Was there any time in non-recent history where it was fashionable to wear ripped clothes?

Was there any time in non-recent history where it was fashionable to wear ripped clothes?

For around past 30 years it's popular to wear ripped jeans. Was there anything similar in history, when ripped or otherwise heavily worn clothes were popular and considered fashionable?

Switzerland, and the Germanies, 1500s and 1600s in the form of the Landsknecht who were given a legal dispensation from the sumptuary (clothing) laws to be so fabulous. There is a contemporary recreation community who have some colour pictures of recreated clothes draped on people, and a wide variety of pictures online, including some colour prints from later.

From the Wikipedia


What made the Landsknechte so conspicuous was their elaborate dress, which they adopted from the Swiss, but later took to even more dramatic excess. Maximilian I exempted them from the prevalent sumptuary laws as an acknowledgement of their "… short and brutish" lives. Doublets (German: Wams), deliberately slashed at the front, back and sleeves with shirts and other wear pulled through to form puffs of different-colored fabric, so-called puffed and slashed; particoloured hose (or Gesses); jerkins (German: Lederwams); ever-broader flat beret-type hats (German: Tellerbarrets) with tall feathers; and broad flat shoes, made them bodies of men that could not be mistaken.

Jules-Amédée Barbey d'Aurevilly, in Du Dandysme et de Georges Brummel (The Anatomy of Dandyism, 1845) claims that French dandies of his day used to use a piece of broken glass to shave down the fabric of their coats until they were almost sheer, and might break through. If you want to believe him. I don't consider him very reliable, especially since a lined jacket isn't going to work like this.

18 Clothing Pieces That Defined 1980s Fashion In America

As a result of various social shifts and general developments of the time, the 1980s fashion is memorable to this day. Many pieces of clothing became ubiquitous among the U.S. population throughout the decade. Whether it was the tailoring, colors, or size of the item, it is easy to look back and remember what defined fashion in the 1980s.



In the 1850s, women's skirts were domed and bell-shaped, supported by crinoline petticoats.They often featured deep flounces or tiers.Long bloomers and pantaloons trimmed with lace were popular.Tiered cape-jackets were fashionable, as were paisley patterned shawls.Deep bonnets were worn and hair was swept into buns or side coils from a centre parting.

Men wore matching coats, waistcoats and trousers, with hairstyles characterised by large mutton-chop side-burns and moustaches, after the style set by Prince Albert.Shirts had high upstanding collars and were tied at the neck with large bow-ties.High fastening and tight fitting frock coats were also very fashionable though a new style called the sack coat (a thigh-length, loosely fitted jacket) became popular.The bowler hat was invented around 1850, but was generally seen as a working class hat, while top-hats were favoured by the upper classes.

Paisley dress with shawl, designer unknown

Dress and shawl
Designer unknown
Great Britain
Printed wool, lined with linen
Museum no. T.849-1974
Given by Mrs Geoffrey Myers

The popularity of cashmere shawls reached its peak from the 1840s to the 1860s. Originally imported from India in the late 18th century, British manufacturers were making woven and printed versions by the early 19th century, based on the Indian designs. A key motif was the boteh or pine cone, what we know today as the paisley. This design was popular as a dress fabric. This example was printed by the company Swaislands of Crayford in Kent, and registered in the Patent Office between July 1845 and April 1847. The bodice of the dress has vertical slits fastened with buttons on either side of the centre front. This indicates that the owner wore it while nursing her children.

Silk satin dress edged with braid, with lace shawl

Designer unknown
Silk satin lined with cotton, edged with brush braid
Museum no. T.856-1919

By the end of the 1840s, the wide neckline had closed up to a high, round opening. The waist remained long and narrow, ending in a point below the waistline. This particular example is made of silk satin, striped in a complex arrangement of purple, crimson, magenta, grey and white. The sleeves are beginning to widen at the wrist into a slight bell shape. This dress was probably made in the mid-1840s and then altered about five years later to accommodate a change in style. The sleeves have had gores inserted at the wrist to bring them up to date with the new fashion.

Block printed wool day dress, designer unkown

Dress (skirt and bodice)
Designer unknown
Great Britain
Block-printed wool, lined with cotton and the bodice boned with whalebone
Museum no. T.797&A-1913
Given by Messrs. Harrods Ltd

Curling tendrils separated by undulating lines and a lattice work of simulated trimming adorn this block-printed wool day dress. The delicate scrolling shapes of the tendrils reflects the mid-Victorian interest in 18th century Rococo design which incorporated scrolling naturalistic motifs and a lively sense of movement.

The vertical emphasis of the pattern suits the fashionable shaping of the bodice which is pleated over the bust into a V-shaped point at the waist, while its lighter horizontal stripe complements the fullness of the skirt. Many dresses of this date were decorated with trimmings of self-fabric, focusing the eye on the fabric pattern or richness of the material as well as the fashionable silhouette. On this dress, bias cut strips of fabric decorate the bell-shaped ends of the sleeves, and the neckline, shoulder seams, sleeve head and hem of the bodice are carefully finished with self-piping.

Day dress of moiré silk, about 1858. Museum no. T.90&ampA-1964

Day dress (bodice and skirt)
Designer unknown
About 1858
Great Britain
Moiré silk trimmed with chenille and lined with silk with metal buttons, and whalebone strips
Museum no. T.90&A-1964
Given by Miss Janet Manley

This eye-catching day dress formed part of the trousseau belonging to Miss Janet Gilbert. It is beautifully constructed in the latest style as would befit a young fashionable woman, although its pristine condition suggests it might not have been worn. Made of moiré silk, it has a lustrous rippled sheen accentuated by the rich Prussian blue dye, applied chenille flowers and sparkling metal buttons. Box pleated trimmings stand out in relief along the bottom edge and seams of the wide pagoda sleeves, emphasising their width. Had Miss Gilbert worn this dress, white 'engageantes', or undersleeves tacked to the armholes would have covered her lower arms and a lace collar might have decorated the neckline.

Graceful movements and a perfect silhouette were promoted by the introduction of spring-steeled hooped petticoats in 1856, often referred to as crinolines. Although frequently ridiculed in the press for their cage-like structure and size, they were also hailed as a blessing. Effective, lightweight, economical and comfortable, they ensured women could wear dresses like this one without having to contend with layers of hot and heavy petticoats.

Bracelet by Pierre-Jules Chaise, enamelled gold and diamonds

Bracelet with portrait miniatures
Pierre-Jules Chaise
About 1850
Enamelled gold, rose and brilliant-cut diamonds, ivory and mother-of-pearl
Museum no. M.12:1-3-1955
Bequeathed by Mrs. H. Digby Neave, granddaughter of Mr and Mrs Ralli

This portrait shows a typical hairstyle of the 1850s. Hair was worn parted in the middle and loosely swept over the ears into a low bun at the back.

This miniature portrait is part of a bracelet that was made to take the portraits of Mr. Pandeli Ralli and Mrs. E. Ralli. Mr. Ralli appears as a client in the ledgers of the Royal Goldsmith's R&S Garrard in 1838. He bought a diamond head ornament for £200 and a matching bracelet for £45.

