women's fashion essay

Essays About Fashion: Top 5 Examples and 9 Prompts

If you are writing essays about fashion, check out our guide of helpful examples and exciting writing prompts to get started.

Fashion is individuals’ way of expressing their personalities. They do this through clothes and accessories that display their tastes and preferences. There are different fashion styles and trends, and anyone can choose anything they want to follow. Additionally, fashion has various benefits, such as boosting self-confidence, lightening moods, and developing creativity. Our fashion choices also help us send messages and present our beliefs. Thus, fashion can also be political .

Below are five essay examples and nine writing prompts to help you create an eye-catching essay about fashion:

5 Top Essay Examples

1. why fashion is important by george k., 2. fashion: an important part of life by ankita yadav, 3. fashion as communication by eunice summers, 4. fashion 2022 by edudwar, 5. the effect of fashion on teenagers in school by anonymous on newyorkessays.com, 1. fashion trends and women, 2. fashion evolution, 3. fashion and starting a business, 4. effects of fashion on society, 5. the best fashion styles for men, 6. fashion trends in different countries , 7. careers in the fashion industry, 8. cultural fashion vs. modern fashion, 9. the best and worst of fashion trends.

“The clothes we wear has become more than merely a way to cover our nakedness; instead it has also become one of the primary ways in which people express themselves.”

George K explains that fashion separates individuals from the rest. A person can introduce himself to others for who and what he is through style choices. Further, the author expounds on how fashion is a very competitive industry that depends on one’s search for identity. The author also points out that every person is unique and thus needs a distinct style to fit them. However, because of constant peer pressure and criticism, an individual’s fashion picks can’t be entirely their own. Ultimately, George K reminds the reader that it’s not just the clothes but how individuals wear and feel in them.

“…if we can do something then it is choosing the right stuff like entertainment, adventure, fashion, etc. All these things can make us happy and are also an important part of life. Fashion always attracts and it is available for all,”

Yadav considers how fashion originated from people’s traditions and cultures and became what it is today through individuals adopting each style and making it their own. In the following sections of the essay, she defines fashion and lists its importance, including how it developed new employment options and how styles speak for the wearer. 

In her conclusion, she encourages everyone to choose their styles and not to mind their age. Fashion helps everyone live life to the fullest.

“Fashion is an industry based on creating a need where there is none and nowadays, due to the current recession, I can understand that fashion may not be people’s biggest concern. But we cannot qualify it as ‘trivial’ since we are surrounded by it; each new generation of customers is highly exposed to commercial influences.”

Summers gives her opinion about the book “Fashion as Communication” by Malcolm Barnard . She identifies points in the work and shares her thoughts on them. The first point being those working in the fashion industry aren’t smart. As a Fashion Marketing student, Summers vehemently disagrees with this statement and recounts her experiences to counter it. She continues to analyze Barnard’s other arguments and agrees with some of them. Summers ends her essay by highlighting that fashion is too essential in modern culture and economic organization for it to be considered “trivial.”

“…the youth cares more about what they wear and how they look which could affect their status in their peer group and meddle with their mental health. Following trends and doing what everyone is doing like a sheep is never a good idea. Fashion is there to reflect your personal style, not copying what other people think is trendy.”

User Edudwar reminds people that fashion is not simply following what’s currently trendy. Fashion is there to give people the chance to show off their individualism and personalities and not present a fake version of themselves to be accepted by society. Additionally, he mentions that youth nowadays are more sensitive to what people think of them, so some will always do everything to follow trends, even if they’re not presentable or appropriate.

“Youths of the present times have indulged themselves in so much fashion that they do not receive sufficient time for other work… The time spent on studies is being used in watching TV programmes, reading fashion articles, or even finding the recent trendy outfits on the Internet.”

The essay discusses the real effects of fashion on today’s youth. The author focuses on kids zeroing in on finding the latest style instead of caring for their studies that directly affect their future. The essay also delves into how youths of yesterday had ambitions and goals in life compared to today’s youths, who prefer to have fun rather than study hard.

See our best essay writing tips to help you write an attractive, attention-grabbing essay.

9 Writing Prompts For Essays About Fashion

To assist you with your essay, we’ve compiled nine exciting writing prompts you can use:

Some women follow fashion trends religiously. They are also more conscious of their physical appearance. Some even go to the extreme and do plastic surgeries to look better in clothes. In your essay, discuss what you think these trends do to women’s perception of their worth and beauty. Add which trends you believe are unhealthy and why there’s more societal pressure for women to be fashionable.

Each era had its styles that directly resulted from that time’s circumstances. Make a timeline of how fashion evolved and the factors that influenced them. At the end of your essay, pick what you think is the best fashion era and explain why.

For this prompt, include the relevant things a future fashion clothing boutique owner should bear in mind. For instance, they should always be on top of the fashion trends and know how to balance demand and costs. Then, find a boutique owner and interview them about their experience to make your essay more fun to read.

Tackle what makes people choose the clothes they wear daily. Some prefer their fashion to display their personalities while others merely follow what they think is popular. To make your essay more interesting, you can do a simple experiment: Go out in public on two occasions: while wearing your fashion picks and donning the latest fashionable clothes. Then, add your findings and how people reacted to you.

Fashion for men is different from women. Although most brands dedicate their line to women, men also deserve to know what makes them look fashionable; this essay lists styles that are excellent for men depending on the setting and event. 

What could be considered fashionable in one country can be seen as disrespectful in another. For this prompt, compile fashion trends many do but are unacceptable in other places. Reasons why may include religion or tradition. Use research data and cite reliable sourcing for a compelling piece.

In this essay, identify the career opportunities available in the fashion industry, including the steps to get there. Next, list the different job roles within fashion, and describe the responsibilities for each. Then, add tips on succeeding in that job and standing out from the rest. For an intriguing essay, conduct interviews with professionals within the industry and include this in your piece.

Our ancestors’ culture greatly influenced today’s fashion. Meanwhile, modern styles are those that the current generation uses. Write an essay about cultural and contemporary fashion’s differences, similarities, advantages, and disadvantages. 

Fashion trends come and go. However, not all popular fashion is pleasing to the eyes. For this essay, compile a list of what is, in your opinion, the best and worst fashion trends. Then, describe why you have formed these opinions and describe the details of each outfit.

Are you looking for your next essay subject? Check out our list of the best writing topics for students .

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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Essay on Modern Fashion

Students are often asked to write an essay on Modern Fashion in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Modern Fashion

Introduction.

Modern fashion is a dynamic world that reflects the spirit of the times. It’s not just about clothing, but also about expressing one’s personality and values.

Fashion has evolved significantly over time. It has moved from being a privilege of the elite to being accessible to everyone, thanks to technological advancements.

Fashion is influenced by various factors like culture, media, celebrities, and even politics. It’s a way for people to communicate their identity and beliefs.

In conclusion, modern fashion is more than just clothes. It’s a form of self-expression and a mirror of society’s changes and trends.

250 Words Essay on Modern Fashion

Introduction to modern fashion.

Modern fashion, a dynamic and ever-evolving field, reflects societal changes and individual identities. As a form of self-expression, it serves as a mirror to the cultural, economic, and political shifts occurring globally.

Fashion as a Form of Self-Expression

In the modern era, fashion has become an avenue for personal storytelling. It’s no longer merely about following trends set by high-end designers. Instead, individuals curate their style, blending vintage and contemporary pieces, high-end and affordable items, to create a unique aesthetic that reflects their personality and values.

The Influence of Social Media

The advent of social media has greatly democratized fashion. Platforms like Instagram and TikTok allow users to showcase their style, influencing trends on a global scale. As a result, the power to dictate fashion has shifted from designers and models to everyday individuals and influencers.

Sustainability in Modern Fashion

In response to growing concerns about environmental and ethical issues, sustainable fashion is gaining prominence. This movement encourages the use of eco-friendly materials, ethical production processes, and a shift towards slow fashion – buying fewer, higher quality items that last longer.

Modern fashion is a complex blend of personal expression, social media influence, and growing sustainability consciousness. As we move forward, the industry will continue to evolve, reflecting the changing times and the diverse identities of those who engage with it. With its dynamic nature, fashion remains an exciting and influential aspect of modern culture.

500 Words Essay on Modern Fashion

Fashion is an ever-evolving phenomenon, a reflection of societal changes and individual expression. Modern fashion is a complex blend of aesthetics, functionality, and cultural influences, marking a departure from traditional norms and embracing diversity on a global scale.

The Evolution of Modern Fashion

The evolution of modern fashion is marked by a shift from conformity to individuality. In the early 20th century, fashion was largely dictated by social class and occasion. Today, however, fashion is more about personal style and comfort. The advent of fast fashion, while controversial, has democratized style, making it accessible to people of all socio-economic backgrounds.

Global Influences and Cultural Fusion

Modern fashion is a melting pot of global influences. Designers are increasingly drawing inspiration from different cultures, leading to a fusion of styles. This cultural exchange is not just about aesthetics, but also about fostering understanding and respect for diverse cultures. However, it’s crucial to navigate this space with sensitivity to avoid cultural appropriation.

