made of synthetic fabrics and seen as a cheap alternative: "As leisure suits were often perceived as being poorer quality, cheaper and made in obviously synthetic fabrics, they became considered somewhat vulgar, or at best comical" (Milford-Cottam 38).

As the decade progressed, the dominant silhouette for menswear began to widen again. Milford-Cottam writes, "Towards the end of the decade, double-breasted suits with wider shoulders and narrower legs and lapels began to come into fashion" (38). Just as womenswear would see shoulders widen in the 1980s, men's suits also saw shoulders widen as the 1970s inched towards the eighties.

In the mid-1970s, some men and women in London began to shock with the anarchic Punk style. This style spread somewhat throughout Europe and North America, but its bedrock was in London and the UK with Vivienne Westwood and Malcolm McLaren spreading the style, like those in figure 26, with their shop Seditionaries. The style consisted of tight black pants, leather jackets and Doctor Marten boots. Laver writes of the Punk style, "Clothes were slashed and ripped, embellished with safety pins, zips and studs. T-shirts were printed with aggressive anarchistic slogans" (271). British band The Sex Pistols were a high profile Punk band that helped to popularize the style as fans ripped their clothing and created their own homemade version of the clothes seen on the band (Milford-Cottam 7, Fig. 24).

Just as womenswear saw a rise in athletic wear as leisurewear, so too did menswear. Tracksuits and running shoes were worn as every day casual wear. Bob Marley was an early adopter of this style, wearing tracksuits and soccer jerseys on stage for his concerts (Laver 272, Fig. 25). While tennis and golf clothes had long been acceptable casual wear, it wasn't until the 1970s that more athletic-looking styles were seen as everyday fashion.

In the 1970s, children's wear continued to look to adult fashion for inspiration. Bright colors and bold patterns were found in both boys' and girls' fashion. Also like adult fashion, children's clothing began to see less of a gender distinction as both girls and boys wore jeans, trousers and t-shirts.

Throughout the seventies, boys wore brightly colored and flared trousers (Fig. 28). In the early 1970s, boys' trousers came in bright colors and bold patterns. Plaids and stripes were especially popular and many had matching vests, often belted (Fig. 27). These elements were worn with brightly colored button-down shirts and sometimes with a matching jacket. The polyester leisure suit, popular among some men in the seventies, was also worn by young boys.

Later in the decade, styles became more informal (Fig. 29). Screen-printed t-shirts and raglan shirts reflected trends in popular culture in the later part of the decade. Denim jackets and collared knit shirts were a good alternative to the more formal styles earlier in the seventies. Sportswear also became a popular everyday casual style (Fig. 30). While bold colors and patterns were still present in the later years, they were slightly more muted and styles began to shift towards the preppy look of the 1980s towards the end of the decade.

Girls also wore bright, flared trousers throughout the seventies. While pants were increasingly acceptable for girls, many still opted to wear dresses and skirts. These also came in bright colors and patterns, with bold plaids, florals and paisleys popular options (Fig. 31). Unlike womenswear, young girls continued to wear minidresses and skirts in the early part of the decade (Fig. 32, 33). These came in clashing color combinations and had Victorian accents such as frilled collars and sleeves. As the decade progressed, girls started to wear longer dresses and skirts, following women's fashion.

In the mid- to late-seventies, a popular look for young girls were overalls (with flared pant legs, of course). These came in bright colors or patterns and were often worn with frilly blouses underneath (Fig. 34). Matching pant sets were also popular and in the latest part of the decade, trousers began to be less flared. Girls' blouses and dresses began to see a strong Victorian influence like those of women's prairie dresses. By 1979, midi-length skirts began to dominate and the overall shape became boxier as girls' fashion welcomed the 1980s.

References:

Callahan, Colleen R. "History of Children's Clothing." LoveToKnow. Accessed August 31, 2019. https://fashion-history.lovetoknow.com/fashion-history-eras/history-childrens-clothing.

The Guardian. "Bianca Jagger: 'I did not ride the horse into Studio 54. I just got on it.'" Accessed August 31, 2019. https://www.theguardian.com/music/2015/apr/25/bianca-jagger-i-did-not-ride-the-horse-into-studio-54-i-just-got-on-it.

Hennessey, Kathryn. Fashion: The Ultimate Book of Costume and Style. London: Dorling Kindersley, 2012. http://www.worldcat.org/oclc/816318024.

Khomo, Delilah. "Mick and Bianca Jagger's Wedding, 1971." Porter, May 20, 2018. Accessed August 31, 2019. https://www.net-a-porter.com/gb/en/porter/article-171576303d5e0be5/lifestyle/travel/bianca-jagger-wedding-outfit.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History. 5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

Milford-Cottam, Daniel. Fashion in the 1970s. Oxford: Shire Publishing, 2018. http://www.worldcat.org/oclc/1099803562.