Photograph of unidentified sitter by Horne &amp Thornthwaite, about 1850. Museum no. PH.151-1982

Horne & Thornthwaite (photographers)
About 1850
Museum no. PH.151-1982

This photograph, of an unidentified male sitter, shows men's dress typical of the 1850s. The sitter is wearing a high upstanding collar with a high single breasted waistcoat cut straight across the waist. His dark necktie is tied around the collar with a small bow at the front.

He wears a newly fashionable sack coat, a slightly looser fitting coat than the more tailored frock coat. The sack coat would become increasingly popular over the following decades, worn most often for leisure activities or informal occasions.

Silk satin shoes with ribbon rosette, Latham

Silk satin with rosettes, ribbons and elastic
Museum no. T.562-1913
Given by Messrs. Harrods

Shoes with high heels were almost non-existent in women's fashions during the first part of the 19th century. Instead simple flat satin slippers or 'sandals' with a bow or rosette at the throat and ribbons or elastic loops to fasten them round the ankle were all the rage. However, by the 1850's the heel had begun to make a comeback.

This elegant pair of blue and white low-heeled shoes illustrates how the sandal form evolved. The satin upper with square toe and throat, decorative rosette and elastic ties are all features reminiscent of the dainty flat shoes of the early nineteenth century. However, with the addition of a small heel and some striped decoration the form is updated to something more in keeping with modern tastes.

Wool coat with velvet facing, designer unknown

Designer unknown
1845-1853, United States of America
Wool faced with silk velvet, lined with wool
Museum no. T.176-1965
Given by Capt. Raymond Jones

This coat is an example of men’s formal daywear from about 1850. The sleeves are long and tight, the collar is wide, and the front has a deep fastening in order to show off the waistcoat. Although at this date the frock-coat was gaining in popularity as formal daywear, the cut-away coat was still worn. This coat is reputed to have been worn by William Pierson Johnes, a linen merchant of New York City.

Promenade dress of silk plush with fringing, designer unknown

Promenade dress (skirt, bodice and mantle)
Designer unknown
Great Britain
Silk plush trimmed with silk fringe and braid, lined with silk and whalebone
Museum no. T.324&A&B-1977
Given by Madame Tussauds

Luxurious velvet dresses embellished with fringe trimmings were highly fashionable during the 1850s. In 1857 the 'Illustrated London News' announced: 'Fringe was never so greatly in demand as at the present time…Fringe may be said to be the most becoming of all trimmings on a lady's dress it seems to possess the power of imparting lightness and suppleness to the movements of the wearer.'

When applied in rows, fringes also simulated flounces and made skirts look even wider. In this example the bodice is made with a basque, which was a separate extension below the waist, flaring out over the hips. The skirt is composed of two layers, with the top tier extending from the waistband as far as the fifth row of fringe. The bottom tier is attached to a taffeta underskirt. This accentuates the flounced effect of the fringe and helps to distribute the weight of the heavy skirt over the dome-shaped crinoline cage which would have been worn underneath.

Photograph of Maharaja Duleep Singh in formal day dress, about 1850. Museum no. PH.192-1982

Portrait of Maharaja Duleep Singh
Horne & Thornthwaite
About 1850
Albumen print from collodion negative
Museum no. PH.192-1982

This is a portrait of Maharaja Duleep Singh, photographed by the London firm of Horne & Thornthwaite around 1850. He is dressed and bearded according to the fashionable formal English style. He wears a dark double-breasted frock coat over a high buttoned light waistcoat. His collars are starched and upstanding, with a necktie tied in the distinctive 'four-in-hand' style where the corners of a folded kerchief create pointed wings. This necktie style was newly fashionable in the 1850s.

Photograph of Richard Ansdell, by William Henry Lake Price

Portrait of Richard Ansdell, painter
William Henry Lake Price
Albumen-silver print on card
Museum no. E.1383-2000
Transferred from the British Museum

William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell (1815-85) with the traditional tools of his profession and a still life composed of characteristic materials of the genre in Victorian times.

His clothing is typical of 'Artistic' dress, fashionable with artists and intellectuals of the time. Artistic dress is characterised by loosely fitting clothes, made of plain, muted fabrics coloured with natural dyes, which they wore in deliberate contrast to the tight and starched rigidity of Victorian formal dress.

This portrait was first seen at the Photographic Society of London exhibition held at the South Kensington Museum (now the V&A) in February and March 1858. This was the first photographic exhibition held in any museum in the world.

Printed cotton summer dress, designer unknown

Day dress
Designer unknown
About 1858-60
Great Britain
Printed cotton, trimmed with whitework embroidery
Museum no. T.702-1913
Given by Messrs. Harrods

This is an example of a fashionable summer day dress of the late 1850s. Typical of the period are the full ‘pagoda’ sleeves and the bodice gathered from the shoulders into the lower front waist. Tiered skirts were popular in the 1850s. The fabric was printed with a decorative border expressly for use as tiers of a dress. It was known by the French term 'à disposition'.

Cream satin slipper, designer unknown

Designer unknown
About 1850
Great Britain
Satin slipper with ribbon, leather sole
Museum no. T.272&A-1963

The delicate flat satin slipper with ribbon ties first became popular during the last decade of the 18th century. It signified a move away from what were considered to be the extravagant excesses of the late eighteenth century towards a simpler, purer style of dress and footwear influenced by classical antiquity.

By the middle of the 19th century slippers or 'sandal shoes' were still widespread although by the 1850s they were worn largely only for formal wear in black or white. This pair of shoes is a typical example of that style. The thin leather sole and delicate silk and satin uppers were relatively simple and cheap to produce. They could then be personalised with rosettes or other decorative embellishments if desired. These were simply tacked on to a piece of gauze which was then stitched on at the throat over the top of the existing standard bow which was already in place.


Early 1980s (1980–83) Edit

Minimalism Edit

  • The early 1980s witnessed a backlash against the brightly colored disco fashions of the late 1970s in favor of a minimalist approach to fashion, with less emphasis on accessories. In the US and Europe practicality was considered just as much as aesthetics. In the UK and America clothing colors were subdued, quiet and basic varying shades of brown, tan, cream, and orange were common. [7]
  • Fashionable clothing in the early 1980s included unisex and gender-specific attire. Widespread fashions for women in the early 1980s included sweaters (including turtleneck, crew neck, and v-neck varieties) fur-lined puffer jackets tunics faux-fur coats velvet blazers trench coats (made in both fake and real leather) [7]crop tops tube tops knee-length skirts (of no prescribed length, as designers opted for choice) loose, flowy, knee-length dresses (with high-cut and low-cut necklines, varying sleeve lengths, and made in a variety of fabrics including cotton, silk, satin, and polyester) high-waisted loose pants embroidered jeans leather pants and designer jeans. [7][8][9] Women's pants of the 1980s were, in general, worn with long inseams, and by 1981 the flared jeans of the 70s had gone out of fashion in favor of straight leg trousers.
  • From 1980 until 1983 popular women's accessories included thin belts, knee-high boots with thick kitten heels, sneakers, jelly shoes (a new trend at the time), [10]mules, round-toed shoes and boots, jelly bracelets (inspired by Madonna in 1983), [11] shoes with thick heels, small, thin necklaces (with a variety of materials, such as gold and pearls), and small watches. [7]