Technology and Fashion

Technology has revolutionized modern fashion in numerous ways. From digital sketches and 3D printing to smart fabrics and wearable tech, the marriage of fashion and technology is reshaping the industry. Online shopping and social media have also transformed the way we discover and purchase fashion, making it a more interactive and personalized experience.

With growing awareness about environmental issues, sustainability has become a significant aspect of modern fashion. The industry is grappling with its environmental footprint, leading to a rise in ethical fashion brands and sustainable practices. Concepts like slow fashion and circular fashion are gaining traction, promoting longevity, recycling, and responsible consumption.

Representation and Inclusivity

Modern fashion is also marked by a push for greater representation and inclusivity. Body positivity and diversity are now front and center, challenging traditional beauty standards. Fashion brands are recognizing the need for designs that cater to all body types, ages, and races, signaling a shift towards a more inclusive industry.

Conclusion: The Future of Modern Fashion

As we move forward, the future of modern fashion lies in its ability to adapt and innovate. With challenges like climate change and social inequality, the industry needs to evolve sustainably and inclusively. Modern fashion is not just about what we wear, but also about the values we embody. As consumers, we have the power to shape these values and drive change, making fashion a powerful tool for social and environmental progress.

That’s it! I hope the essay helped you.

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How Women Have Used Fashion As A Feminist Tool

When it comes to the history of women's fashion, taking the gloves off to fight can be taken in a very literal sense. Whether Gibson Girls caused a stir stepping outside without their gloves or Mods spark hysteria with their bare legs , fashion has been used to change and challenge the limitations of gender. Throughout decades women have used fashion as a feminist tool , turning their silk shirts and carefully hung dresses into means of provocation that could make more space for women at the table. There were times where the zip of a trouser or the flash of a thigh could cause quite the push back, causing society to panic every time women decided to define for themselves what it meant to be female.

Shrugging on a blazer or putting on a sparkly mini now might not seem like a big deal, but know that there's a long and difficult past attached to each of those wardrobe staples. While now they're toted at women from sidewalk display windows and sales racks, not too long ago the women before us fought tooth and nail for the right to wear them — and stood behind what they represented, criticism or not. Read ahead for the long history of women's liberation, explained through sleeves and circle skirts.

1800s: The Blip Of The Pantaloon

When saddled with corsets, stiff petticoats, and ground-dragging skirts, it'd be easy for women to glance at men in the 1800s and think of how much more comfortable they looked. Amelia Bloomer, a women's rights advocate and editor of first feminist newspaper The Lily , decided to do a whole lot more than glance —instead, she tried on the pants for herself. And sparked hysteria.

Many worried that the lack of hoop skirts would lead to the “usurpation of the rights of man ,” and panic started over the instability of gender identity. Gleason's Pictorial reported in the mid 1800's that "the model bloomer leaves her poor young husband pouting and weeping at home," leaving their young children "entirely in charge of her husband." The drama.

But while the pants became a symbol of the women's rights movement, suffragettes didn't necessarily welcome the connotations. While they shared activist's Elizabeth Cady Stanton's opinion that a woman's "tight waist and long trailing skirts deprive her of all freedom ," and forced her to need a man's "aid at every turn," they believed that the ridicule and backlash took focus away from their actual mission: To gain rights, not to change fashion. "The bloomers became the story more than their feminist views," Rebecca Arnold , the Senior Lecturer in History of Dress at The Courtauld Institute, shares in an interview with Bustle. "They became a symbol both of women's attempt at change, and of negative reactions to this — to the idea any woman seeking equal rights was challenging men and masculinity."

Wanting to keep the focus on their issues, most women retired their trousers until the turn of the new century.

1900s: Suffragette Colors

While suffragettes would pour into the streets of New York and London for organized marches and protests, they also identified themselves as feminists outside of rallies. They did this with the help of three colors: Green, white, and purple.

"Purple represents dignity, white denotes purity and green means hope — the fact that these colors are still recognizable as those of the Suffragettes shows how successful they were at using them as a political symbol to promote their cause and for women to show support by adopting the colors," Arnold points out. They'd pin these ribbons onto their hats and belts, tack rosettes and badges to their coats and lapels, and even buy kitchen slippers and toilet soap in support.

'20s: The Bobbed Hair Epidemic

The sassy swing of hair that characterized flappers and silver screen stars was met with a great deal of pulpit and resistance before it made its way into the popular zeitgeist, but that didn't stop many from visiting the salon. Flapper Ellen Welles Page explained to Outlook Magazine in 1922, " Bobbed hair is a state of mind and not merely a new manner of dressing my head. It typifies growth, alertness, up-to-dateness, and is part of the expression of the élan vital! [spirit] It is not just a fad of the moment...I consider getting rid of our long hair one of the many little shackles that women have cast aside in their passage to freedom. Whatever helps their emancipation, however small it may seen, is well worth while."

While bobbed hair was becoming a look of the feminist, the rest of society wasn't ready for it. Marshall Fields — Chicago's largest department store — dismissed sales girls who refused to wear hairnets over their bobs until they grew out, and the employment manager of Aetna Life Insurance, a major employer of women, went on record saying, "We want workers in our offices and not circus riders ."

"The fact is that bobbed hair really pissed people off," Victoria Pass, a professor at Salisbury University in Maryland whose work focuses on the history of 20th century fashion and its relationship to gender and race, shares in an email interview with Bustle. "While on the one hand cutting your hair short doesn’t suddenly signify your liberation, it was an incredibly powerful symbol of allegiance to a modern way of being a woman, one that terrified people who wanted to restore order after the traumatic upheaval of World War I."

'30s: Chanel Two-Piece Suits

After the first World War, women got a taste of what it felt like to be outside of the sitting room and in the workforce. From that moment on women started to slowly fight for space in the public sphere, where they could manage their own funds, have a say in politics and economy, and be in charge of their own bodies — whether that meant with a haircut or a beau.

According to Vogue , Coco Chanel had these women in mind when she designed, which led her to create her own version of the two piece suit. "She designed sophisticated clothes that were elegant yet, comfortable. The symbol of this ideal is the two piece suit , which Coco created taking inspiration directly from the suits of her lovers," Vogue writer Sara Bimbi explained.

But while Chanel is often times credited with making the first suits for women, it's important to note that the style was already available for years . What she did instead was make a version of it that suited her own understanding of womanhood. "Chanel always dressed like the strong independent male she had dreamed of being. But Chanel was no middle-class feminist in a man tailored suit . When Chanel 'took the English masculine and made it feminine,' she did so in the spirit of a female dandy," Valerie Steele fashion historian and director of the Museum at the FIT, explained in her essay, Chanel In Context .

While she certainly wasn't the first, she was still part of the cadre of designers who showed women's changing status through their wardrobes.

'50s: Claire McCardell's Woman On The Move

While the '50s might feel like a feminist black hole where only suburban June Cleavers bake pies and call on neighbors for tea, there was one designer that was subtly setting the stage for the second wave. Claire McCardell is often seen as the mother of American fashion , but while she ushered in the idea of sporty chic, she also gave women a wardrobe that offered them a sense of freedom.

Where Parisians like Dior were cranking out silhouettes with padded shoulders and stiff petticoats, McCardell created pieces that rescued women from those Victorian-like staples. "She used more casual fabrics and didn’t use the exaggerated wasp waist that Dior did, embracing elastic and belts to nip in waists rather than corsetry," Pass explains.

Whether it was for the newly busy housewife that juggled responsibilities both inside and outside the home, the woman that worked in the city, or the girl that went off to college, her clothes were for those that lived in action.

"Wrap dresses could be quickly thrown on for a suburban dinner party, and fasteners like buttons or hooks and eyes on the side were easy for a woman to work with (as opposed to a zipper in back). Even looking at her ads you can see a different kind of woman depicted where the women in them might be seen as a working woman or a woman in a domestic space," Pass shares. While it wasn't exactly an Armani powersuit, the styles already hinted at a more independent, outside-of-the-home woman.

'60s: Mini Mania

The miniskirt didn't just challenge what was socially acceptable for women to dress in, but —along with birth control prescriptions, a new " single girl " cosmopolitan attitude, and the rise of divorce rates — it symbolized a sexual reclaiming.

Designer Mary Quant was the pioneer that gave women the mini, but according to her, she wasn't the one that started the rebellion. “It was the girls on the King’s Road who invented the mini ," Quant was quoted as saying in the Telegraph . "We would make them the length the customer wanted. I wore them very short and the customers would say, ‘Shorter, shorter.’”

While it scandalized their suburban parents, it gave women a way to move past their traditional roles of wife and mother and instead shape a new identity for themselves. "I always stress to my students that clothing trends aren't 'reflective' of change, but rather constitutive of change," Deirdre Clemente , historian of 20th century American fashion, shares in an email interview with Bustle. "So women didn't say 'Hey I'm sexually liberated, I need to go get a mini-skirt.' Rather in wearing the mini-skirt they live out the identity that they are. Clothing is not reactive but pro active ." Clothes say it first, and the movement follows.