The People History. "Seventies Children's Fashion Clothes." Accessed August 31, 2019. http://www.thepeoplehistory.com/1970skidsfashion.html.

Roiz, Jessica Lucia. "Happy Birthday Bianca Jagger: 20 Things About Nicaraguan Activist, Mick Jagger First Wife." Latin Times, May 2, 2016. Accessed August 31, 2019. https://www.latintimes.com/happy-birthday-bianca-jagger-20-things-about-nicaraguan-activist-mick-jagger-first-383278.

Scott, Nick. "Let's Spend Some Life Together: Mick & Bianca Jagger." The Rake, July 2016. Accessed August 31, 2019. https://therake.com/stories/icons/lets-spend-life-together-mick-bianca-jagger/.

Victoria and Albert Museum. "History of Fashion, 1900 - 1970." Accessed August 31, 2019. http://www.vam.ac.uk/content/articles/h/history-of-fashion-1900-1970/.

Victoria and Albert Museum. "Introduction to 20th-Century Fashion." Accessed August 31, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Events:

1971 - Halston, considered by American socialites as the best evening wear designer, is given the "Winnie" (women's wear award) at the Coty American Fashion Critics' Awards.

1972 - Japanese designer Kansai Yamamoto designs costumes for David Bowie's Ziggy Stardust tour. British designer Bill Gibb holds his debut fashion show at the Oriental Club, London. His romantic clothes include printed leather skirts and colorful knits.

1975 - Italian designer Giorgio Armani founds his own label. London punk band the Sex Pistols play their first gig at Saint Martin's College of Art.

1976 - The comedy crime drama Charlie's Angels makes its debut on US television. The three female leads are celebrated for their hairstyles and individual fashion choices.

1977 - Ralph Lauren styles Diane Keaton's wardrobe in Woody Allen's film Annie Hall, launching numerous copycat looks of baggy linen pants and crisp white shirts and ties for women.

1978 - Perry Ellis founds his own line, showing American sportswear, clothes with loose tailoring, long lines, and oversized sweaters.

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Seventies fashion saw bold colors and patterns take center stage. Women's fashion looked back to the 1940s by day and pumped up the glamour by night. Men had an array of suit types to choose from and favored colorful plaids. Children's fashion followed adult fashion with bold plaids and bright colors with the distinction between genders lessening throughout the decade.

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In the 1980s, bigger meant better across the board in fashion. From women's shoulder pads to men's power suits to bold colors and patterns for men, women and children, there was nothing understated about fashion in the eighties.

A decade typified by its "power dressing," the 1980s actually opened with stylish sportswear and the soft "New Romantics" style. Carrying on from the late 1970s trend for sportswear and encouraged by a fitness craze, women increasingly wore stylish gym wear in their day-to-day life. This was captured in Jennifer Beals' attire in the 1983 movie Flashdance (Fig. 1). Dance-wear inspired fashion including off-the-shoulder sweatshirts and leggings, while Jane Fonda's exercise videos also encouraged these styles (Fig. 2).

Norma Kamali continued to produce fashionable sportswear using comfortable materials such as jersey. Meanwhile designers such as Donna Karan and Azzedine Alaïa moved to using stretchy fabrics such as Lycra for body-conforming clothing. Editor Kathryn Hennessy notes how this produced a significant shift how fashion was worn in Fashion: The Ultimate Book of Fashion and Style: "Women's bodies were now shaping the clothes, rather than clothes shaping the body" (388). The dresses by Donna Karan and Azzedine Alaia (Figs. 3-4) show how dresses conformed to the body while the ensemble by Versace (Fig. 5) is an example of how sportswear made its way into high fashion. The ensemble features a popular piece from the eighties: a bodysuit.

In the early 1980s, the romantic style typified by the prairie dresses of the 1970s continued. Princess Diana's fairy-tale wedding dress by David and Elizabeth Emanuel exemplified this trend [see "Fashion Icon" section below]. Puffed sleeves, oversized accessories such as belts and bows, and historical references made bold statements. Vivienne Westwood gave this look an edge with her Pirate Collection in 1981 (Fig. 6) and was adopted by bands and club-goers in London as the "New Romantic" look (Hennessy 390).