Aerobics craze Edit

  • The fitness craze of the 1970s continued into the early 1980s. General women's street-wear worn in the early 1980s included ripped sweatshirts, [12] tights, sweatpants, [13] and tracksuits (especially ones made in velour). [7]
  • Athletic accessories were a massive trend in the early 1980s, and their popularity was largely boosted by the aerobics craze. This included leg warmers, wide belts, [13] elastic headbands, and athletic shoes known as 'sneakers' in the US [14] or 'trainers' in the UK. [15]

Professional fashion Edit

  • In the 1970s, more women were joining the work force, so, by the early 1980s, working women were no longer considered unusual. As a way to proclaim themselves as equals in the job market, women started to dress more seriously at work. Popular clothes for women in the job market include knee-length skirts, wide-legged slacks, a matching blazer, and a blouse of a different color. Kitten-heeled shoes were often worn. [7] Formal shoes became more comfortable during this period in time, with manufacturers adding soles that were more flexible and supportive. [16] The shoes with moderately spiked heels and relatively pointy toes from the very late 1970s remained a fashion trend.

Mid 1980s (1984–86) Edit

Bright colors Edit

  • Women's fashion in the early 1980s became more colorful around 1982. This included long wool coats, long flared skirts, slim miniskirts, slightly tapered pants and stirrup ones, designer jeans, [8]spandexcycling shorts, [17] extremely long and bulky sweaters, jumpsuits, pastel colors, "off-the-shoulder" sweatshirts over tight jeans, leather trenchcoats, fur coats, extremely large scarves, beanies, leather gloves, and dresses worn with wide or thin belts. The aerobics craze of the early 1980s continued into the mid 1980s, but the clothes became more colorful than they were before.
  • Women's shoes of the mid 1980s included strappy sandals, kitten-heeled sandals, pumps, ballet flats, boat shoes, slouchy flat boots and Keds. [7]
  • In the 1980s, rising pop star Madonna proved to be very influential to female fashions. She first emerged on the dance music scene with her "street urchin" look consisting of short skirts worn over leggings, necklaces, rubber bracelets, fishnet gloves, hairbows, long layered strings of beads, bleached, untidy hair with dark roots, headbands, and lace ribbons. In her "Like a Virgin" phase, millions of young girls around the world emulated her fashion example that included brassieres worn as outerwear, huge crucifix jewelry, lace gloves, tulle skirts, and boytoy belts.
  • Gloves (sometimes laced or fingerless) were popularized by Madonna, as well as fishnet stockings and layers of beaded necklaces. Short, tight Lycra or leather miniskirts and tubular dresses were also worn, as were cropped bolero-style jackets. Black was the preferred color. Prior to the mid-1980s, it had been taboo to show a slip or a bra strap in public. A visible undergarment had been a sign of social ineptness. With the new fashion's most extreme forms, young women would forgo conventional outer-garments for vintage-style bustiers with lacy slips and several large crucifixes. This was both an assertion of sexual freedom and a conscious rejection of prevailing androgynous fashions.

Power dressing Edit

  • The television prime time shows Dallas and, in particular, Dynasty influenced increasingly oversized shoulder pads. Shoulder pads, popularized by Joan Collins and Linda Evans from the soap operaDynasty were popular from the mid 1980s to the early 1990s. Dallas, however, promoted displays of wealth involving jewelry and sparkling clothing. [18] Meanwhile, women's fashion and business shoes revisited the pointed toes and spiked heels that were popular in the 1950s and early 1960s. Some stores stocked canvas or satin covered fashion shoes in white and dyed them to the customer's preferred color, preferably bright colors.
  • During this period, women were becoming more confident in the workplace and were attempting to advance in their careers. These women wanted to fit into higher management levels by emulating a masculine appearance through fashion to look more capable. Hence, they would wear empowering garments that portrayed masculinity, thus making them seem more professional by fitting in with the male majority. This would be accomplished with attributes such as wider shoulders with the aid of padding and larger sleeves. [19] Other items included dresses worn with skinny or thick belts, pleated or plain skirts, tights or pantyhose, above the ankle length pants sometimes worn with pantyhose or tights underneath, ballet flat dress shoes, long sweaters, boat shoes and slouchy flat short length boots,
  • A movie by Lizzie Borden, Working Girls, affected how society perceives women in different fields and positions it also features feminism and topics on capitalism. Working Girls is an independent production published in 1986 about the daily life of upper class prostitutes in a small Manhattan bordello. The main characters in the story have backgrounds such as graduates from Yale university and Law the movie makes it clear that they were not forced into the field but chose it themselves. Throughout the film, power dressing was promoted along with the capability of women taking control of their own future. [20][21]
  • After the western economic boom of the mid-1980s, the younger generation had a decreased influence in fashion as they had less of an impact on the market. The main consumer became the older generations that were more financially stable and were influenced by international political news. Thatcherism was promoted in the UK by the British Conservative Party. The female leader of the British conservative party, Margaret Thatcher, in her power suit quickly became one of the most well-known symbols of the 1980s. Suits worn by Thatcher were usually single color toned with a matching hat, jacket and skirt, that ends below the knee. A wide shoulder and pearl necklace was also part of her regular attire. Her political style was straightforward, effective and sometimes criticized as not empathetic enough. But there is no doubt that her appearance portrayed her ability, power and authority, which is what a lot of working women at that era desired. [22][23]

Late 1980s (1987–89) Edit

Consumer-friendly fashions Edit

  • From 1987 until the early 1990s, the mini skirt was the only length supported by fashion designers. Although skirts of any length were acceptable to wear in the years before, all attention was given to the short skirt, especially among teenage girls and young women worn with tights, pantyhose, leggings, or slouch socks. Shoulder pads became increasingly smaller. [7] Accessories popular in Britain, France and America included bright-colored shoes with thin heels, narrow multicolored belts, berets, lacy gloves, beaded necklaces, and plastic bracelets. [7]
  • Women's apparel in the late 1980s included jackets (both cropped and long), coats (both cloth and fake fur), reversible inside-out coats (leather on one side, fake fur on the other), rugby sweatshirts, [7] sweater dresses, taffeta and pouf dresses, baby doll dresses worn with capri leggings or bike shorts, slouch socks, and Keds or Sperrys or with opaque tights and flats or opaque tights and slouch socks, neon or pastel colored shortalls, denim pinafore dresses, Keds, Sperrys, ballet flats, jumpsuits, oversized or extra long t-shirts sweaters sweatshirts blouses and button down shirts popularly worn with leggings and stirrup pants, miniskirts, stretch pants, tapered pants, skirts worn with leggings, [24][25] dressed up leggings outfit of leggings with an oversized v-neck sweater over a turtleneck, slouch socks, Keds (shoes) or Sperrys, and bangs with a headband band or ponytail and scrunchie, happy pants (homemade pants made in bold designs with bright colors), and opaque tights. [7] Popular colors included neon hues, plum, gold, pinks, blues and bright wines. ( Everyone that comes to this website this is a fake and this is also fake info please dont visit wiipedia) :)