'70s: The Double Life Of Wrap Dresses

In 1974 socialite Diane von Furstenberg came out with a wrap dress inspired from the designs of McCardell and Schiaparelli , which appealed to both the office working girls and Park Avenue cocktail crowd. It was seen as a symbol of sexual freedom and women's liberation — and for good reason, too. The wrap could be worn to the office and tied primly at the waist, or in a fling's bedroom, where it could be slipped off in a hurry thanks to its lack of any buttons or zips.

When asked how she came to the idea of a dress that was held together with a sash, Furstenberg coyly answered, "Well, if you’re trying to slip out without waking a sleeping man, zips are a nightmare ."

It helped to underline a new powerful idea of womanhood — one where females were finally enjoying the role of predators inside the boardroom and bedroom alike.

'80s: Power suits And Board Rooms

The '80s power suit was an item that straddled a tricky line, where it was seen as both feminist and anti. Vice quoted Shira Tarrant, professor and author of Fashion Talks: Undressing The Power Of Style , "Wearing a pantsuit was the expectation at the time if you were to be taken seriously as a business woman , but women were still criticized for trying to emulate men, because it was a derivative of menswear."

It was a time where women were starting to elbow their way into executive offices and business meetings, but had to do so underneath the disguise of pinstripes and broad shoulders. If they wanted authority, they had to take the focus off of their gender. "They were feminist in purpose," Jo Paoletti, professor and author of Sex and Unisex: Fashion, Feminism, and the Sexual Revolution , tells Bustle in an email interview. "They helped women enter male-dominated professional spaces — but anti-feminist because they were based on a masculine model of 'power dressing.'"

But while the wide lapels and smart pantsuits helped disguise their figure and gain respect, it still forced their owners to copy men. "Should a feminist adapt masculine dress? Or celebrate femininity? Should she even have to stick with these traditional binaries of what is male and what is female? The fact we are still talking in these terms shows how ingrained they are," Arnold points out.

While women have spent decades if not centuries batting away the narrow definition of what is expected of them, the clothes they wore helped make their intentions know. What causes society to panic isn't different hemlines, but rather women defining for themselves what it means to be a woman. So the power of dress was an important tool that influenced their standing in society, helping them towards less oppressive gender norms with every snap, zip, and fasten.

Images: Elliman's (1); Every Cloud Productions (1); Warner Bros (1); Claire McCardell (1); Newsweek (1); Twentieth Century Fox (1)

Essay on Fashion for Students and Children

500+ words essay on fashion.

Fashion refers to anything that becomes a rage among the masses. Fashion is a popular aesthetic expression. Most Noteworthy, it is something that is in vogue. Fashion appears in clothing, footwear, accessories, makeup, hairstyles, lifestyle, and body proportions. Furthermore, Fashion is an industry-supported expression. In the contemporary world, people take fashion very seriously. Fashion is something that has permeated every aspect of human culture.

History of Fashion

The origin of Fashion is from the year 1826. Probably everyone believes Charles Frederick to be the first fashion designer of the world. He also established the first Fashion house in Paris. Consequently, he began the tradition of Fashion houses. Furthermore, he gave advice to customers on what clothing would suit them. He was prominent form 1826 to 1895.

During this period, many design houses hired artists. Furthermore, the job of these artists was to develop innovative designs for garments. The clients would examine many different patterns. Then they would pick the one they like. Consequently, a tradition began of presenting patterns to customers and then stitching them.

At the beginning of the 20th century, new developments in Fashion took place. These developments certainly began in Paris first. Then they spread in other parts of the world. Consequently, new designs first came into existence in France. From Paris, they went to other parts of the world. Hence, Paris became the Fashion capital of the world. Also, Fashion in this era was ‘haute couture’. This Fashion design was exclusively for individuals.

In the mid-20th century, a change took place. Now Fashion garments underwent mass production. There was a significant increase in the rate of production of Fashion garments. As a result, more and more people became involved with Fashion garments. By the end of the 20th century, a sense of Fashion awareness was very strong. Now people began to choose clothes based on their own style preference. Hence, people began to create their own trends instead of relying on existing trends.

Get the huge list of more than 500 Essay Topics and Ideas

Fashion Trend

Political influences certainly play a major role in influencing Fashion. Many politicians become fashion symbols. Notable examples are First Lady Jacqueline Kennedy and Princess Diana. Also, political revolutions make a huge impact on the Fashion trend. For example, in 1960’s America, liberal clothing styles became popular among the younger generation. This was due to the Liberal revolution.

Another significant factor which influences Fashion trend is technology. There certainly has been a rapid growth of technology in the Fashion industry. For example, wearable technology has become a popular Fashion trend. Furthermore, 3D printing technology and the internet have also made an impact on Fashion.

Social influences are probably the strongest influences on the Fashion trend. Many music stars strongly influence Fashion choice. For example, wearing hoodies became famous due to rap musicians. Furthermore, movie and television actors create a big impact on Fashion. Many youngsters love to emulate the Fashion sense of their favourite celebrity.

To sum it up, Fashion certainly has become a part and parcel of human life. It certainly is a force that is here to stay. Most noteworthy, Fashion has immersed every place on Earth.

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Fashion and Feminism

by Amie Leigh Zimmer

Philosophers and feminists have always agreed on one thing: fashion is not a topic that merits serious philosophical consideration. Karen Hanson argues that this unexpected alliance between feminism and philosophy results from fashion’s association with ephemerality, instability, and change: all of which run counter to a philosophical quest for eternal and unchanging truths. The world of appearances thus becomes the world of mere appearances, and concern for this world becomes commensurate with a lack of concern or care for the serious: to say that something is of “depth” is to say that it exceeds this world of appearances. But the reality of appearance-based forms of discrimination (including natural hair debates and the “grooming gap” ) calls for a renewed look at both the history and future of feminism’s relationship to this world: fashion.         As a global capitalist system, fashion is an exploitative empire which artificially manufactures and sells desire. Fabric is cut, shaped, and sold; when one ‘season’ ends and another begins, fabric is re-cut, re-shaped, and re-sold, ad infinitum. Its industry is exploitative: profiting from the oppressive labor structures of capitalism and the profound alienation of the laboring garment industry workers who cannot themselves afford to purchase the clothing that they make. Marx lays out the dialectic of production and consumption with specific reference to clothing: “A product, a garment,” he says, “becomes a real product, a real garment only in being worn, becoming worn out, being consumed.” Through wear, clothing “disintegrates and negates itself, stimulating more production.” Prophesying the nature of fast fashion inchoate in early stage industrialization, Marx writes how the very reliance on quickly deteriorating materials is necessarily built into fashion’s production. When Marx talks of the “murderous, meaningless caprices of fashion,” this is a description he takes quite literally. Since both “work and income are reliant on fashion’s fancies,” he writes, the fashion industry participates in the hiring and firing of workers at whim in order to accommodate a free market of ever-changing desires.

Even those who consider themselves outside of fashion’s lure are nonetheless cloaked by its dictates: designs are quickly and cheaply reproduced, “trickling down” from high-fashion into low, as Hazel Clark and Cheryl Buckley show. This fashionable trickle-down effect has blurred the history of fashion as a program for the continued maintenance of class. Georg Simmel wrote that the classed nature of fashion is not incidental, but central to its formal structure. Not only are fashions always classed for Simmel, but the appropriation of “high fashion” by lower socio-economic classes drives the cyclical nature of the re-creation of continuous re-individuation by means of the upper class.

Fashion is equally associated with the feminine as a kind of being for whom fashion’s own instability purportedly matters a great deal, and consequently, the feminine has come to name a kind of being who lacks seriousness. So a dismissal of the system of fashion as a site of philosophical and political analysis means that the feminine endures as a superficial creature excluded from philosophy’s depths. Even in its theorization as a system by Marx, the actual material make-up of fashion is feminized, while its labor is masculinized. Its very production was steeped in imperialism and slavery , and it continues to exploit women .

Not fashion, but dress, became a specifically feminist issue for first-wave feminists like Charlotte Perkins Gilman. Dress was central to her politics which sought to liberate women from strictures both physical and sociological, both damning and suffocating in their own ways. The petticoat limited and hindered actual physical mobility and supported the subordinating structures of gendered economic and political oppression and domination which sustained resistance to the suffrage movement. The lack of pockets on women’s clothing, Gilman writes , only reinstates a connection of women to frivolity and ephemerality; the pocketless woman becomes dependent on the pocketed man to carry her world around for her. And frankly, pockets still reflect sexist design . The motivations for the dress reform movement of the late 19th and early 20th centuries were quite literally self-evident: bodices, corsetry, and heavily layered undergarments were being recognized as having deleterious health effects, altering women’s spines and bodily comportments, compressing and damaging their internal organs, compromising their very abilities to move and function with any ease in the world. Medical professionals and dress reformers alike advocated a turn from aesthetics to “health,” promoting a concern for aesthetics as being “bad” for one’s well-being, which in turn perpetuates a distinction between the beautiful and the good that parallels the evaluation of the beautiful with the inconsequential.