As the decade progressed, so-called "power dressing" began to dominate. This reflected a shift in women working in high-powered positions and using fashion to be taken seriously. Padded shoulders and bold accessories made up this look; a typical patterned look is seen in the suit by Emanuel Ungaro (Fig. 7). Hennessy writes,

"As more women entered traditionally male-oriented work environments, they found it advantageous to dress as though they were in command, and sure of their sexuality. This meant jackets with heavily padded shoulders, vibrant colours, big hair-dos, bold accessories, and shoes with pointed toes and spiked heels." (396)

As part of this move towards bold dressing it was important to be seen wearing designer clothes. These designers embraced the power suits and added their own twist. Thierry Mugler's wide-shouldered suit made a slight alteration to the popular peplum look (Fig. 8). However, designer personalities also became a focal point of fashion in the early 1980s as each designer promoted a signature style (Hennessy 392). Some of these personality-driven brands included Christian Lacroix, Gianni Versace, Jean Paul Gaultier and Karl Lagerfeld for Chanel.

The latter took over the storied fashion house of Chanel in 1983. Lagerfeld was hired to increase sales and within a year, Chanel was one of the most fashionable brands again. Of Lagerfeld's beginning at Chanel, Amy de la Haye and Andrew Tucker write in Costume and Fashion: A Concise History,

"Lagerfeld's brief was to increase sales by attracting a new, youthful market, while retaining the loyalty of Chanel's traditional customers. From the outset he exploited Chanel's signature designs, sometimes paying homage to her classic styles and at other times parodying them without mercy. Within a year the House of Chanel was once again in the forefront of fashion." (Laver 273-274)

In his first year, he made a leather jacket with the signature Chanel gold buttons and square breast pockets (Fig. 9). Later in the decade, he designed a typical black dress with cream trim in a thoroughly modern silhouette (Fig. 10). Christian Lacroix, who had opened his couture house in 1975, also expertly tapped into the fashion market and created extravagant, over-the-top clothing for a wealthy clientele (Laver 280). Inspired by historical dress and craftsmanship, his designs displayed the signatures of 1980s such as big skirts (Fig. 11) and balloon sleeves. He launched a ready-to-wear line in 1988.

Though the dominant trend of the 1980s was bigger is better, taffeta and bright colors, other designers emerged and created their own styles. For daywear, American designers such as Perry Ellis and Ralph Lauren turned to classic styles menswear styles such as blazers, button downs and hand-knit sweaters to create casually elegant womenswear (Figs. 12-13). These styles came to represent casual American style and were adopted as a "preppy" style in the US ("preppy" referencing the elite preparatory schools attended by wealthy teens).

The style was influenced by traditional Ivy League and Seven Sisters style, as well as the dress of early twentieth-century British aristocrats (Laver 276). In her book Seven Sisters Style, Rebecca C. Tuite writes, "Lauren's interpretation of the collegiate look was never a costume or a disguise; it was an understated appreciation of good, classic style" (104). The plaid Perry Ellis suit (Fig. 14) pays homage to late 1940s and early 1950s collegiate style. Tuite continues to note that the look was interpreted in many ways throughout the decade: "The preppy fashions of the 1980s ranged from understated and classic to gaudy and ironic" (107).

On the other side of the world, a shocking new type of fashion emerged from Japan. De la Haye and Tucker write, "The clothes of innovative Japanese designers, who continued to show in Paris, offered a stark and often startling alternative to Western styles" (Laver 277). Designers such as Comme des Garçons' Rei Kawakubo and Yohji Yamamoto employed deconstruction, exaggerated proportions and to transform how clothing interacted with the body (Hennessey 400, Fig. 13). This resulted in shocking styles that differed from the typical styles of the decade. Their predominant use of black would continue into the early 1990s as the power dressing of the eighties began to evolve towards the minimalism of the subsequent decade.

One of the most enduring icons of eighties style is Princess Diana, the young woman who famously married into the British royal family in July 1981 (Fig. 1). The world instantly embraced the new princess and her style reflected popular trends throughout the decade.

Before getting married, Diana was considered a "Sloane Ranger," the UK's answer to the preppy look and so-named for the affluent central London Sloane Square address many of them lived near. Pearls, pie-crust blouses, flowery Laura Ashley skirts and patent pumps were in her arsenal during this time. In her first portrait for British Vogue (Fig. 2), she wore a soft pink blouse with a frilly collar by David and Elizabeth Emanuel that typified the early eighties romantic look.

Her wedding dress by David and Elizabeth Emanuel is, of course, one of the most enduring fashion moments of the 1980s (Fig. 1). In Diana, Her Life in Fashion, Georgina Howell notes that this gown foreshadowed Diana's fashion influence:

"In a postscript that presaged Diana's future power over the fashion industry, bridal manufacturers applied themselves to duplicating the dress in record time. Within five hours of the wedding there were already two copies of the dress in Oxford Street stores." (40)

With its giant puffed sleeves and a 25-foot train and ample bows and lace, the gown became the epitome of eighties wedding style.