Asian fashion Edit

  • In China, the unisex Zhongshan suit[26] declined after the death of Mao Zedong, [27] the removal of the Gang of Four, and the liberalisation of trade links and international relations during the mid and late 80s. Wealthier Chinese women began wearing Western inspired fashions again, [28] including red or yellow miniskirts [29] in addition to the more typical shirt dresses, white plimsolls and dacron blouses. [30]
  • The late 1980s also witnessed the beginnings of Indo Western fashion and the haute couturefashion in India that would eventually gain global recognition in the 90s. Colors like red and white [31] were popular, often with intricate embroidery. Although most women continued to wear the saree, Bollywood actresses also had access to Western designer outfits and locally designed garments like the Anarkali ballgown. [32]
  • Japanese fashion designers Yohji Yamamoto, Rei Kawakubo , and Issey Miyake started a new school of fashion during the late 1980s [33] called "Japanese Avant-Garde Fashion", which combined Asian cultural inspiration with mainstream European fashion. The Japanese spirit and culture that they presented to Europeans caused a fashion revolution in Europe which continued to spread worldwide. [34] Yamamoto, Kawakubo and Miyake redefined the concepts of deconstruction and minimalism that were used in fashion design worldwide [35] by pioneering monochromatic, androgynous, asymmetrical, and baggy looks. [36] Additionally, the designs were unisex which were inspired by the design of traditional Japanese kimono. According to Sun, "Traditional Japanese kimonos don't have strict rules for menswear or women's wear, therefore, for the basic style, kimonos have similar style and decoration for men and women". [35] Geometric diamond patterns, horizontal stripes, crinolines, layered kimono inspired blouses, dresses made from a single piece of fabric, [37] drop crotch Thai fisherman pants, space age inspired laser cut outfits, mesh, jackets with kanji motifs, and monochromatic black and white outfits were common, as was the use of the traditional Japanese colors red, mizudori and sora iro. [38] In The Japanese Revolution in Paris Fashion, Kawamura describes this new concept: "[. ] traditionally in Japanese society, sexuality is never revealed overtly, and this ideology is reflected in the style of kimono, especially for women, these avant-garde designers reconstructed the whole notion of women's clothing style thus they do not reveal sexuality, but rather conceal it just like the kimono". [39] The three designers set the stage for the beginning of postmodern interpretation on the part of those who design clothes that break the boundary between the West and the East, fashion and anti-fashion, and modern and anti-modern. [39]

Early 1980s (1980–83) Edit

Athletic clothing Edit

  • In the early 1980s, fashion had moved away from the unkempt hippie look and overdressed disco style of the late 1970s. Athletic clothes were more popular than jeans during this period, as were more subdued colors. Popular colors were black, white, indigo, forest green, burgundy, and different shades of browns, tans, and oranges. Velour, velvet, and polyester were popular fabrics used in clothes, especially button-up and v-neck shirts. Looser pants remained popular during this time, being fairly wide but straight, and tighter shirts were especially popular, sometimes in a cropped athletic style. The general public, at this time, wanted to wear low-maintenance clothing with more basic colors, as the global recession going on at the time kept extravagant clothes out of reach. [7] Also worn were striped tube socks sometimes worn with the top folded over worn with shorts. It was not uncommon to see parents especially fathers wearing these along with their kids.
  • Popular clothing in the early 1980s worn by men includes tracksuits, [40] v-neck sweaters, polyester and velour polo-neck shirts, sports jerseys, straight-leg jeans, jeans rolled to show off their slouch socks, polyester button-ups, cowboy boots, [41] beanies, and hoodies. Around this time it became acceptable for men to wear sports coats and slacks to places that previously required a suit. [7] In the UK, children's trousers remained flared, but only slightly.

New wave influence Edit

  • From the early to mid 1980s, post-punk and new wave music groups influenced mainstream male and female fashion. Commercially made slim-fitting suits, thin neckties in leather or bold patterns, striped T-shirts, Members Only jackets, clubwear, metallic fabric shirts, cat eye glasses, horn rim glasses with brightly colored frames, androgynous neon colored makeup, [42] and pristine leather jackets were widely worn. [43] Common hairstyles included a short quiff for men, or teased big hair for women, and typical unisex colors for clothing included turquoise, teal, red, neon yellow and white on a blue screen.

Preppy look Edit

  • In response to the punk fashion of the mid-late 1970s, [9] there was a throwback to the 1950s Ivy League style. This revival came to be definitively summarized in an enormously popular paperback released in 1980: The Official Preppy Handbook. Popular preppy clothing for men included Oxford shirts, sweaters, turtlenecks, polo shirts with popped collars, [9] khaki slacks, argyle socks, dress pants, Hush PuppiesOxford shoes, brogues, suspenders, seersucker or striped linen suits, corduroy, and cable knit sweaters that were often worn tied around the shoulders. [44]

Mid 1980s (1984–86) Edit

Miami Vice/Magnum P.I. look and Michael Jackson's influence Edit

  • In the mid 1980s, popular trends included wool sport coats, Levi 501s, Hawaiian shirts, shell suits, hand-knit sweaters, sports shirts, hoodies, flannel shirts, reversible flannel vests, jackets with the insides quilted, nylon jackets, gold rings, spandexcycling shorts, [17] cowboy boots, [41] and khaki pants with jagged seams. [7]
  • The mid 1980s brought an explosion of colorful styles in men's clothing, prompted by television series such as Miami Vice and Magnum, P.I.. This resulted in trends such as t-shirts underneath expensive suit jackets with broad, padded shoulders, Hawaiian shirts (complemented with sport coats, often with top-stitched lapels for a "custom-tailored" look), and (in counterpoint to the bright shirt) jackets that were often gray, tan, rust or white. Easy-care micro-suede and corduroy jackets became popular choices, especially those with a Western style. was also a big influence of teenage boys' and young men's fashions, such as matching red/black leather pants and jackets, white gloves, sunglasses and oversized, slouch shouldered faded leather jackets with puffy sleeves.

