Clothing Trends for Women

Minimalism to Millennium

No one particular style defined women's fashions in the 1990s. Skirts were long and short, depending on the season. Blouses were either modestly romantic or daringly sheer. Pants could be wide-legged or tailored. No color seemed to dominate, as designers showed—and women wore—fashions in everything from grays, blacks, and whites to blues, pinks, and reds. Vogue took this view on the decade in its July 1998 edition: "In fashion, it's been a dizzying ride. Early on, designers set impossibly strict standards for women, stripping down style to monk-like minimalism. That period was followed by a no-holds-barred revival of all things lavish and ornamental. But now the pendulum has swung toward a less extreme middle ground, a place of under-stated luxury and a quiet, very modern comfort. The nineties as we see them now are about a less constructed, more personal look—which women, not surprisingly, support."

Classic to Sexy

Despite the nod to individual style, designers still tried to set the standards of each season by introducing fashions that varied from minimalist to extravagant. Jil Sander of Germany won over American women with her spare lines and basic palette. Miuccia Prada for the Milan, Italy-based House of Prada also developed a strong following in the United States with designs that emphasized classic, clean lines with a 1990s flair: neatly fitted coats and dresses, dropped waists, and narrow belts. Italian designer Gianni Versace, on the other hand, used bright colors and sexy styles—he sent models out in leather bondage dresses for his 1992 fall collection—to build his global fashion empire.

Diversity

American designers showed no less diversity. Richard Tyler gained fame for clothes that were near-custom quality. His jackets were known for their graceful cut and perfect tailoring. Donna Karan used luxurious materials to craft well-tailored coats, long and short skirts, blouses and pants that followed the lines of the body without being overtly sexy. Calvin Klein presented a full wardrobe, everything from office clothes to evening wear, with designs that featured simple, refined lines in natural fibers such as cashmere, linen, silk, leather, and suede; his clothes usually came in earth tones and neutrals. With so many choices and styles from which to choose, women knew they were in control of how they wanted to look. They decided which skirt length worked well for them, which trouser style looked best, and which colors flattered them the most. In the 1990s designers did not dictate style. Instead, women decided what was fashion.

DIANA, PRINCESS OF WALES

One of the most watched personalities in the fashion world was Diana, Princess of Wales. Her seemingly fairy-tale marriage to Prince Charles, on 29 July 1981 focused the attention of the world on her. The 1990s, however, brought a new interest in her fashion decisions as her separation and divorce allowed her both a more personal choice and more mature selection when it came to clothes. Freed from dress codes dictated by Buckingham Palace, Diana showed her own personal glamour. Diana wore clothes from famous European designers such as Valentino, Gianni Versace, Christian Lacroix, Karl Lagerfeld for Chanel, and Emanuel Ungaro. She also patronized the London-based Catherine Walker, as well as John Galliano, who created his first dress for the French couture house of Dior for Diana. Diana also showed her down-to-earth side in her street clothes, which included wearing khakis on her humanitarian trips, as well as gym clothes while heading to and from workouts.

Her penchant for fashion, however, also earned her some criticism. British tabloids in 1994 reported that her fashion and beauty expenses totaled $240,000 a year. Despite the ensuing uproar over the bills, the American as well as the British public were enthralled by her style. Public interest was perhaps most evident in 1997, just months before her death in an automobile crash at the age of thirty-six. Diana had raised $5.7 million for charity with an auction of seventy-nine of her dresses and gowns. The blue velvet dress she wore to a White House dinner, where she danced with American actor John Travolta, was won for $222,500 at the auction, held by Christie's in New York City.

Sources:

Ginia Bellafante, "People," Time, 143 (30 May 1994): 69.

Hamish Bowles, "A Fashion Tribute," Vogue, 187 (November 1997): 290-293.

Belinda Luscombe, "People," Time, 149 (7 July 1997): 113.

Return to Romance

Women did not take long to distance themselves from the 1980s fashion dictums of "power dressing." They quickly abandoned the strictly tailored suits, oversized shoulder pads, and over-the-top glamour that dominated the previous decade. Instead, women turned to more feminine styles that added class and grace to both work wardrobes and evening attire. This romantic look evolved over time, but its influence was evident throughout the decade. Vogue declared: "This is the era of femininity in dress—of jackets with softer shoulders, of curvy tailoring, of fluidity in skirts. Of dresses that show the body without grabbing it. Of lace and chiffon and untucked shirts over soft shorts." The March 1990 Vogue cover announced: "Pretty Makes A Comeback." Even delicate pinks came on strong, appearing in all sorts of shades. Dresses replaced suits. Soft fabrics, such as chiffon, succeeded stiff wool. Carefully coifed hair supplanted severely cropped locks. From the start of the decade, designers favored the classic sheath dress, also known as the Audrey Hepburn dress for the actress who wore it so gracefully during the 1960s, with its simple A-line shape and modest hemline.