As 1980s style progressed, so did Diana's. Royal style requires a significant amount of thought and Diana managed to do this, while also following eighties fashion trends. Kensington Palace writes in Diana: Her Fashion Story, "Diana's style was overtly glamorous by the mid-1980s. She adopted glitzy embellishments and wide shoulder pads" (8). On a tour of Saudi Arabia in 1986, her Emanuel evening gown had huge puffed shoulders, a giant striped bow and black and white color-blocking, all signature eighties trends (Fig. 3). By this time, she had developed relationships with several designers including Bellville Sassoon, Bruce Oldfield and Catherine Walker. Walker especially created appropriate "power-suits" for the Princess for any occasion (Fig. 4).

All of these designers understood the importance of diplomatic dressing and helped Diana develop her own thoughtful way of dressing for an occasion. This required different approaches for different events. Kensington Palace explains,

"For overseas tours, Diana needed regal gowns that conveyed diplomatic messages. By contrast, when visiting hospitals or schools, she preferred outfits that reflected approachability and warmth, and would wear accessories that children could play with. She abandoned the royal protocol of wearing gloves, as she liked to make direct contact when shaking or holding hands. She also stopped wearing hats, as she said, 'you can't cuddle a child in a hat.'" (10)

Royal dressing requires extreme attention-to-detail and Diana took cues from the Queen's expertise while also finding her own way forward. She incorporated current fashions more readily and took more risks, mostly to praise from adoring fans. She was seen wearing red dots and wide-shoulders on a tour of Japan in 1986 (Fig. 5).

Some of the most iconic fashion moments of the 1980s are thanks to "Shy Di." From her off-duty knitted sweaters to dancing with John Travolta in an off-the-shoulder midnight blue Victor Edelstein gown at the White House (Fig. 6), to bold patterns and bright colors, Diana's fashion influence was felt throughout the decade, and indeed until her death in 1997.

Fashion for men in the 1980s largely followed the trends in womenswear. Like women, there was a craze for fitness wear, classic American workwear, preppy styles and "power dressing" (Laver 276). Many of the big names in women's fashion also began designing men's fashion in the 1980s:

"The 1980s also saw many designers expand their ranges to embrace menswear. These included Mugler (1980), Comme des Garçons (1983), Jean-Paul Gaultier (1984) and Karl Lagerfeld (1989)." (Laver 276)

Gaultier especially looked to play with gender and throughout the decade produced skirts for men, among other designs (Hennessey 395). The suit from Thierry Mugler's first collection show a move toward the wide shoulders of the eighties (Fig. 1) while the Butterick patterns showcase the bold patterns and colors of men's sports coats (Fig. 2).

In the early part of the decade, sportswear continued to be popular for men with tracksuits and sports jerseys popular looks. Like women, classic collegiate styles made up the "preppy" look. This included seersucker suits, polo shirts with popped collars and knit sweaters worn thrown over the shoulders. Both men and women wore chunky knitted sweaters (Fig. 3).

In the mid- to late-eighties, power dressing also made it into men's style with the "power suit." These were pin-striped, double breasted suits with wide lapels. They were worn with wide ties and complimented women's power dressing. Hugo Boss perfected this look with patterned shirts and large overcoats to complete the style (Fig. 4). Men wore bright colored ties and suits were essential for white-collar workers (Fig. 5).

There were several other styles that emerged in the eighties, many from "street style." The concept of street style is a style that emerges from the "bottom" - from a subculture or individual - rather than from spreading "top down" from a designer. This kind of spread of fashion had been happening for several decades, but many new subcultural styles made their mark on both men and women's fashion in the 1980s. These included styles that emerged from music and dance culture.

The early- to mid-1980s saw the rise of goth fashion which expanded on punk style from the late 1970s (Fig. 6). Hennessey writes, "Both men and women wore clothes inspired by Victorian mourning garb and Bram Stoker's Dracula and it was not long before this movement took to the streets" (405). A key style for both goth and punk looks were Dr Martens boots (Hennessey 404-405).

Later in the decade, hip-hop and rap gave rise to its own style in the US. Groups such as Run DMC and the Beastie Boys led the way with their New York-inspired look. Hennessey notes the key aspects of their styles:

"These elements included old-school, white trainers by Adidas and Puma, distressed, tapered jeans, preppy button-down and polo shirts, nylon coach jackets, hooded sweatshirts, gold chains, and baseball caps worn at an angle" (406).

Run DMC embraced sportswear (Fig. 7) while the Beastie Boys layered jackets over their tapered, light-washed jeans (Fig. 8). Adidas sneakers were worn by both and were especially popular (Fig. 9). Their influence lasted throughout the end of the decade, into the next and can still be felt today.