Power dressing Edit

  • Men's business attire saw a return of pinstripes for the first time since the 1970s. The new pinstripes were much wider than in 1930s and 1940s suits but were similar to the 1970s styles. Three-piece suits began their decline in the early 1980s and lapels on suits became very narrow, akin to that of the early 1960s. While vests (waistcoats) in the 1970s had commonly been worn high with six or five buttons, those made in the early 1980s often had only four buttons and were made to be worn low. [45][46] The thin ties briefly popular in the early '80s were soon replaced by wider, striped neckties, generally in more conservative colors than the kipper ties of the '70s. Double breasted suits inspired by the 1940s were reintroduced in the 1980s by designers like Giorgio Armani, Ralph Lauren, and Anne Klein. [45][46] They were known as 'power suits', and were typically made in navy blue, charcoal grey or air force blue. [45][46][47]

Tropical clothing Edit

  • As an alternative to the power suit, the safari jacket, Nehru suit and Mao suit remained popular in Australia, South Africa, India, China, and Zaire, where it was known as an Abacost[48] and worn with a leopard print hat resembling the Astrakhan cap. At the same time, young African dandies known as sapeurs rebelled against the post-decolonisation government's suppression of Western fashions [49] by investing in expensive designer suits from Italy and France and listening to the soukous music of Papa Wemba. [50] This continued until the kleptocratic dictator Mobutu's deposition and death in the late 1990s, when the outbreak of a civil war in Zaire resulted in the sapeurs' disappearance until the 2010s. [51]
  • In Hawaii, Aloha shirts and Bermuda shorts were worn on Aloha Fridays. By the end of the decade, when the custom of casual Fridays had spread to the US mainland, this outfit had become acceptable as daily Hawaiian business wear. [52] Elsewhere in the Caribbean and Latin America, especially Mexico, Ecuador, Colombia, [53] and Cuba, men wore the guayabera shirt for semi-formal occasions in imitation of the presidents Fidel Castro and Luis Echeverria. [54]

Late 1980s (1987–89) Edit

Doc Martens Edit

    were dark shoes or boots with air-cushioned soles that were worn by both sexes in the 1980s. They were an essential fashion accessory for the skinhead and punk subcultures in the United Kingdom. Sometimes Doc Martens were paired with miniskirts or full, Laura Ashley- style dresses. [55] They were an important feature of the post-punk 1980s Gothic look which featured long, back-combed hair, pale skin, dark eyeshadow, eyeliner, and lipstick, black nail varnish, spiked bracelets and dog-collars, black clothing (often made of gabardine), and leather or velvet trimmed in lace or fishnet material. Corsets were often worn by girls. British bands that inspired the gothic trend include The Cure, Siouxsie and the Banshees, and The Cult. This trend would return in the 1990s.

Parachute pants Edit

Parachute pants are a style of trousers characterized by the use of ripstop nylon or extremely baggy cuts. In the original tight-fitting, extraneously zippered style of the late 1970s and early 1980s, "parachute" referred to the pants' synthetic nylon material. In the later 1980s, "parachute" may have referred to the extreme bagginess of the pant. These are also referred to as "Hammer" pants, due to rapper MC Hammer's signature style. Hammer pants differ from the parachute pants of the 1970s and early 1980s. They are typically worn as menswear and are often brightly colored. Parachute pants became a fad in US culture in the 1980s as part of an increased mainstream popularity of breakdancing. [56]

    became a mainstream fashion for male teenagers. Jelly or thin metal bracelets (also known as bangles) were very popular in the 1980s, and would be worn in mass quantities on one's wrist. Designer jewelry, such as diamonds and pearls, were popular among many women, not only for beauty, but as symbols of wealth and power.
  • At the beginning of the decade, digital watches with metal bands were the dominant fashion. They remained popular but lost some of their status in later years. Newer digital watches with built-in calculators and primitive data organizers were strictly for gadget geeks. Adult professionals returned to dial watches by mid-decade. Leather straps returned as an option. By the late 1980s, some watch faces had returned to Roman numerals. In contrast, one ultramodern status symbol was the Movado museum watch. It featured a sleek design with a single large dot at twelve o'clock. The Tank watch by Cartier was a fashion icon that was revived and frequently seen on Cartier advertisements in print. Rolex watches were prominently seen on the television show Miami Vice. Teen culture preferred vibrant plastic Swatch watches. These first appeared in Europe, and reached North America by the mid-1980s. Young people would often wear two or three of these watches on the same arm. [citation needed]
  • In the first half of the 1980s, glasses with large, plastic frames were in fashion for both men and women. Small metal framed glasses made a return to fashion in 1984 and 1985, and in the late 1980s, glasses with tortoise-shell coloring became popular. These were smaller and rounder than the type that was popular earlier in the decade. Throughout the 1980s, Ray-Ban Wayfarers were extremely popular, as worn by Tom Cruise in the 1983 movie Risky Business. [citation needed]
  • Miami Vice, in particular Sonny Crockett played by Don Johnson, boosted Ray-Ban's popularity by wearing a pair of Ray-Ban Wayfarers (Model L2052, Mock Tortoise), [57] which increased sales of Ray Bans to 720,000 units in 1984. [58]

Robert Smith of the Cure based his gothic look from Siouxsie Sioux's and being a guitarist in her band.

Heavy metal Edit

  • In the first half of the 1980s, long hair, leather rocker jackets (biker jackets) or cut-off denim jackets, tight worn-out jeans, and white, high trainers (sneakers) and badges with logos of favorite metal bands were popular among metalheads, and musicians of heavy metal and speed metal bands. However by the mid 1980s the success of the glam metal scene had influenced the style worn by many mainstream metal fans. In addition to the traditional denim and leather look, mainstream heavy metal bands began to dress in more bright, colourful and theatrical clothing similar, in many ways, to the glam rock look of the 1970s. This included items such as spandex, platform boots, leg warmers and many different types of often spiked or studded leather accessories. In addition to this the long hair popular with metal fans was often worn teased. Makeup became popular with many metal bands as well often worn onstage for theatricality however many bands also began wearing makeup offstage also. The mainstream glam metal image of the mid to late 1980s was often criticised by many underground metal fans as being too 'effeminate'. The mainstream glam metal (later called 'hair' metal) style would decline during the later half of the decade but would remain popular until the grunge movement in the early 1990s. In the second half of the 1980s, the original denim and leather clothing style was popular among musicians and fans of more extreme and niche (often underground) metal bands – thrash metal, crossover thrash, early black metal, and early death metal bands. It was popular particularly in the United States, but there were also large regional scenes in Germany, England, Canada, and Brazil. Although these styles of extreme metal would begin to adopt contrasting images during the ensuing decade.
  • By the late 1980s, acid-washed jeans and denim jackets had become popular with both sexes. Acid washing is the process of chemically bleaching the denim, breaking down the fiber of material and forcing the dye to fade, thus leaving undertones of the original dye evidenced by pale white streaks or spots on the material. This became associated with the afformentioned heavy metal trend (called "hair metal" in later decades for the large frizzy coiffures worn by both male and female enthusiasts). Severely bleached and ripped jeans, either manufactured purposely or done by hand, become a popular fashion trend, being a main component of glam metal music acts such as Poison.
  • The Japanese equivalent of glam metal, known as visual kei, emerged during the mid to late 80s and incorporated punk, goth and new wave influences. [59] Brightly dyed, androgynous hair was common among shock rock bands like X Japan, together with studded leather borrowed from fetish fashion, traditional Geisha or Japanese opera inspired makeup, drag, [60] and stylized 18th century fop rock costume such as frilly shirts, tall boots and long coats. [61]