Feminine Fashions

The trend toward feminine fashions did not abate later in the decade, as both French couture and American sportswear designers turned out classy and classic creations. Tailored, slim-skirted suits that tapered at the waist reminded women of the enduring elegance of former First Lady Jacque-line Kennedy Onassis, who died in 1994. Hemlines fell modestly at the knee; some women paired the new skirt length with stiletto heels to add a more feminine line. Reds, pinks, and fuchsias further distinguished women from men. Pastels returned, too. "We are seeing a return to elegance, and it is unquestionably commercial," Saks Fifth Avenue fashion director Nicole Fischelis told Time in April 1995. Soft, romantic, and feminine fashions were worn everywhere from daytime offices to nighttime parties. Suits, sheath dresses, and knee-length skirts turned up at businesses. Outside the office, women wore delicate dresses, such as the lingerie-styled slip dress. Jill Stuart in 1997 turned out a slip-style dress in a light-blue crocheted rayon. Daryl K produced a pale peach halter dress made of silk and Lycra. Sheer sweaters, fluid wide-legged pants, fitted trousers, and camisole-style tops also added a delicate flair to women's wardrobes. Colors ranged from soft pastels and neutrals to playful citrus shades, such as lime green, orange, and yellow. Fabrics favored for these feminine looks included lightweight wools, chiffon, crepe de chine, and jersey.

Office Dressing

Women showed their diverse tastes when it came to picking their wardrobes for work. Although they generally selected clothes that were less formal than their 1980s counterparts, women still wore suits. The jacket remained an essential item. The traditional blazer was looser, but not baggy, and longer; it had a natural, comfortable fit. Women chose both double-breasted and single-breasted jackets in every color, from neutrals such as brown and gray to vibrant hues such as yellow and red. They paired jackets with both pants and skirts. Pinstripe suits proved popular as well. Tom Ford, Calvin Klein, and Ralph Lauren were just a few of the designers featuring the formal style in the mid 1990s. Although individual style dominated the decade, women still had rules to contend with. While designers showed lots of pant-suits, some female executives felt uncomfortable wearing pants to the office. Meanwhile, some women working in offices on casual or dress-down days felt confused about the new rules for attire. Fashion experts advised women to wear comfortable clothes, such as denim shirts, knit twin sets, long skirts, and flat-front trousers. They also warned women to keep a professional look, which meant no low-cut or midriff-baring tops, ripped jeans, sweatpants, or dirty sneakers.

Overexposed

Many modern garments showed off the body. Midriff-baring tops and "baby doll" dresses put the woman's body in the spotlight. Tights and leggings were the rage, helping to blur the line between gym gear and street clothes. Leggings, which, as the name suggests, fit the legs like a glove, were often paired with bulky sweaters that came down past the hips and came in everything from Lycra-nylon blends to cashmere to velvet. The legs were not the only body part getting attention; much of the body was overexposed in the 1990s. Bustiers, slips, and bras came out from underneath and were promoted to a new role as outerwear.

Sources:

Ginia Bellafante, "La Dolce Vita," Time, 150 (28 July 1997): 36-44.

Bellafante, "Lessons in Lessness," Time, 144 (7 November 1994): 70-72.

Bellafante, "Tired of Chic Simple? Welcome to the New Romance," Time, 151 (6 April 1998): 66-68.

"Can I Wear This to Work?" McCall's, 123 (May 1996): 26.

"Corporate Challenge," Vogue, 186 (September 1996): 242.

Martha Duffy, "A New Touch of Class," Time, 145 (17 April 1995): 58-63.

Duffy, "Stripping Down to Essentials," Time, 135 (14 May 1990): 80-81.

Duffy, "Understated Art," Tim (20 November 1995): 112.

Cathy Horyn, "Fashion Taboos at Work," Vogue, 183 (August 1993): 218-221.

"The Living Is Breezy," Time, 149 (26 May 1997): 90-91.

Kate Mulvey and Melissa Richards, Decades of Beauty (London: Hamlyn, 1998), p. 196.

Valerie Burnham Oliver, Fashion and Costume in American Popular Culture: A Reference Guide (Westport, Conn.: Greenwood Press, 1996), p. 53.

"Rethinking Pink," Vogue, 180 (March 1990): 478-485.

Janet Siroto, "Jackets Required," Vogue, 183 (March 1993): 324-333.

Anne Stegemeyer, Who's Who in Fashion (New York: Fairchild Publications, 1996), pp. 120-121, 129-130, 240.

"View," Vogue, 180 (November 1990): 146.

"Vogue Point of View," Vogue, 180 (January 1990): 145-159; 180 (April 1990): 325-357; 188 (July 1998): 85.