Both men's and women's fashion trickled down into children's wear in the 1980s. However, it also took on brighter colors and bolder patterns (Fig. 1). Emma Rensch writes, "Children's fashion mirrored that popularized by teens and young adults, as clothing became more zany and daring than in previous decades, largely because of a culture of increasing childhood independence." Bold stripes, bright colors, and patterns were all popular trends for children throughout the 1980s.

Many styles were worn by both girls and boys. Acid and stone-washed jeans were staples in children's wardrobes (Figs. 2-3). These styles had high waists and were straight-legged, distinguishing them from the flared jeans of the previous decade. These were often worn with baggy sweaters.

High-top Converse, brightly-colored tennis shoes and denim jackets were also popular looks worn by both genders. Rensch describes a trend for coordinating outfits, "Matching was prevalent, and popular outfits for kids featured matching shorts, Polo shirts and socks, all with the same patterns or colors." Like their adult counterparts, boys often wore shorts and tube socks.

In addition to jeans, girls began wearing leggings. Alyssa Ideboen writes, "Available in a rainbow of colors, leggings were made from knit materials and stopped below the knee at mid-calf or at the ankle." They paired these with bright, oversized sweaters and cardigans (Fig. 4), off-the-shoulder sweatshirts and bright tennis shoes or "jellies." The latter were sandals made of PVC which could also be found in a rainbow of colors or even glitter options.

Celebrities influenced children's fashion in the eighties, as well. MC Hammer's "parachute pants" were popular options for both boys and girls. Michael Jackson's cropped leather jacket from the "Thriller" music video was adopted by young boys. In 1984, Michael Jordan entered the basketball scene and young boys began wearing baggy basketball shorts. Plastic bracelets worn by Madonna sparked a trend among both boys and girls. The leggings trend was influenced by dance-wear in movies like Flashdance and girls also accessorized this look with leggings (Fig. 5).

References:

"1980s in Fashion." Wikipedia. Accessed March 29, 2020. https://en.wikipedia.org/wiki/1980s_in_fashion.

Hennessey, Kathryn. Fashion: The Ultimate Book of Costume and Style. London: Dorling Kindersley, 2012. http://www.worldcat.org/oclc/816318024.

Howell, Georgina. Diana, Her Life in Fashion. London: Pavilion, 1999. http://www.worldcat.org/oclc/42308534.

Ideboen, Alyssa. "Kids' Fashion of the 1980s." Our Everyday Life, September 28, 2017. Accessed April 4, 2020. https://oureverydaylife.com/kids-fashion-of-the-1980s-12481073.html.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History. 5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

Kensington Palace. Diana: Her Fashion Story. London: Pitkin Publishing, 2017. http://www.worldcat.org/oclc/1047856375.

The People History. "Vintage 1980s Children's Fashion Clothes." Accessed April 4, 2020. http://www.thepeoplehistory.com/1980skidsfashion.html

Ralph Lauren. "The Timeline." Accessed March 29, 2020. https://www.ralphlauren.co.uk/en/the-timeline/70931.

Rensch, Emma. "What Did Kids Wear in the 80s?" Our Everyday Life, Setpember 28, 2017. Accessed April 4, 2020. https://oureverydaylife.com/what-did-kids-wear-in-the-80s-12582989.html.

Tuite, Rebecca C. Seven Sisters Style. New York: Rizzoli, 2014. http://www.worldcat.org/oclc/954104210.

Victoria and Albert Museum. "Introduction to 20th-Century Fashion." Accessed August 31, 2019. http://www.vam.ac.uk/content/articles/i/introduction-to-20th-century-fashion/.

Events:

1981 - Lady Diana Spencer marries Prince Charles. She wears an ivory silk wedding dress designed by David and Elizabeth Emanuel. It sets the fashion for wedding dresses for the next 10 years.

1981 - Music Television is born and brings pop-star styles to a global audience.

1981 - The first episode of the US TV series Dynasty airs and helps to popularize power dressing and shoulder pads.

1983 - John-Paul Gautier launches his Dadaist collection, which includes his signature corset.

1984 - Donna Karan International is established. Polo Ralph Lauren flagship store is built in New York City.

1985 - With her jangling jewelry, lace, black mesh vest, and hair bows, Madonna in Desperately Seeking Susan becomes a style icon for many women throughout the world. Dolce and Gabbana's first women's collection is presented in Milan.

1988 - Anna Wintour becomes editor-in-chief at American Vogue.

1989 - Prada launches its women's ready-to-wear collection, bringing its designs to a wider audience.