Punk Edit

  • Throughout the 1980s, the punk style was popular among people aged 18–22. Characterized by multi-colored mohawks, ripped stovepipe jeans, worn band tee-shirts, and denim or leather jackets. This style was popular among people who listened to punk music such as The Sex Pistols, and later, (despite the band's self-proclaimed rock'n'roll image) Guns N' Roses. Usually the denim jackets (which became an identity of the group) were adorned by safety pins, buttons, patches, and several other pieces of music or cultural memorabilia. Oftentimes, fans of the punk style would take random bits of fabric and attach them to their other clothes with safety pins. This soon became a popular way of attaching clothing, and it is now known as "pin shirts" with young women. The shirts are, essentially, rectangular pieces of fabric that are pinned on one side with safety pins. In the 1980s, a dressed down look (e.g. buzzed hair, T-shirts, jeans and button up shirts) was also very popular with people involved in punk rock, more specifically the hardcore punk scene. The Circle Jerks frontman Keith Morris said "Some of those punk rock kids they interviewed were a little over the top, but the thing historically is – the L.A./Hollywood punk scene was basically based on English fashion. But we had nothing to do with that. Black flag and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or submarine shop." [62] Punk dress was not simply a fashion statement. It epitomized a way of thinking and seeing oneself as an individual cultural producer and consumer. In this way, punk style led many people to ask further questions about their culture and their politics. [63]

New Romantic Edit

  • The origins of the New Romantic and new wave fashion and music movement of the mid 1980s are often attributed to the Blitz Kids who frequented the club Blitz in London, especially David Bowie. Bowie even used the Blitz's host Steven Strange in his music video for Ashes to Ashes. [64] It is also important to note that the New Romantics and those involved with the punk scene had inspired each other because of the concentration of influential individuals going to the same clubs and having the same friend circles. [64] Vivienne Westwood & Malcolm McLaren were also directly involved in the movement, such as dressing the members of Bow Wow Wow. The band leader and later solo artist, Adam Ant, and Westwood had highly influenced each other as well (Adam Ant being one of the leading icons of the New Romantics). [65] Westwood's first runway collection, Pirates AW 1981-2 is often cited as a New Romantic collection which was both influenced by and highly influential to the movement. The garments in Pirates had asymmetrical necklines, flowy pirate shirts and breeches. [66] The collection was very well received by critics and buyers. [67] However, the designer's interference in the originally DIY fashion wasn't taken well by some of the participants, such as Boy George who left Bow Wow Wow to form his own band (Culture Club) and who cited one of the reasons for leaving as the way Vivienne Westwood wouldn't let him dress himself. [65]
  • The Blitz Kids described the movement as a retaliation to punk [68] due to it becoming too violent and unsavory crowds such as neo-Nazis and skinheads deciding to jump on that aesthetic bandwagon. [64] It was also a way to forget their relative poverty following the economic recession and the Winter of Discontent. [68] Features of New Romantic clothing varied from individual to individual, although these generally highlighted the implied individualism, creativity and self-expression of the movement, besides its continued adherence to the DIY ethic of punk. [64] It was inspired by different cultures and time periods, films, film noir, and theatricality. Men often wore dramatic cosmetics and androgynous clothing, including ruffled poet shirts, red or blue hussar jackets with gold braid, silk sashes, tight pants, shiny rayonwaistcoats, and tailcoats based on those worn during the Regency era. Women, too, were very theatrical in terms of makeup and style, and often favoured big hair, fishnet gloves, corsets, crushed velvet, and elements of Middle Eastern and gypsy clothing. [65]

Rockabilly Edit

  • In the early 1980s, the Teddy Boy look was popular in the UK among fans of groups like the Stray Cats, Crazy Cavan, Levi and the Rockats, or Shakin Stevens. Common items of clothing included drape jackets (generally in darker shades than those of the 1970s), drainpipe trousers, brothel creepers, bolo ties, white T-shirts, baseball jackets, hawaiian shirts, and black leather jackets like the Schott Perfecto. Common hairstyles included the quiff, pompadour, flat top, and ducktail.
  • The French rockabilly scene of the early to mid 80s was closely linked with the street punk subculture, had a large black and Arab following, and was involved with antifascistsquaddism. [69] The Black Dragons identified themselves with the leather jacket wearing greaser antiheroes, rebels and outcasts, and often fought the neonaziskinheads. [70]

Rude boys and skinheads Edit

  • Following on from the mod revival of the late 70s, the UK witnessed a revival of rude boy and skinhead fashion due to the popularity of ska punk, Oi!punk rock, rocksteady, and two tone music during the winter of discontent. In the early 80s, slim fitting mohair, tonic and houndstooth suits [71] were popular, together with basket weave shoes, polo shirts, sta-prest trousers, Doc Martens, braces, Harrington jackets and pork pie hats popularized by bands like the Specials, UB40, the Bosstones, and Madness. [72] In response to the racism of white power skinheads, 1980s rude boys wore checkerboard motifs to signify that both black and white people were welcome. Crew cuts and buzzcuts were worn by both sexes, [73] and girls often incorporated hair bangs in a partially shaven style known as a Chelsea mohawk. [74] In Brighton, the Skins of the 1980s fought the outlaw bikers and rockabilly guys, as the Mods and Rockers had previously done in the 60s.

Casuals Edit

  • The football casual subculture first appeared in the UK around 1983, when many ex-skinheads began dressing in designer clothing and sportswear to blend into the crowd and avoid police attention at football games. Popular clothing for English and Scottish casuals included Burberry coats, Stone Island, Lacoste, Ben Sherman and Fred Perry polo shirts, tracksuits, [75]bomber jackets, Adidas or Nikesneakers, Fila or Ellesse jackets, flat caps, baseball caps, soccer shirts, and scarfs or bobble hats in their club's colours. [76] Although shaved heads[77] [self-published source?] remained the most common haircut, some fans also wore undercuts, Caesar cuts, mod haircuts, and short mullet haircuts. During the late 80s, Casuals mostly listened to acid house, new wave music, and later indie rock[78] or Madchester[79] but a hip-hop influenced offshoot of the subculture, known as chavs, appeared during the late 1990s and early 2000s. [80][81]

Skaters Edit

  • In Russia, [82] Australia, East Germany, [83] and America, the skater subculture reached the height of popularity in the mid 80s. Unlike the hippie and surfer influenced skaters of the 70s, the skaters of the 80s overwhelmingly preferred sportswear and punk fashion, especially baseball caps, red waffle plaid shirts, sleeveless T-shirts, baggy pants or Jams[84] shorts resembling pajamas, [85] checkered wristbands, striped tube socks, and basketball shoes like Converse All Stars and Vans. Brightly colored T-shirts became fashionable by the end of the decade, often featuring psychedelic eyes, skulls, Ed Roth inspired cartoon characters, palm trees, iron crosses, or the logos of skateboard brands like Stussy, [86]Tony Hawk, Mooks or Santa Cruz. [87] The longer surfer hair was replaced with edgy hardcore punk and street punk inspired styles like the bowl cut or Hitler Youth haircut.