The relationship of second-wave feminism to dress was quite different. Even in the heyday of social constructivism which fundamentally rejected the metaphysical conception of essences that so dominated the history of philosophy and views of human nature, appearances were still a source of mistrust. Feminist interventions in discussions of fashion have most often been from the vantage point of the defensive critic: how can a “feminine” woman support feminist ideals when her very habitus is the performative embodiment and reification of male desire, oppression, and the resulting normative ideals of beauty which continue both to subject and to subjugate? The presumption here is that femininity is counter to a feminist politics which would seek the de-objectification of the ‘female’ body away and apart from the male gaze. Following Iris Marion Young , femininity is taken for granted in this context as “a set of normatively disciplined expectations imposed on female bodies by male-dominated society.” But this debate, too, obscures an entire history of femme critique within queer studies, or at least sets up femme-ness as an uncritical acceptance and embrace of normative femininity. Beverly Skeggs has shown that this conception of normative femininity (as delicate, consumptive, and worst of all, as fashionable) has been a marker of white middle class heterosexual women since the 18 th century, but not of working class women or women of color. And yet it is this presentation of the feminine body which is “judged on the basis of excess and devalued but also, paradoxically, given authority to shame and judge.”

Young nonetheless asks whether it is possible for women to “recover” our clothes. She asks whether or not woman’s relationship to fashion and to dress is doomed to the fate that post-structuralist feminists like Sandra Bartky have outlined for us. This is the view that the pleasure woman does or does not receive through her own self-image is always already filtered through the approving or disapproving gaze of the imaginary heterosexual male figure: the view that says that the female gaze is nothing but an internalized male gaze, and that woman herself is nothing but an object objectifying herself. Reluctant to give up claims to a particularly gendered form of subjectivity, Young suggests that the reduction of clothing to its role in reproducing women’s oppression under patriarchal capitalism risks giving a reductive and homogenized account of social relations both within patriarchy and within capitalism. Young’s analysis calls not for a feminine aesthetics which would only reify the very thing her feminist politics aims to dismantle, but a feminist aesthetics which calls into question the very ways that femininity continues to be weaponized against women. The slut walks challenged the way that normative femininity became a justification for sexual violation, and third-wave feminists rallied around the idea that clothing does not in itself warrant or invite unwanted sexual attention and violation, captured by the slogan ‘My Dress is Not a Yes.’ A feminist politics must always engage with normative femininity as a meaningful site of analysis and intervention, lest we relegate it through continued silence to the meaningless and the frivolous, the decorative and the inconsequential, and in this context, the violable.

As part of the body’s legibility as visible or invisible, clothing is a part of a complex system that cannot be reduced to its mere participation in fashion. Women’s clothed bodies are “taken to make visible something politically significant about them, in a way that men’s are not,” Mary Edwards writes. The pantsuit, for instance, revived as a symbol of feminist success in the 2016 U.S. Election Cycle, inhibits the possibility of sexualized shame so central to many other modes of feminine dress. (By the way, that Hillary pantsuit? No pockets).

Clothing has become so naturalized onto different bodies that it comes to stand in not only for persons but for perceived actions which themselves justify racist, sexist, homophobic, transphobic, and xenophobic violence. This is especially clear to see in the role clothing has played in racialization: the way that hoodies have come to stand in not only for black bodies, but black bodies seen as ‘about’ to act criminally. This logic of anti-black racism constituted Trayvon Martin’s body such that it appeared to George Zimmerman as ‘about’ to enact a crime, just as it had in the Rodney King case. The proliferation of   “hoodie bans” and other bans on forms and modes of dress gains purchase on this logic that garments provoke, incite, and justify acts of racism as well as sexual violation.

Western liberal democracy (and the notion of “freedom” in particular) is bound up with women’s sexual freedom as expressed by what they are or are not permitted to wear, as Kelly Oliver argues. The United States’ concern to liberate “women of cover” (George W. Bush’s term) … “reassure[s] us about women’s sexual freedom in the West, on the one hand, and… legitimate[s] constraints on women’s sexual agency here and there on the other.” This war rhetoric promotes the pernicious view   that Muslim women “need saving.” Writing on the 2004 French law banning conspicuous religious symbols, Alia Al-Saji argues that the positioning of the ban on veiling in public settings in the name of gender equality created a false binary between anti-sexist and anti-racists efforts. Christine Delphy criticized the law and its forced binary. The rhetoric surrounding the debate of Bill 21 in Quebec this past year was similar in its invocation of secularism as a value which necessarily entails the denial of religious expression through symbols of dress. The passing of the bill, like its counterparts, unequivocally targets non-Christian women, and wields its support in the name of gender equality and freedom from oppression. In the French context, the rhetoric of this debate effectively erased the history of French colonialism in Algeria, in part captured by Frantz Fanon in “Algeria Unveiled.”

In her own recent contribution to this series, Falguni Sheth shows how the chastisement of women of color politicians enacts a neocolonialism which can in part be traced to a history of similar tactics of colonists to police dress. As Rep. Alexandria Ocasio-Cortez put it: “Next time someone tells Bronx girls to take off their hoops, they can just say they’re dressing like a Congresswoman.”

This erasure of racial and colonial histories is only part of what constitutes the moral and epistemic harms of culturally appropriative dress which continue to perpetuate harmful tropes and stereotypes: the case of Urban Outfitters v. the Navajo Nation is only one instance. Perhaps this forgetting of history also helps to make sense of the discomfort and the felt sense of wrongness when non-Muslim women wear hijab as a form of feminist “solidarity.” Both actions appropriate a conception of dress as mere covering, diminishing its participation in its larger economy of self and communal sense-making. The case of Larycia Hawkins is especially complicated for the ways that her evangelical institution weaponized itself against her.

Clothing has historically collapsed the distinction between sex and gender expression. This collapse has accounted for the naturalization of feminine bodies as female bodies, and of female bodies as bodies that ought to be feminine bodies. The philosophical distrust of appearances underlies Talia Mae Bettcher’s contention that those who commit violence against trans persons do so in the name of having been ‘deceived’ by appearances in their effort to disclose the real, as many trans persons are then forced to disclose their genital status as a means of ‘sex verification.’ Misaligning thus becomes tantamount to lying, and the implication of this expectation of ‘matching’ is that “correctly aligned cases” offer a “disclosure of genital status on a regular basis through gender presentation.” “This is ironic, of course,” she writes, since one of the main functions of attire is to conceal the sexed regions of the body.” Gayle Salamon questions the vital role of gender norming in clothing as it played out in the shooting of Latisha King in 2008, and how the media’s portrayal of her “transgressive” clothing functioned both to erase her trans identity and to use it as justification for her murderer’s actions. Salamon writes: “in suggesting that Latisha’s gender expression provoked Brandon McInerney to violence, they [the legal team] suggested in essence that by expressing her gender identity, Latisha authored her own murder.”

Both fashion as a system, and dress understood as a bodily practice, are ripe for feminist critiques and interventions. Clothing, both literally and symbolically, is this in-between space between form and content, structure and body. Joanne Entwistle develops this conception of dress as situated bodily practice: as the fulcrum between subject and structure. Dress is a gateway to our world and a serious access point for negotiating what the relationship between self and world will, quite literally, look like. Philosophy is not exempt from fashion’s forces: we too succumb to trends and fashions within our own discipline. What is trending, or what is fashionable to write about, often points to the most timely issues. Not only should philosophy begin to engage with fashion, but precisely because of its shifting nature, it should endeavor to keep up.

Amie Leigh Zimmer is a PhD Candidate in the Department of Philosophy at the University of Oregon. She is currently writing a dissertation on fashion and dress in the history of philosophy and social and political philosophy.

• Alexandria Ocasio-Cortez
• Charlotte Perkins Gilman
• Christine Delphy
• Frantz Fanon
• Gayle Salamon
• Joanne Entwistle
• Karen Hanson
• Kelly Oliver
• Larycia Hawkins
• Mary Edwards
• Rodney King
• Sandra Bartky
• Talia Mae Bettcher
• Trayvon Martin
• Urban Outfitters v. the Navajo Nation

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This is a great piece except for that first sentence, which commits a bad oversight for a post in the Women in Philosophy series, since the “always” claim immediately brought to my mind the amazing women and feminists in philosophy who have taken fashion seriously as a topic. Samantha Brennan is productive on this topic – see her delightfully titled essay, “Those Shoes Are Definitely Bicurious.” Marguerite La Caze contributed “A Taste For Fashion” to the Fashion entry in the Philosophy for Everyone series (see Cynthia Freeland and Rae Langton among others in there too!). The opening perpetuates a somewhat monolithic image of feminists that the 21st century has really unseated, thanks to the work of women, including the author of this post, really!