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In the 1980s, bigger meant better across the board in fashion. From women's shoulder pads to men's power suits to bold colors and patterns for men, women and children, there was nothing understated about fashion in the eighties. A decade typified by its "power dressing," the 1980s actually opened with stylish sportswear and the soft "New Romantics" style.

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As the new decade and millennium dawned, fashion largely continued along the same trajectory that had started in the late 1990s. However, in the aftermath of the September 11, 2001 attacks, fashion returned to conservatism. With the rise of new technology, fashion spread quickly and celebrities played a key role in consumer choices as images were shared through the internet instantly. While popular styles changed over the years, one item remained ubiquitous throughout the decade: denim jeans.

At the turn of the millennium, fashion looked to the future as technology began seeing the rapid development that would lead to the widespread use of smartphones and social media by the end of the decade. The emphasis on new technology inspired fashion with metallic silvers, blacks and the use of straps and belts to create a Matrix-esque look. The catwalks in Spring and Fall 2001 were dominated by the use of black, with designers such as Balenciaga (Fig. 1), Yves Saint Laurent Rive Gauche (Fig. 2), and Calvin Klein (Fig. 3) using black almost exclusively in Fall 2001 (Brillson). The use of leather, trench coats, and straps contributed to a style that harkened towards a new age of technology and innovation.

However, after the events of 9/11 and the mortgage crisis of 2001, fashion turned back towards conservatism. In America especially, this marked the rise of jeans for every occasion. This stayed true throughout the decade, however, the dominant style changed over the years. In the early 2000s, low-rise, flared jeans were prevalent while by the mid-2000s, bootcut jeans had grown more popular. During this period, True Religion and 7 for all Mankind were staple denim brands. Jeans were even worn on the red carpet with True Religion a popular option as chosen by Jessica Alba (Fig. 4). In 2005, skinny jeans were introduced and were commonplace by 2006. Distressed jeans - purposefully ripped, frayed, or otherwise worn jeans - were a hallmark of the era, and jeans were accepted as appropriate attire in nearly all situations during the decade.

Designers even collaborated with fast-fashion retailers to bring affordable versions of their designs to consumers. In November 2004, H&M debuted their first designer collaboration with Karl Lagerfeld (Fig. 12). The affordably-priced pieces were an instant hit and mostly sold out on the first day to the surprise of both H&M and Lagerfeld himself. At the time, H&M Marketing Director Jörgen Andersson told WWD, "We've been operating this business for some 60 years and we've never seen anything like it" (Truly Fast Fashion). The frenzy was seen across stores in the US and Europe with some stores selling out in less than 20 minutes. The success led to H&M collaborating with other high fashion designers over the years with other retailers like Target following suit.

The rise of fast fashion was aided by online retail. Amy De La Haye and Andrew Tucker write in Costume and Fashion,

"Between 2006 and 2011 online international fashion sales increased by 152%, significantly boosted by the new transactional websites of high street stores, while fashion applications on smartphones facilitate purchasing on the move." (Laver 294)

From the technology-inspired clothing at the turn of the millennium to the sharing of trends through social media to the sale of fashion online, the story of fashion in the 2000s was linked to technology from beginning to end.

Though her style may be polarizing, there is only one person who first comes to mind in relation to 2000s fashion: Paris Hilton. The great-granddaughter of Conrad Hilton, Paris began modeling in the late 1990s and by 2000, was featured in Vanity Fair with her sister Nicky. From there, she rose to prominence as a socialite in New York before becoming a reality star with The Simple Life, in which she and her fellow socialite friend Nicole Richie spent time living on a rural farm.

Paris progressed her career with acting and writing books, but her presence on the red carpet circuit in the early to late aughts cemented her role as a fashion icon. She was seen and photographed in all of the trends throughout the decade: tracksuits, Ugg boots, bright colors, bared skin. While many of her styles were over-the-top, she also wore some of the more attainable styles like a baby doll tank top and ultra-low rise flared jeans in 2003 (Fig. 1). Paris wasn't afraid of using the paparazzi to her advantage and much of the decade was dominated by images of her in the tabloids and she helped to popularize many of the trends seen throughout the decade.

Like womenswear, menswear at the beginning of the 2000s looked to the future for inspiration. Futuristic styles for men included a dominance of black with some silver additions, trench coats and thin, square sunglasses (Fig. 1). However, after September 11, men's fashion also returned to more conservative dress with sportswear the dominant style. This included tracksuits, polo shirts (sometimes layered or with the collar popped), cargo pants, and rugby shirts.

In the mid part of the decade, retro 1960s-inspired styles emerged inspired by British indie-pop bands. Smart casual was acceptable for businesswear at this point as fashion continued towards a more informal trajectory. Later in the decade, there was a 1950s and 1980s revival including leatherman jackets and slim-fit suits.