CLOTHES FOR WOMEN

Shoulder Pads and Hats

The dominant silhouette of the early 1940s featured broad shoulders that gracefully tapered into a tailored waist over a narrow skirt that fell just below the knees. Shoulder pads were found in nearly every dress, suit, and jacket. The padded, broad shoulders lent women an air of strength and authority, traits valued in women in the 1940s and seen as crucial to surviving the war. Most outfits were topped with a hat, which aided in the popularity of American milliners such as Lily Daché, John Frederics, and Sally Victor. Hat designers added tall brims that gave the appearance of height or wide ones that gave a sense of summertime grace. Others trimmed the crown to the bare minimum, topping it with wiry fabric curls, veils, bows, jewelry, or fur. When wool was scarce, Daché used yarn, specifically mop yarn and twine, and even made caps from the gold epaulets of uniforms.

Popular Looks

Despite government regulations and restrictions, women in the 1940s had a variety of looks from which to choose. One of the most dominant included a padded, broad-shouldered jacket and pencil skirt worn with platform-soled shoes and a high-crowned hat, large jewelry, long pocketbook, and bold red lipstick. A variation was a short jacket worn over a slightly flared skirt, a string of pearls, and pumps. Many women tucked a small piece of lace in the pocket or collar of these outfits as a feminine contrast to the military look popular in this period. Women often wore their hair in two contrasting looks. The first, popularized by Joan Crawford, included soft, partially curled pageboy bangs with long hair pulled back off the face and neck. The second, made popular by Veronica Lake, was a much looser look, with long hair worn to the shoulders, parted on the side, and falling dramatically across the face.

Casual and Practical

Many women spent the war years in gabardine tailored shirtwaist dresses that were comfortable as well as fashionable and came in a variety of fabrics and colors. The "town and country" look had a casual feel without imitating men's traditional sports-wear. The peasant look—drawstring neckline, small puffed sleeves, and gathered, narrow skirt—was also popular. Dinner wear was scaled back for the average woman during the war. Claire McCardell designed evening wear that came with a matching apron for hostesses who did their own cooking. High-style evening wear was columnar in design, with added drapery to give it an elegant, almost Greek, feel. Other classic evening dresses were designed to resemble a Renaissance-period costume.

Youth Fashions

The word teenager entered standard usage in the 1940s and was distinctively American. Along with the new title came new social rituals, new looks, and new behaviors generated by and for teenagers. In fashion this translated into sweater sets for girls worn over narrow skirts that flared at the knee, bobby socks, and loafers or saddle shoes. Boys wore V-necked sweaters, short cotton jackets, and loafers. Blue jeans, associated with manual labor and thus unacceptable for school, were worn by boys playing or doing chores around the house.

Off to School

College-bound women preferred skirts, sweaters, and jumpers to the suited look of Hollywood. Particularly popular were the clothes of the B. H. Wragge Company. Its collections of separates—jackets, skirts, vests, blouses, jumpers, shirtwaist dresses, and coats—were designed to mix and match in a variety of combinations. Many college women collected as many Wragge pieces as they could. This concept of mix-and-match separates became one of the most important elements of American ready-to-wear fashion. Many male undergraduates enlisted in the military, but those who stayed home wore white shirts with ties along with sweaters or jackets. Pants and blue jeans were worn to relax in the dormitory or outside. College-age women made going hatless a new fashion, preferring longer hairstyles and curls similar to the style of Veronica Lake to the extravagant hat favored by women a few years their senior.

BOOTLEGS AND BLACK MARKETS

In 1946 Newsweek reported that women were finding stockings in the oddest places. In New York a butcher boy could deliver a pair of nylons for $3, nearly double the cost at a store. A cigar store just off Broadway had them for $3.50 if the customer said, "Charlie sent me." In other American cities the story was the same. Why? By the end of February 1946 the nation's manufacturers had turned out 76,872,912 pairs of nylons, almost two pairs for every American woman old enough to wear them, but millions of them were disappearing. Or rather, they were moving through the booming black market that had begun during the war. American women, Newsweek reported, were tired of standing in line for hours to get one pair of stockings of undetermined color and often of inferior quality at "ceiling prices." They resented being gouged by black marketeers, yet their need for stockings made them depend on them just the same. Beauty parlors buzzed with rumors: "Where have all the nylons gone? To Mexico?" No, government officials explained. The black market was the big hole down which the nylons were vanishing. Finally, in mid April the attorney general ordered the Justice Department to shut down the secret commerce and crack down on the marketeers.

Source:

"Stockings: Leg Bootleg," Newsweek, 27 (29 April 1946): 66.

Source:

Caroline Rennolds Milbank, New York Fashion: The Evolution of American Style (New York: Abrams, 1989).