Thank you for this. For me, it was a productive straw man, since I consider the rest of the article to be showing some of the ways that it just isn’t true. What I understand you to be saying is that it risks excluding the work that is being done at the intersection. Thank you for pointing this out. Brennan, who you mention and whose thinking is central to my own, explicitly urges feminist political philosophers in particular to think and write about fashion. I read her essay (and Young’s) as convincing and urgent pleas. But I wonder: why haven’t they been taken up as much as they could be? That’s still an open question for me.

The thread that I found most interesting in this piece was the notion that self-expression through fashion is an important site through which one can exercise one’s agency or through which one’s agency can be obstructed. Zimmer discusses the move to dismantle the association between feminine expression and sexual violability, the association of hoodies with black bodies about to do wrong, bans on veiling, and the presumed communicative connection between dress and sexed body. What all of these examples seem to have in common is the notion that, though fashion is seen as a form of self-expression, we are often deprived of the agency to determine what we are expressing through our dress. In some cases, one might don a particular type of clothing in order to invoke a common understanding of that form of dress—as when a trans woman dons feminine clothing as a way to communicate her gender identity. In other cases, though, one might don clothing in spite of the common message that it sends—as when a woman wears a miniskirt but does not thereby want to communicate sexual availability or when someone wears a hoodie with the hood up but has no intention of wrongdoing. So it seems, then, that when we clothe ourselves, there are lots of messages and meanings that we are navigating, some consciously, some not. The question for investigation, then, becomes, how can we understand fashion in a way that permits the exercise of agency through self-expression, without understanding individuals’ dress in ways that obstruct their agency?

You put the challenge so beautifully: that there is a mediation between agency and its inhibition that is constantly being negotiated (in different ways, by different bodies). I think that this is where a distinction between fashion (as a form of capital, as consumable) and clothing or dress (as lived) is helpful in challenging two myths: 1) that as fashion objects, garments have a discrete set of of signifieds; and 2) that as part of embodied experience, garments become signifiers of individual, “self” expression which can be removed from larger systems of signification. In other words, fashion cannot rid itself of (raced, gendered, classed) bodies, and bodies also cannot use fashion objects to fully “self” express (a sort of contradiction in terms). Like you it seems, I’m interested in how system (fashion) and agent (dressed body) inform one another.

[…] an episode from the 1954-1962 Algerian War of Independence against French colonialism. As Amie Leigh Zimmer discusses in the last post in this series, in the decades leading up to the Algerian Revolution […]

I think that many of the points in this article and comments section are well taken. I myself remember being influenced (as well as by my older sisters) by two writers. One was Louisa May Alcott’s ‘Eight Cousins’ I read at the cusp of teenagerhood. There the young heroine, rather than being confined in the constricting fashionable clothing her aunts wanted her to wear (corsets, long tight skirts, high heeled boots, in the 1870’s) is liberated by her ‘bohemian’ uncle to wear attractive colorful clothing that she can run and jump and play in. in more recent times, Kennedy Fraser has also written very thoughtfully about fashion as a form of artistic self-expression. I particularly remember her writing about how Ralph Lauren appropriated the Counter Culture. Like dance, which may have originally evolved as a way of pleasing men, both can escape the borders of their original purposes. I am still amazed at the manifold ways humans can choose to appear and move!

Thank you for this. For me, it was a productive straw man, since I consider the rest of the article to be showing some of the ways that it just isn’t true. What I understand you to be saying is that it risks excluding the work that is being done at the intersection.

I appreciate what you write. This article was so good. I particularly remember her writing about how Ralph Lauren appropriated the Counter Culture. In some cases, one might don a particular type of clothing in order to invoke a common understanding of that form of dress—as when a trans woman dons feminine clothing as a way to communicate her gender identity.

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Essay Samples on Fashion

How fashion has changed over time.

Fashion serves as a visual representation of cultural shifts, societal values, and individual expression. From ancient civilizations to modern trends, fashion has undergone remarkable transformations, reflecting changes in technology, lifestyle, and artistic innovation. This essay traces how fashion has changed over time, exploring key eras,...

Literature Analysis of a Socio-Economic Subculture in Fashion

Introduction Faced with a generation of consumers who are both the most well-informed and fiscally precarious in modern society, streetwear fills the void when luxury brands searching for ways to remain relevant and therefore profitable. I would like to understand the socio-economic subculture emerging in...

• Literature Analysis

From Aristocracy to Masses: The Evolution of Fashion in Europe

Introduction Prior to the Second Industrial Revolution, the European continent was marked by social unrest and perennial conflict, with only the affluent aristocrats having access to luxurious attire. It was not until the advent of the Second Industrial Revolution that fashion became a major point...

Analysis of Current Changes Affecting the Fashion Industry

There are many kinds of industries that have greatly and directly impacted people’s lives. The fashion industry is one of them. Since the beginning of time until now, people’s sense and interest in their fashion styles have changed, and so does the fashion industry. When...

• Modern Technology

British Fashion: the Rich and Complex History of 20th Century

Fashion is one of the most influential aspects of society and it has undergone colossal historical change, in particular British Women’s fashion. The 20th century was a transformative era in British fashion, marked by radical changes in clothing styles and designs. Women's fashion, in particular,...

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1960s Dress Type: Main Concepts of Influence

The 1960s dress type was the type of revolutionary fashion that only people with true fashion sense could sport. These dresses were made to assist you in leashing out your true fun-loving and bold self. This decade of fashion was ideal for showing your artful...

The Evolvement of 1920s Fashion and Trends

 Fifty years before the 1920s, each decade developed a persona of trends that influenced the evolvement of 1920s fashion. A continuation of the 1870s frizzy bangs or loosely piled curled locks took on the impact of hairstyles In the 1880s, skirts were narrow folded, draped,...

Taekwondo, Music and Co-creating Own Fashion Line

One of the main reasons I want to study architecture is my passion for French Romanesque-style buildings. It is my ambition to one day contribute to the construction of these. This passion stemmed from my visits to France as a child. On these trips, I...

Justification Of Animal Cruelty In The Name Of Fashion

Cruelty of animals have always been around and countless of innocent animals gets abused or killed on a daily basis every single day, without fail. It is prevalent around the world with many newspaper articles being released on cases of animal abuse in all sorts,...

• Animal Cruelty

Ethical Fashion: Animal Cruelty In Fast Fashion Industry

Imagine a world where the beaches are lined up with dead fishes, where there will be no more clean drinking water, where trees will be felled to make room for more landfills to throw the t-shirts that we just wore for a month. This world...

• Fast Fashion

Cultural Appropriation In Fashion Industry

To understand what actually is cultural appropriation is we need to know what culture meaning is. Definition of the word culture is “the ideas, customs, and social behavior of a particular people or society.” When those specific things have been stolen from one culture or...

• Cultural Appropriation

Waste Management Problem In The Fashion And Footwear Industries

Project Abstract The Internet has changed the way people purchase goods in the 21st century: many types of goods and services have become available online. Luxury fashion goods followed this trend after an initial delay, primarily due to the nature of these goods. The purpose...

Gucci: The Sustainability and Innovation in the Fashion Industry

Gucci is an Italian fashion brand has nearly 100 years history in this luxury industry. It is now achieving the vision to become the leading luxury fashion house in the world with more than 13$ billion brand value. Not only succeed in its main corporate...

Why Gender Neutral Clothes May Become a Permanent Part of our Life: The Advantages of Gender Neutral Clothing

Fashion has always been a platform where people can express themselves and be unique. It was further extended when gender neutral clothing came into play. Clothes that were created for both sexes without gender prohibitions included were used by many designers and brands. A space...

• Gender Roles

The Youth Culture in Fashion: Trends and Marketing Strategies

The fashion industry has always been characterized by constant change and evolution, but in recent years, we have seen a significant shift in the industry's direction. The rise of youth culture has had a profound impact on fashion, shaping everything from the styles and trends...

• Youth Culture

The Vital Objectives and Social and Natural Obligations of Gucci 

Gucci was based by Guccio Gucci in Florence, Tuscany, in 1921. Toward the beginning of the nineteenth century, the Gucci organization got one among the world's most palmy creators of top of the line creature skin product, dress, and elective design item. As Partner in...

Surfing Subculture and Its Link to Fashion

The first chapter begins with a quote by the famous Duke Kahanamoku, considered the father of modern surfing (SurferToday). This expression has been chosen to represent each individual linked to the surf-culture. The devotion to water is supreme and only within it one wants to...

The Importance of Cultural Appropriation in Fashion

Evidence 1 - Undermines the culture Indigenous people have fought to preserve for decades and strips it of its significance. Suffering from centuries worth of genocide, Indigenous people continue to fight to preserve their culture and traditions. However, appropriation has led to the modernization of...