One of the defining brands of the early- to mid-2000s for both men and women was Ed Hardy. Embraced by celebrities, t-shirts emblazoned with the tattoo-inspired art and Ed Hardy logo could not be avoided. Complementing the Ed Hardy clothing were Von Dutch trucker hats which were seen on celebrities such as Justin Timberlake (Fig. 2), Ashton Kutcher, Britney Spears, and Paris Hilton, making it a must-have It item for several years in the middle part of the decade.

Teen fashion also saw influence from celebrities especially from the rise of teen shows such as The OC (Fig. 6) and One Tree Hill. Abercrombie and Fitch, Hollister and Co., and American Eagle were the brands to be seen in for teens in the 2000s as they supplied logoed polo shirts, popular jean styles and some of the favorite trends such as denim mini-skirts.

In 2007, teens and young adults got the high fashion treatment on the show Gossip Girl which not only featured designer fashion but often centered its plot around fashion (Fig. 7). Speaking to The Hollywood Reporter as the show came to a close in 2012, The CW's former Entertainment Chief Dawn Ostroff noted how the show influenced consumer choices:

"People watch the show the way they read a magazine: They want to know where to get the clothes, where to get the music and where to go in New York."

By the start of the second season in 2008, the show was influencing not only teen fashion but fashion for women in their twenties and older, as well, despite the characters portrayed on the show still being in high school. Their altered school uniforms (Fig. 8) created a trend for preppy clothing and Priorities, an eight-year-old company featuring preppy styles sold at Macy's, Bloomingdales, and other department stores, saw sales double in the year after Gossip Girl debuted, demonstrating the power the show had on influencing trends (La Ferla).

Labels mentioned or worn on the show sold out within days of the episode premiering while girls would tear looks out of magazines and bring into stores looking for the style. Like the story of fashion as a whole in the 2000s, this was heightened by the styles being shared on the internet. Ruth La Ferla wrote of the show in The New York Times in 2008,

"Its clout as a cultural and shopping influence is amplified by the Web, including the show's own site, which lets viewers identify the brand of the clothes and accessories in each episode and click through to buy them."

Novel at the time, this allowed viewers to access and emulate their favorite character's style in ways that had previously never been possible.

References:

"2000s in Fashion." Wikipedia. Accessed May 28, 2021. https://en.wikipedia.org/wiki/2000s_in_fashion.

"Balenciaga: Fall 2001 Ready-to-Wear." Vogue, August 8, 2015. Accessed May 28, 2021. https://www.vogue.com/fashion-shows/fall-2001-ready-to-wear/balenciaga.

Bothwell, Claire. "Burberry versus The Chavs." BBC News, October 28, 2005. Accessed May 28, 2021. http://news.bbc.co.uk/1/hi/business/4381140.stm.

Brillson, Leila. "From Uggs to Y2K, What the '00s Meant to Us." Refinery29, February 26, 2013. Archived from the original on March 28, 2014. Access May 28, 2021. https://web.archive.org/web/20140328105310/http:/www.refinery29.com/millennial-trends.

Bruce, Leslie and Lacey Rose. "'Gossip Girl' Cast and Producers Reflect on the CW Drama's 100 Episodes." The Hollywood Reporter, January 30, 2012. Accessed May 28, 2021. https://www.hollywoodreporter.com/tv/tv-news/gossip-girl-100-episodes-leighton-meester-285716/.

"Calvin Klein Collection: Fall 2001 Ready-to-Wear." Vogue, February 15, 2001. Accessed May 8, 2021. https://www.vogue.com/fashion-shows/fall-2001-ready-to-wear/calvin-klein-collection.

Campion, Freddie. "Hedi Slimane: Anthology of a Decade (2000-2010)." Vogue, February 7, 2011. Accessed June 12, 2021. https://www.vogue.com/article/hedi-slimane-anthology-of-a-decade-2000-2010.

Dudbridge, Saxony. "2000s - 2010s." Catwalk Yourself. Accessed May 28, 2021. http://www.catwalkyourself.com/fashion-history/2000s-2010s/.

"Fall 2005 Ready-to-Wear." Vogue. Accessed May 28 2021. https://www.vogue.com/fashion-shows/fall-2005-ready-to-wear.

Fiorentino-Swinton, Alexandra. "An Ode to Disney Channel Stylists." Moda. Accessed May 28, 2021. http://www.modachicago.org/blog/disneystylists.

Fury, Alexander. "Roland Mouret's Nip-and-Cinch Galaxy Dress Helped Reshape Fashion (and Victoria Beckham). Independent, October 1, 2015. Accessed May 28, 2021. https://www.independent.co.uk/life-style/fashion/features/roland-mouret-s-nip-and-cinch-galaxy-dress-helped-reshape-fashion-and-victoria-beckham-a6676166.html.