Rap and hip hop Edit

    had been worn as casual wear before, but for the first time they became a high-priced fashion item. Converse shoes were popular in the first half of the 1980s. In 1984, Nike introduced the first ever Air Jordan sneaker, the Air Jordan 1 (named for basketball player Michael Jordan). Although most believe this shoe was banned by the NBA due to the sneaker being too flashy and distracting, others believe it was actually, the predecessor, the Nike Air Ship that was under scrutiny. [88] Nike used this controversy between Air Jordan and the NBA to market the sneaker. The Air Jordan 1 was released in the royal blue color way to the public in 1985 and was an immediate success, still retaining its value in the fashion world today. [89] Soon, other manufacturers introduced premium athletic shoes. sneakers were also a successful brand of the decade, becoming popular among teenage boys and young men. [citation needed] The growth of pop-culture and hip-hop influence allowed group Run-D.M.C. to make the Adidas Superstar (commonly known as the shell toe) one of the most sought-after shoes of the 1980s. Following their single "My Adidas", Adidas reportedly gave them $1 million endorsement deal. [90] Nike had a similar share of the market, with the Air Max and similar shoes such as the Air Force One which was released in 1982. High-tops, especially of white or black leather, became popular. Other sportswear brands released popular shoes - Reebok had the Reebok Pump, Converse released the Cons and New Balance had the Worthy 790.
  • In the early 1980s, long and white athletic socks, often calf-high or knee-high, were worn with sneakers. As the decade progressed, socks trended shorter, eventually topping out just above the height of the shoe. [citation needed] Run-D.M.C. and other hip-hop groups also influenced the apparel industry. Wearing track suits and large chains necklaces, they popularised sportswear brands such as Fila, Puma, Reebok, Nike, Avia and Adidas. [91] Individuals in the culture also frequently wore bucket hats, oversized jackets and t-shirts, and high contrast colors. [92] Fashion in hip-hop was a way to surpass the poverty that surrounded the community. [93]
  • According to Chandler and Chandler-Smith (2008), rap and hip-hop were not one specific style, but rather a mix between high-end luxury fashion and what was on the street. [94] Harlem designer and shop-owner Dapper Dan embodied this concept by redesigning luxury products and making them available to those who wouldn't typically associate themselves with it. Dapper Dan was most famous for deconstructing a Louis Vuitton garment and turning it into his signature jacket. He reconstructed garments for many music icons and celebrities in the 1980s before getting shut down by lawyers in the early 1990s. [95] This interest in luxury apparel expanded past Dapper Dan - American fashion brands Tommy Hilfiger, Ralph Lauren, and Nautica were expanding rapidly and embraced by hip-hop culture as an indicator of status. [91]
  • Ensembles featuring the Pan-African colors - green, yellow and red, and red, black and green - became popular among African Americans, as did kente cloth. In the urban hip-hop communities, sneakers were usually worn unlaced and with a large amount of gold jewelry, as well as head wraps. [citation needed]

Preppy Edit

  • Wealthy teenagers, especially in the United States, wore a style inspired by 1950sIvy League fashion that came to be known as "preppy." Preppy fashions are associated with classic and conservative style of dressing and clothing brands such as Izod Lacoste, Brooks Brothers, and Polo Ralph Lauren. [96] An example of preppy attire would be a button-down Oxford cloth shirt, Ascot tie, cuffed khakis, and tasseled loafers, Keds, Boat shoes, or ballet flats. Throughout the 1980s and 1990s, preppy fashions featured a lot of pastels, turtleneck sweaters for girls, knee high socks sometimes turned down or folded over at the top with above the knee length skirts and dresses and polo shirts with designer logos. Other outfits considered "preppy" included cable knit cardigans or argyle pattern sweaters tied loosely around the shoulders, [97] dress shorts with knee socks, dressed up leggings outfits from the mid 80's on which consisted of leggings with an oversized v-neck sweater over a turtleneck, slouch socks, Keds (shoes) or Sperrys, and bangs with a headband band or ponytail and scrunchie. The European equivalent, known as Sloane Rangers, dressed similarly but frequently incorporated tweed clothBritish country clothing, burberrymackintoshes, mustardcorduroy pants, rain boots, padded hairbands, and ancestral jewellery such as pearl necklaces. [98]

Women's hairstyles Edit

Although straight hair was the norm at the beginning of the decade, as many late-1970s styles were still relevant, the perm had come into fashion by 1980.

Big and eccentric hair styles were popularized by film and music stars, in particular among teenagers but also adults. These hairstyles became iconic during the mid 1980s and include big bangs worn by girls from upper elementary, middle school, high school, college and adult women. There was generally an excessive amount of mousse used in styling an individual's hair, which resulted in the popular, shiny look and greater volume. Some mousse even contained glitter.

Beginning in the late 80s, high ponytails, side ponytails, and high side ponytails with a scrunchie or headband became common among girls from upper elementary, middle school, high school, college and adult women.

Men's hairstyles Edit

By 1983, short hair had made a comeback for men, in reaction to the shag and mod haircuts of the mid to late 70s. The sideburns of the 1960s and 1970s saw a massive decline in fashion, and many guys wore regular haircuts and quiffs. Beards went out of style due to their association with hippies, but moustaches remained common among blue collar men.

From the mid 1980s until the early 1990s, mullets were popular in suburban and rural areas among working-class men. This contrasted with a conservative look preferred by business professionals, with neatly groomed short hair for men and sleek, straight hair for women. Some men also wore bangs in styles such as regular frontal or side swept bangs but they were not as big as women or girls bangs. Hairsprays such as Aqua Net were also used in excess by fans of glam metal bands such as Poison.

During the late 80s, trends in men's facial hair included designer stubble.

3 That Dark Eye Makeup Egyptians Wore

The Egyptians produced so much art in their time that you can almost certainly reproduce your average Egyptian fresco from memory with a pencil and paper -- everyone in profile, standing around and staring out with one giant eyeliner-ringed eyeball.

There was a practical purpose behind the distinctive Egyptian chic. It turns out that the Egyptians' affinity for eyeliner served the same purpose as the black smears on a modern football player's cheekbones -- it helped to reduce glare from the oppressive desert sunlight.

Not only was the Egyptian desert bright enough to begin with, but as we've pointed out before, the pyramids were originally covered in a white limestone coating so that every venture outside your hut was like someone shining a spotlight directly into your eyes for 10 hours. Slapping a thick layer of black gunk around their eyes was a minor but welcome relief from the constant light assault the Egyptians were subjected to.

Also, see those little cone things on their heads? They really served as the Egyptian method for dealing with the fact that they all reeked like nothing you could imagine. The lifestyle of a desert environment comes prepackaged with the reality that most of your daily activities are going to revolve around contact with somebody else's sweat. The cones were actually composed of animal fat and perfume, which would melt during the day and produce an aroma to offset their intolerable stench.

Related: 5 Old (And Odd) Origins Of Common Fashions


Finally the list of clothes that are out of fashion for s pring summer 2021. And yes, I made sure to put all the clothes that are out of style for s pring summer 2021 on the list even though my heart almost broke when I had to write s kinny leather pants .

But better one tear now than a pond of tears and walk of shame later when realising you are not dressed in style, right?

Anyway, here is the list of all the clothes that aren’t fashionable for s pring summer 2021.

Ps. If you are from Australia, New Zealand, South Africa or South America, you can skip this part and scroll down to the list of clothes that aren’t fashionable for winter 2021. Well, unless you are somehow traveling to Europe, the US, Asia or North Africa this season.

Part 1

– Well, I prefer casual clothes – simple and comfortable. A pair of jeans and a shirt would be perfect. I am not really the fashionable type. But of course, I also dress up for special occasions.