Japanese Culture and Its Influence on the Global Fashion 

How has Japanese culture influenced the global fashion industry? When society recalls the words 'Japanese culture', the first image that pops into our mind is of the kimono. In reality, the historic roots and the philosophical branches of the Japanese culture and traditions spread far...

• Japanese Culture

Fashion Photography as a Way to Form Social Trends

Fashion defines the social phenomenon of the way the people dress in a particular style depending upon various factors such as place, occasion, etc. It has always been considered to be a whim to a certain group of individuals, stereotyping the body forms of people...

• Photography

The Issue of Low Wage and Overwork in Fast Fashion Industry

'It hurts us to be paid so little. I have to do this and they sell one piece of clothing for more than I get paid in a month,' she said. 'We cannot eat nutritious food. We don't have a good life, we live in...

Capitalism and Democratization of Fashion with Fast Fashion

Abstract Fast fashion is a phenomenon that takes place in our world as a consequence of the rise in the adoption of the capitalist system by countries around the world. Fast fashion mimics designer clothing at a much more affordable price. To make this happen,...

The Impact of Fast Fashion on the Fashion Industry

Fast fashion refers to fashion or fashion business that reflects the latest trends in fashion with a relatively inexpensive price, and a fast turnover of fast goods. It was named fast fashion meaning fast and rapid circulation like fast food. This essay will outline the...

Fashion Isn't a Size: Body Image in Modern Society

Body image identifies with how individuals ponder their very own body. It identifies with people’s observations, emotions, and how people contemplate his or her body. It is typically conceptualized as consolidating body size and assessment of how attractive one’s body is. Feelings related with one's...

Relation of Fashion, Confidence and Self-Esteem

Many people claim that confidence stems from being wealthy, whilst others regard it to be about keeping a positive mental attitude and mind-set, but what if confidence is actually about what we wear? (O’Callaghan, 2014). 96% of women aged between 21 and 64 years ‘believe...

• Self Esteem

Utilization Of Optical Illusions In Fashion

ABSTRACT Eyes take in reflected light off objects around you. They use a lens to focus them onto light-sensitive cells at the back of your eye in a membrane called the retina. There are two ways our eyes perceive an image through, Rods and Cones....

• Effects of Technology
• Marketing Strategy

Big Business In The Material World: H&M

”Due to a controversial item sold on H&M’s website and lack of diversity, the global clothing giant has been deemed racist by many people. On January 7, 2018, H&M premiered a questionable “Coolest Monkey in the Jungle” sweatshirt being modeled by an African American child...

• Brand Management

Clothing Exhibition “Reigning Men: Fashion In Menswear 1715-2015”

Ah, the Weather Girls. Their oeuvre and specifically their song “Reigning Men” has left its imprint on popular culture and in this case the fashion industry as it inspired Sharon Takeda to modify the title of said song to fit the exhibition of a spanning...

H&M In Fast Fashion: Continued Success?

Key Points and Challenges H&M has had tremendous success in the fashion industry. One of their key points of success is their ability to replicate its unique business in 61 countries. The business model emphasizes high fashion at prices below their competitors. However, the sustainability...

Research Of The Geography Of My Closet

Throughout this project, I have learned a lot about the geography of my closet and where my clothes are being made. After doing thorough research, I have concluded that the headquarter and manufacturing countries are not located in the same countries. I think that the...

Technology - Redefining The Landscape Of Apparel Industry

The Indian market has been introduced to the concept of pre-owned luxury apparels, presenting a nuanced approach. To thrive in the apparel industry, a commercial model must be built based on a deep understanding of market expectations, allowing for the creation of strategies that meet...

The Dolce & Gabbana Application - The World Of Fashion

Extravagance fashion brand Dolce and Gabbana is giving technically knowledgeable rich customers a versatile ordeal that consolidates a form situated interface with a determination of fashion world through an iPhone app. The Italy-based design brand, Dolce and Gabbana, is an all-around presumed name among people...

The Representation Of Different History Periods In Fashion Collections

From Victorian era till today, the corset has a long and checkered history. Its disappearance and reappearance links to the changing shapes of female body throughout the history. But this staple garment which was used as an underwear in the Victorian era has now being...

• Victorian Era

Fashion In The Moving Image

The language of fashion has somehow always been juxtaposed to the language of film. Indeed, clothing, costume, and sartorial ‘fashionable’ elements are central to filmmaking, and they convey a wide variety of meanings that oscillate between the characterization of filmic subjects and their narration, the...

• Film Editing

The History Of The Vogue Magazine, Its Development And Current State

Vogue Magazine has a rich and historical background, complete with its foundation, growth, and current status. According to, Vogue, they have been selling magazines for 126 years now. The first of which magazine came out in 1892. Vogue is one of the most well known...

The Influence Of Global Fashion On Beauty Standards In Asia

The facial structures and appearance of different races or ethnicities are distinct due to genetic heritance and their people consist of each view on the standard of beauty respectively. Therefore, dissimilar cosmetics and makeup technique is required for different races or ethnicities to achieve their...

Best topics on Fashion

1. How Fashion Has Changed Over Time

2. Literature Analysis of a Socio-Economic Subculture in Fashion

3. From Aristocracy to Masses: The Evolution of Fashion in Europe

4. Analysis of Current Changes Affecting the Fashion Industry

5. British Fashion: the Rich and Complex History of 20th Century

6. 1960s Dress Type: Main Concepts of Influence

7. The Evolvement of 1920s Fashion and Trends

8. Taekwondo, Music and Co-creating Own Fashion Line

9. Justification Of Animal Cruelty In The Name Of Fashion

10. Ethical Fashion: Animal Cruelty In Fast Fashion Industry

11. Cultural Appropriation In Fashion Industry

12. Waste Management Problem In The Fashion And Footwear Industries

13. Gucci: The Sustainability and Innovation in the Fashion Industry

14. Why Gender Neutral Clothes May Become a Permanent Part of our Life: The Advantages of Gender Neutral Clothing

15. The Youth Culture in Fashion: Trends and Marketing Strategies

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✍️Essay on Fashion: Samples in 100, 150, 200 Words

• Updated on  
• Oct 26, 2023

Fashion is a non-verbal form of expression that describes a person’s character and sense of style. Before, it was just the realm of the famous, and aristocracy. However, the average person, particularly young people, can now afford to wear fashionable clothing. Additionally, fashion started out as a trend but through time came to be accepted as a certain way of living, whether it be in terms of behaviour, apparel, or lifestyle. Speaking of which, in this blog, we will talk about how fashion has evolved over time in our sample essays. Let’s dive in. 

Table of Contents

• 1 History of Fashion
• 2 Essay on Fashion in 100 Words
• 3 Essay on Fashion in 150 words
• 4 Essay on Fashion in 200 Words

History of Fashion

Not just fashion designers but other people are curious to know the history of fashion. According to historians, Charles Frederick Worth was the first fashion designer. When clothing was still created by unidentified seamstresses, he founded the House of Worth, a fashion design studio, in Paris. Contemporary fashion is characterized by a blend of diverse influences, styles, and trends from various cultures and time periods. Fashion has become more accessible and inclusive, with designers experimenting with sustainability, technology, and innovative materials to create unique and socially conscious clothing

Also Read: Essay on Nature: In 100 Words, 200 Words, 300 Words

Essay on Fashion in 100 Words

Fashion encompasses clothing, accessories, and even behaviours, reflecting culture and individuality. Fashion evolves continuously, driven by designers, influencers, and changing norms. It has the power to convey identity, status, and creativity. Whether classic or avant-garde, fashion allows individuals to make statements and connect with others through a shared aesthetic.

It mirrors the zeitgeist, responding to economic, environmental, and social shifts. In a world of fast fashion and sustainability concerns, redefining our approach to style becomes essential. Fashion’s allure lies in its ability to blend art, identity, and innovation, shaping our visual language.

Essay on Fashion in 150 words

Fashion is a form of self-expression that plays a significant role in our lives. It includes clothing, accessories, and personal style, reflecting one’s personality and cultural influences. Fashion trends constantly evolve, influenced by designers, celebrities, and societal shifts.

The 1920s saw the rise of flapper dresses and a rebellious spirit, while the 1960s embraced mini skirts and the counterculture movement. In recent years, sustainability and ethical fashion have gained prominence, emphasizing the need for eco-friendly choices and responsible consumption.

Fashion is more than just aesthetics; it is an industry that impacts economies, employing millions worldwide. It serves as a medium for creative expression, and social movements often utilize fashion to convey powerful messages.

In conclusion, fashion is a versatile cultural force that goes beyond mere clothing. It reflects our society’s values and artistic expression.

Also Read: Essay on My Favourite Book: Samples in 100, 200, 300 Words

Essay on Fashion in 200 Words

Fashion is an evolving form of self-expression that has penetrated our daily lives, bringing more clothing choices to become a reflection of culture, identity, and individuality. 