Gallagher, Brenden. "The History of Burberry's Check." Grailed, December 7, 2017. Accessed June 12, 2021. https://www.grailed.com/drycleanonly/history-of-the-burberry-check.

Gallagher, Brenden. "The Strokes, Hedi Slimane and New York Post-Punk Revival Fashion." Grailed, December 14, 2017. Accessed June 12, 2021. https://www.grailed.com/drycleanonly/history-of-the-burberry-check https://www.grailed.com/drycleanonly/the-strokes-style-hedi-slimane.

Hennessey, Kathryn. Fashion: The Ultimate Book of Costume and Style. London: Dorling Kindersley, 2012. http://www.worldcat.org/oclc/816318024.

Holgate, Mark. "Spring Fashion 2000." New York, February 14, 2000. Accessed May 28, 2021. https://nymag.com/nymetro/shopping/fashion/features/1945/.

Idacavage, Sara. "Fashion History Lesson: The Origins of Fast Fashion." Fashionista, October 17, 2018. Accessed May 28, 2021. https://fashionista.com/2016/06/what-is-fast-fashion.

McDermott, Kerry. "Paris Hilton's Most Outrageously Noughties Looks, Ranked." Vogue, August 28, 2020. Accessed June 13, 2021. https://www.vogue.co.uk/fashion/gallery/paris-hilton-outfits.

La Ferla, Ruth. "Forget Gossip, Girl; the Buzz is About the Clothes." The New York Times, July 8, 2008. Accessed May 28, 2021. https://www.nytimes.com/2008/07/08/fashion/08gossip.html.

"Lanvin: Fall 2001 Ready-to-Wear." Vogue, March 10, 2001. Accessed May 28, 2021. https://www.vogue.com/fashion-shows/fall-2001-ready-to-wear/lanvin.

Laver, James, Amy De La Haye and Andrew Tucker. Costume and Fashion: A Concise History. 5th ed. New York: Thames & Hudson, 2012. http://www.worldcat.org/oclc/966352776.

Okwodu, Janelle. "Paris Hilton Remains the Ultimate Aughts Muse." Vogue, Febuary 17, 2001. Accessed June 13, 2021. https://www.vogue.com/slideshow/paris-hilton-style-evolution-aughts-muse.

"Paris Hilton." Wikipedia. Accessed June 13, 2021. https://en.wikipedia.org/wiki/Paris_Hilton.

Pires, Kevin. "Ed Hardy Invented 21st Century Fashion & Everyone Else is Playing Catch Up." Highsnobiety. Accessed May 28, 2021. https://www.highsnobiety.com/p/ed-hardy-legacy/.

"Roland Mouret: Fall 2005 Ready-to-Wear." Vogue, February 7, 2005. Accessed May 28, 2021. https://www.vogue.com/fashion-shows/fall-2005-ready-to-wear/roland-mouret.

"Quick Guide to 2000s Fashion." CentralCasting, January 14, 2019. Accessed May 28, 2021. https://www.centralcasting.com/quick-guide-2000s-fashion/.

"Saint Laurent: Fall 2001 Ready-to-Wear." Vogue, March 13, 2001. Accessed May 28, 2021. https://www.vogue.com/fashion-shows/fall-2001-ready-to-wear/saint-laurent.

"Spring 2005 Ready-to-Wear." Vogue. Accessed May 28, 2021. https://www.vogue.com/fashion-shows/spring-2005-ready-to-wear.

WWD Staff. "Truly Fast Fashion: H&M's Lagerfeld Line Sells Out in Hours." WWD, November 14, 2005. Accessed May 28, 2021. https://wwd.com/fashion-news/fashion-features/truly-fast-fashion-h-m-8217-s-lagerfeld-line-sells-out-in-hours-593089/.

Events:

2003 - The first season of reality contest America's Next Top Model premieres on US television.

2004 - The group Designers Against Aids is launched to promote awareness of the disease. Designer Marc Jacobs and clothes store H&M go on to collaborate with the charity.

2005 - The Istanbul Cevahir Shopping Centre opens. It is the largest mall in Europe, and the sixth largest in the world.

2008 - First Lady Michelle Obama wears a dress by Jason Wu at the inaugural ball for President Barack Obama.

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As the new decade and millennium dawned, fashion largely continued along the same trajectory that had started in the late 1990s. However, in the aftermath of the September 11, 2001 attacks, fashion returned to conservatism. With the rise of new technology, fashion spread quickly and celebrities played a key role in consumer choices as images were shared through the internet instantly.