-Climate affects people’s clothing. I live in the tropics, so people in my country usually wear clothes with light fabrics. We also wear light-colored clothes. For casual attire, a pair of jeans or short pants and a shirt for men or blouse for women are common.

-I am not much worried about it actually. I prefer wearing simple yet presentable clothes.

-Well, I dislike wearing untidy and eccentric clothes. Example would be tearing or ripped jeans. I also avoid clothes with flashy colors or those that are too stunning.

5. Do you think people behave differently in different kinds of clothes?

-Yes, I think people behave differently when they wear different clothes. For example, one who wears formal clothes may portray an image of being professional and confident. Wearing casual clothes, on the other hand, makes us look comfortable and relaxed.

6. What kind of clothes do people wear to work in your country?

-Those who work in the corporate wear either smart casual or business/formal attire on a regular work day. Some employees such as teachers have uniforms. Other workers are allowed to wear casual clothes to works.

Part 2

Describe someone you know who dresses well. You should say

  • who they are
  • how you know them
  • what kind of clothes they wear

and say why you like the way they dress.

Let me talk about a friend who dresses very well. Her name is Tina. We are of the same age and she is currently a professor in a prestigious university in my country. Although she is not in the fashion industry, she dresses fashionably. She is tall, not very slim and is very attractive.

She has been my friend since high school. I get to see her from time to time as she also lives in my neighborhood. We also spend time together with friends especially on weekends.

Actually, she doesn’t have a specific dressing preference or style. I think she bases her attire on the weather as well as on occasions and events, I usually see her wearing light colored dresses and high-heeled shoes when she goes to work. She also wears formal clothes. She is fond of accessories which looks fashionable. Her footwear always matches her dress. I think she has a huge collection of clothes, shoes and bags as I rarely see her wearing the same set after some time. I see her wear casual clothes too but they don’t look plain or boring on her.

I think she can carry herself very well in any kind of dress. She looks comfortable no matter what her attire is. She always looks clean and tidy. I like her style because she doesn’t dress extravagant or offensive. She always looks professional and presentable.

Part 3

Clothes and fashion are not that important to me. I always prefer comfortable clothes but making sure that I’d look presentable and clean. I am more of being practical in choosing what I wear.

  1. How different are the clothes you wear now from those you wore 10 years ago?

Well, I can say that there hasn’t been much change with the clothes I wear now with that of about 10 years ago. I still wear the regular jeans and shirt for casual days or formal clothes on business events. But, I think since the trend has changed, the kind of these basic clothing has also changed for me, especially when it comes to the style of the jeans and shirts. I used to wear straight-cut jeans but nowadays, I wear contemporary style such as slim-fit clothes.

At times, I think the clothes we wear may show part of our personality or status. For example, clothing may determine the kind of job a person has. For some, it may be a tool for expression. Some could be stylish and fashionable which may reflect their personality as being creative.

Getting in Touch With Their Feminine Side

The lines between genders had begun to blur in the late '60s, a trend on display at Woodstock. Men with long hair are commonplace today, but in the '60s it was considered a feminine look, and a form of rebellion. At Woodstock, many of the long-haired dudes added flowers to their hair, or lacy pastel headbands, or wreaths of flowers. No one questioned their masculinity -- instead, it was viewed as a gesture to peace and understanding.

The ༼s Fashion Revival is Coming, and There's Not a Damn Thing You Can Do About It

It seems like only yesterday that Tumblr exploded with pictures of Courtney Love in babydoll dresses and barettes, Clueless-style miniskirts and Mary Janes, and grungy Sassy editorials—thus heralding the ➐s revival. Not long before that, though, people really hated the idea of this decade's fashion making a comeback. (Remember when "mom jeans" was such a pejorative term it inspired a Saturday Night Live sketch? Fast forward to 2017, when fast-fashion sites proudly offer hundreds of mom jeans to choose from.) But in a short period of time, plenty of other seminal ➐s items have been elevated from embarrassing-relic status to trendy: Birkenstocks, bodysuits, flannels, Docs—the list goes on. Now, this decade is still very much with us but trends—or rather, the people who follow them—are fickle beasts, which means that what seemed cutting-edge a few years ago is starting to feel. well, a little basic now that every tween in the mall is wearing a choker and crop top. So, what's a cool kid to do? Pick an even more-maligned era of fashion to emulate, of course!

Lately, we've noticed the fascination with the ➐s creep into the early 2000s, at all echelons of relative influence: Bella Hadid now basically lives in a very Aaliyah-inspired uniform (teeny sunglasses and low-slung track pants), while the Vetements x Juicy Couture collab—complete with butt-rhinestones—is sold out damn-near everywhere. And it's really, really happening on Instagram, where "Every Outfit on Sex and the City," "Pop Culture Died in 2009," and a host of Paris Hilton-obsessed accounts wave the flag for the aughts revival. Trust us: this is the next wave, whether you like it or not.

Of course, we can't blame you for feeling a little resistance if all you remember of the era is its pubic bone-baring low-riders, its floppy newsboy caps, or, heaven forfend, its endless scarves-as-tops (basically this entire Christina Aguilera outfit, you're welcome for bringing it back to your consciousness). But we promise: there's a better way to embrace 2000s fashion. We ID nine trends worth rescuing from the early-aughts graveyard. Read on for your guide to re-embracing millennial fashion in a way that's cooler than "Dirrty"-era X-tina. (That may seem impossible, but stay with us.)


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.

Fig. 18 - Norman Green. Men's Suit Jackets, 1970s. Marker, watercolor. New York. Frances Neady Collection of Original Fashion Illustrations. Source: SPARC Digital

Fig. 19 - Jours de France. Jours de France Fashion, 1974. Mo. Source: Flickr

Fig. 20 - Photographer unknown. All Made to Mix, 1970. James Vaughan. Source: Flickr

Fig. 21 - Penneys. Distinctive Collection of His'n'Hers Styles, 1970s. James Vaughan. Source: Flickr

Fig. 22 - Lee. The All-Together Separate-Lees, May 1976. SenseiAlan. Playboy Magazine. Source: Flickr

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.

Fig. 23 - Pierre Cardin (French, 1922-). Leisure Suit, 1974. Linen. New York: The Metropolitan Museum of Art, 1982.276.1a–c. Gift of Edward Villiotti, 1982. Source: The Metropolitan Museum of Art

Fig. 24 - Billedbladet NÅ/Arne S. Nielsen (Norwegian). The Sex Pistols (Sid Vicious left, Steve Jones center, and Johnny Rotten right) performing in Trondheim, 1977. Riksarkivet (National Archives of Norway). Source: Flickr

Fig. 25 - Photographer unknown. Bob Marley live in concert in Zurich, Switzerland at the Hallenstadium, May 30, 1980. Source: Wikipedia

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.

Fig. 26 - Malcolm McLaren Vivienne Westwood (British, 1941-, 1946-2010). Sweater, 1978. Wool. New York: The Metropolitan Museum of Art, 2018.805. Purchase, Friends of The Costume Institute Gifts, 2018. Source: The Metropolitan Museum of Art