Fashion, throughout history, has mirrored societal norms and values. It has been a canvas for rebellion or conformity. Whether it’s the flapper dresses of the 1920s, the bell-bottoms of the 1970s, or the minimalist styles of the 21st century, fashion has been a powerful communicator.

Moreover, the fashion industry is an economic powerhouse, shaping global trends and contributing significantly to various economies. It influences not only what we wear but also the jobs we create and the environmental impact we have.

Fashion’s role in personal identity is undeniable. People use clothing to express their personalities, tastes, and beliefs. It empowers individuals to feel confident and unique.

However, the fast fashion industry has been criticized for its environmental footprint and labor practices. However, over time calls for sustainable, ethical fashion have gained momentum, emphasizing the need for responsible consumption.

In conclusion, fashion is more than just attire; it’s a reflection of our culture, an economic force, a personal identifier, and a global conversation. As we navigate the complex world of fashion, it’s essential to strike a balance between personal expression, industry responsibility, and environmental sustainability.

Related Articles

The development of clothing, footwear, accessories, cosmetics, and jewellery with varied cultural aesthetics and their mixing and matching to create outfits that represent distinct styles of dressing are referred to as fashion. 

Fashion is a form of expression that is not restricted to clothing, this term often refers to designer clothing and accessories.

Dressing up shows how we look at someone. They help create an idea of what we think of someone’s personality. Wearing makes someone comfortable and people will respect your individuality. Therefore, this is an important part of fashion. 

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Malvika Chawla

Malvika is a content writer cum news freak who comes with a strong background in Journalism and has worked with renowned news websites such as News 9 and The Financial Express to name a few. When not writing, she can be found bringing life to the canvasses by painting on them.

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Home — Essay Samples — Life — Fashion — Evolution and History of Womens Fashion in 1920s

Evolution and History of Womens Fashion in 1920s

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Published: Feb 12, 2019

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Fashion and Feminism

How it works

The late 1700s through early 1800s saw a major shift from huge Victorian dresses with extensive undergarments to thinner Greek-inspired forms. This change occurred as a direct result of America’s independence from British rule. The idea behind this shift was to appear less British and more democratic, hence why inspiration was drawn from the democratic Greeks. This led to greater freedom of movement for women, both physically and socially.

In 1851, Amelia Bloomer introduced “bloomers,” the first form of women’s pants in America.

Bloomers were essentially loose pants worn under a dress-like garment. The popularity of bloomers was short lived- neither suffragettes nor other women adopted the style permanently. On the contrary, suffragettes and women’s rights activists preferred to wear traditional and mainstream women’s clothes in order to be perceived as a respectable woman and to avoid distracting from their cause. Women’s gowns during this time period retained their feminine form but were much simpler as public dress and private dress became less distinct.

At the beginning of the 20th century, America’s participation in the first World War led to many men leaving to join the armed forces. The absence of these men and the emphasis on community efforts on the Homefront helped to soften the rigid barriers between social classes. Furthermore, women’s role in the public sphere grew and changed. The separation between a woman’s public and private sphere grew thinner. The changes in fashion throughout this time are reflective of a shift in culture from having strict social rules to a simpler way of life.

In the 1920s, the first World War has just ended. Americans, and in particular, American women, had new standards of both fashion and freedom. Many things were happening for women in the 1920s. Prohibition was in place for the entire decade and speakeasys were the place to be- for men and women. For the first time, women were participating in this previously male-dominated pastime- drinking at a bar in public. Furthermore, the 19th amendment was ratified in August of 1920- women had the vote and could now set their sights on more freedoms, such as sexual liberation. It was the combination of these two major societal changes that made the boyish silhouette and style so famous in the 20s. The lean and androgynous style of the 20s was defined by calf-length hems, dropped waistlines, and loose fitting dresses. In addition, sportswear became popular public attire for women, something that had long been an acceptable form of fashion for men. For the first time in American fashion history, women embraced the masculine form just as they embraced traditional masculine activities, such as public drinking and fooling around.

Also in the 1920s, black Americans had more opportunities for education and employment in some areas and black women used this freedom to buy clothes that were previously reserved for white women. The economic fabrics used in women’s dresses during this time period also made fashion more accessible to women of lower economic classes. For perhaps the first time in American history, mainstream fashion was attainable for all women, not just wealthy white women.

The 30s began with the stock market crash and the country spent the next decade in an economic depression characterized by high rates of unemployment and hardship. In the 1930s, culturealideology shifted away from the push for women’s rights as it became more important for a woman to fulfill her domestic role as a mother and wife. As a result, women abandoned the carefree, playful, and androgynous style of the 1920s in favor of more mature and sophisticated silhouettes. 30s style promoted a more sleek and feminine form with long gowns and Greek-inspired details. In addition, movies were very popular in the 1930s, and American women had movie stars to look to as fashion icons. Several popular actresses at this time wore pants and, for the first time, slacks became an acceptable style for women.

With the 1940s came World War 2, and with the war came conscription. As fathers, husbands, brothers, and sons left to fight in the war, the role of the American woman changed drastically. Women joined female branches of the military, worked military production jobs, and filled other jobs that had been left by men. Also because of the war, the flow of fashion from Europe to America came to a screeching halt and America was on it’s own. So our fashion industry experienced an unprecedented boom and for the very 1st time, America became the fashion center of the world. Women’s fashion included defined shoulders, shorter skirts, tailoring, and suits with tight pencil skirts. These outfits were paired with boxy, masculine, and military-like jackets. For leisurewear, American women embraced slacks and overalls. There were 2 main reasons for this shift in fashion: fabric rationing and an increased masculine-role for women in society.

Thriftiness and masculinity were abundant in women’s fashion throughout the 1940s. However, as the war ended and soldiers returned home, women were encouraged to embrace femininity and motherhood as they left the workforce and primarily assumed the roles of mothers and wives. As a result, women’s fashion during this time period included feminine silhouettes with dresses and skirts more suited for domestic duties than for the workforce.

The 1960s were a decade of immense social change. This decade brought the widespread accessibility of the birth control pill, inspiring the women’s liberation movement. This movement sought greater equality for women and men in America, shedding light on issues such as reproductive rights, violence against women, workplace equality, and more. This explosion of ideological changes resulted in an explosion of new fashion trends. Pants for women were in style, although they were still controversial. Underwear underwent a drastic change for women, bras were barely padded and women wore very short slips underneath dresses. Some feminists chose to stop wearing bras altogether as they believed that being forced to wear bras was an oppressive structure and that women should be able to make that choice for themselves. In addition, the introduction of the miniskirt in 1965 revolutionized women’s fashion. This garment was a true reflection of the sexual and social liberation that women achieved through the feminist movement in the 1960s.

Perhaps one of the most important cultural events that occurred during this time period was the Civil Rights Movement. As black Americans fought for the enforcement of their constitutioaln rights and racial equality, African American women and men expressed themselves by reclaiming traditional African designs and patterns. Black female activists often wore their hair naturally, embracing afros and curls. This rejection of Eurocentric beauty ideals mirrored their rejection of white supremacy ideals in America.

As the feminist movement and civil rights movement continued into the 1970s, activists grew more aware of the importance of appearance and fashion to the promotion of their agendas.

The 1970s saw the rise in popularity of jeans as fashion. Jeans were worn by both men and women, a visual representation of the greater sexual and social equality between genders. For women, tight fitting jeans that hugged hips and emphasized curves were garments of liberation. They were not only sexually provocative, but they were perhaps the first mainstream clothing item to be entirely unisex. Jeans, in the 1970s, were truly a symbol of the success of the women’s liberation movement.

The 1980s was all about powerdressing. Iconic women’s fashion of this decade features boxy silhouettes and bold shoulders. In fact, style in the 1980s is very reminiscent of the popular style of the 1940s, with the addition of pants, brighter colors, bolder patterns, and more fabric. This is not a coincidence. Both decades saw a massive influx of women joining the workforce and, subsequently, embracing masculine silhouettes in their clothing.

Since the 1990s, there has been an explosion of individuality and expression in clothing. Women’s fashion can no longer be defined by a single aesthetic. Each and every woman expresses herself differently through fashion. This uniqueness and individualism amongst women is a result of all of the social progress that women have made in America. One of the most notable current fashion trends is the graphic t-shirt. With the graphic tee, women (and men) express their beliefs every day through fashion in a way that is clear and straightforward.

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• Essay On Fashion

Essay on Fashion

500+ words essay on fashion.

Fashion is one of the most talked-about industries in today’s world. Fashion can be defined as anything that becomes admirable among the masses. It is a popular aesthetic expression. Fashion is related to clothing, hairstyle, makeup, accessories, footwear and lifestyle. People want to distinguish their personalities from others with their style quotient. Like every new year, fashion also comes and goes. The latest fashion will be more fashionable and colourful than last year.

New trends in fashion influence people of all ages. There is a tremendous amount of competition between the industry and consumers. Different cultures and nationalities have different styles of fashion. Due to this reason, it is always fascinating to travel to various parts of the world to observe how people dress in those countries. Now, clothes have become one of the main reasons to express themselves instead of merely covering their body.

