1950's Fashion Trends

Fashion trends are a reflection and a response to the culture that birthed it. The nineteen-eighties, America was in a turbulent state filled with changing norms and controversy. Many nineteen-eighties fashion trends and styles sprung from a desire for something different. Social and cultural movements in Western countries allowed groups of people such as women, professionals, and athletes to develop their identities through fashion. During the eighties, clothing became bigger and bolder, sparing no expense.
As a result of cultural changes, many distinct styles and trends flourished and gained popularity among specific groups in America. Aerobics classes were a popular mode of exercise and this generated interest in athletic wear. Jane Fonda
Women wore dresses with an abundance of “puffs, flounces, ruffles, pleats...scallops, laces, darts” (Fogg 442-443). Dresses commonly featured a figure-hugging bodice and a full, flouncy skirt. Christian Lacroix’s first collection in nineteen eighty-seven showcased many extravagant elements. He used materials such as pony skin and silver fox; his fabrics were brightly patterned with purple, orange, and emerald green (Fogg 456-457). Many celebrities solidified the influence of these trends in eighties fashion. Princess Diana had a significant influence on fashion. The clothing she wore was almost immediately replicated for consumers. Diana’s nineteen eighty-five ink-blue velvet dress, which she wore on a visit to the US, reinforced her position as a global fashion icon (Fogg 450). Likewise, Nancy Reagan was also a fashion icon with her custom skirt suits. Arnold Scaasi’s nineteen eighty-seven gold, turquoise, and fuschia evening gown featured many trends from the eighties (Fogg 444-445). The strapless gown used swathed satin to achieve a luxurious look, and its focal point was a large turquoise bow at the waist. The ample skirt was asymmetrical and complimented the close-fitting bodice and sweetheart neckline. Metallic fabrics such as silver and gold lame were popular fabrics and colors for evening gowns. In nineteen eighty-three Andie MacDowell wore a gray
The seventies had seen many unconventional styles springing from mainline fashion’s social rebellion. Dresses became shorter and deviated from traditional white. However, the nineteen-eighties revived the idea of a fairytale bride — perhaps epitomized by Lady Diana Spencer’s wedding dress in 1981. The ivory taffeta dress, designed by David and Elizabeth Emanuel had a full skirt and a twenty-five foot train. The richly embellished bodice and veil shone with over ten thousand pearls and sequins. (Ehrman 154-155). Several other designers drew inspiration from the decadence of the Royal Wedding. Designer, Bill Tice, created a unique nineteen eighty-one wedding gown featuring pearl colored satin, pearls, sequins and even ostrich plumes (Mo 69). The gown had a gathered skirt and poofy leg-of-mutton sleeves. These iconic ensembles spurred the growth of a style labeled “The New Romantics.” Lace was a crucial element of the burgeoning style; it was often used “to trim the neckline, bodice (front and back), sleeves and hemline” of gowns (Mo 68). One design by Bruce Oldfield (ca 1980-1985) featured Chantilly lace on ivory silk taffeta (Mo 70). The neckline was wide-shouldered in keeping with the popular eighties fad, but it smoothly transitioned into traditional leg-of-mutton sleeves. Like previous designs, the full bell skirt ended in a