Different people need different styles and designs for their uniqueness and personality before wearing that specific fashion design. This essay will talk more about fashion history, importance and trends.

History of Fashion

Fashion is all about the history of people. For thousands of years, people have loved fashionable clothing. Clothes, from the early days of Egypt, have become our expression. We can see fashion worn in various civilisations throughout history, documents, drawings, and other archaeological findings. Eastern neighbours influenced clothes of different styles worn by the Greeks. Both males and females used to wear thick woollen long dresses.

During ancient times, Egyptians used to wear light cotton clothing, and Egyptian women wore long, ready-made clothes. Later on, the Romans dominated the most significant example of fashion and style.

When people started migrating to Europe, accordingly, the style changed. To keep themselves warm, women used to wear warm clothes and men plain and armour clothes.

Since there were not enough raw materials to produce new clothes for people who migrated to America in that era, dresses were ordered and sent to the oceans by ships to cope with the demand. Suits with leggings were men’s attire, and women wore long clothes and hats on their heads. Over time, the form of the dresses transferred from voluminous dresses into soft, frequent, high-waisted skirts.

Women’s skirts were shorter and thinner at the beginning of the century. Trousers of men slowly went from ankle to knee-length. During the World Wars, women’s style transformed into shorter skirts below the knee.

The ‘80s brought significant trends related to fashion and hairstyles for both genders. The transitional fashion period is from the sixties and seventies. During this time, women wearing trousers became acceptable.

From the 20th century to the 21st century, fashion change continued, and still today, it is evolving.

Fashion Trend

When we talk about influencing fashion, political influencers play a vital role. There are a lot of instances where politicians become fashion symbols, like Princess Diana and First Lady Jacqueline Kennedy. Political revolutions also left a significant impact on fashion trends.

Technology is another significant factor that influences fashion. The fashion industry saw rapid growth in technology such as 3D printing technology, wearable technology, etc. The Internet also affects fashion trends.

People are influenced by their favourite stars, influencers, etc. The strongest influencers in the field of fashion are social media influencers. Young stars try to emulate the fashion styles of their loved celebrities. For example, hoodies came into fashion due to rap musicians. Television and movie stars also influence fashion trends.

It’s entirely up to you to be fashionable; it shouldn’t be forceful, and it is your own decision what you want to follow. Our fashion sense also reflects our culture. It makes our life colourful and adds variety to life, providing an opportunity to try out something new. Though this time of the 21st century in India, most people are influenced by the style of fashion, they have not forgotten our traditions and culture, which are the priority and symbol of our country.

From our BYJU’S website, students can also access CBSE Essays related to different topics. It will help students to get good marks in their exams.

Frequently Asked Questions on Fashion Essay

What is fast fashion.

Fast fashion is trending now, and it refers to the rapid designing of outfits using inexpensive clothing.

What subjects are taught in Fashion Technology?

Fashion ornamentation, Fashion management and merchandising and Computer-aided designing are the main subjects taught in the course Fashion Technology.

When was the origin of fashion?

Fashion started when human beings started wearing clothes. But modern-day fashion is said to have its origins back in the year 1826.

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‘There’s no going back’: reasons to be hopeful about the future of fashion

From textile waste to microplastics, the industry is broken. But with Fashion Revolution Week starting today, we ask sustainability experts for some positive news

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A t times it is incredibly hard to be optimistic about the fashion industry, with its £1 bikinis and £0 boots . Fashion is the world’s second-largest industrial polluter, accounting for 10% of carbon emissions . Microscopic fibres from synthetic clothing are now found in waterways and food chains , while piles of unwanted clothing dumped in countries such as Ghana are so big they can be seen from space. Despite all this, the cycle of newness and shopping continues.

When an email arrived in my inbox from Fashion Revolution, the non-profit social enterprise founded in the wake of the 2013 Rana Plaza factory disaster , I was curious. The group has become the world’s largest fashion activism movement. In the decade since it started campaigning, it has sparked an international movement with its Who Made My Clothes? campaign and launched the Fashion Transparency index to measure how open and accountable major fashion brands are about their human rights and environmental practices. But, for all of its efforts, greenwashing in the wider industry remains rife – particularly in April, around Earth Day . So, how much has actually changed?

I asked experts what there is to be positive about.

Aditi Mayer , climate activist “As important as conscious consumerism is, true changes in fashion will be underpinned by the trifecta of supporting workers’ movements, consumer awareness and corporate accountability. An example of this has been support for the Fabric Act , which would support workplace protections and manufacturing incentives to cement the US as the global leader in responsible apparel production. We’ve also seen the rise of support for the Fashion Act , recently championed by celebrities such as Leonardo DiCaprio and Angelina Jolie , which would hold companies accountable and level the playing field for those already trying to do the right thing, such as mandate that companies know and disclose their supply chains.”

Hannah Rochell , founder of the sustainable style website slowette.com “It’s really encouraging that there are now so many brilliant, responsible options for British-made clothing. From made-to-order models like Emiko and Roake Studio, to small-batch producers – I love Batch London and Paynter – and Patrick Grant’s Community Clothing, whose raison d’etre is to restore local skills and prosperity in towns across the UK by means of its quality basics.”

Tiffanie Darke, founder of the newsletter It’s Not Sustainable “I’m excited for new legislation. France, as ever, is leading the way with money-back schemes for those who repair clothes and punchy proposals to tax fast fashion brands . I’m also excited for more conscious consumerism: there has been a groundswell of understanding in recent years that fashion should not be an all-you-can-eat buffet, that consumption has consequences and there is such a thing as too much. The Rule of Five campaign [which Darke pioneered] , along with no-buy and 30-wear challenges are attracting increasingly large audiences.”

Tamsin Blanchard , journalist “Although there is still so much work to be done around workers’ pay and conditions, as well as the biggest issue of how to tackle overproduction, I’m excited about the work on regenerative textile production. Brands like Ōshadi , in India, are leading the way with new supply chains that work in harmony with nature. Their latest Seed-to-Sew collection is made with cotton grown in rotation with other crops to promote biodiversity and draw carbon into the soil. The fact that there are brands successfully reworking the way our clothes are grown and made gives me hope.”

Venetia La Manna , fair fashion campaigner “Fashion justice solutions come from the communities most impacted by Big Fashion’s greed, which is why I am so excited about the Or Foundation’s Speak Volumes campaign. It’s led by the second-hand community at the Kantamanto market, in Accra, Ghana, who work tirelessly to cope with overproduction. Speak Volumes is demanding industry-wide accountability on annual production numbers, and is calling on all fashion brands to disclose their production volumes. In November, brands including Lucy & Yak, Finisterre and Stripe & Stare all disclosed their annual production volumes. This is a win for accountability as we look to develop data-driven policies that cap the amount of clothing Big Fashion produces.”

Emma Slade Edmondson , sustainability consultant “I’m excited about how enthusiastic and inspired young people are about conscious fashion and doing things differently to my own generation. When I started in this industry I would be constantly asked (in a quizzical way) why I focused on ‘sustainable fashion’. Now, younger people are asking me why there are fashion brands and organisations who aren’t doing things in a more conscious way.”

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Clare Press, author of Wear Next: Fashioning the Future “Fashion media has woken up to sustainability. We’ve got a whole new generation of writers, editors, stylists and image-makers determined to hold the industry accountable, and bring their values to work. It’s a huge shift. There’s no going back – yes, we’re dealing with ultra-fast fashion and waste colonialism, and we haven’t solved our supply chain issues, but the level of mainstream awareness today is unrecognisable from a decade ago. The discourse has come of age. It makes me hopeful.”

Patrick McDowell , fashion designer “It’s amazing to see the rise of made-to-order fashion. It’s the main way we can create a more sustainable industry – through making what we know clients are going to buy. Once a business shifts focus to this way of working, it is concentrating on quality and craftsmanship over quantity of units sold. It’s better for the planet and better for those wearing the pieces.”

Tansy E Hoskins , author and journalist “An important step forward in the fashion industry is the recent creation of the Dindigul agreement to end gender-based violence and harassment in India. This agreement is the work of the Dalit women-led Tamil Nadu Textile and Common Labour Union and was created after the murder of garment worker Jeyasre Kathiravel . With its intersectional focus on ending gender- and caste-based violence, the agreement is a first for Asia and one of the few legally binding – not voluntary or corporate-operated – pieces of legislation in the entire fashion industry. It is a successful, working model for stamping out the endemic gender-based violence that happens right across fashion’s supply chains.”

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Fashion History – Women’s Clothing of the 1930s, 1940s and 1950s Essay

Women’s fashion in the 1930s, women’s fashion in the 1940s, women’s fashion in the 1950s, works cited.

The Wall Street crash of 1929 hit everyone in the U.S., and many people started preferring factory-made clothes due to their lower cost. And yet, women still strived to look beautiful, elegant, and even glamorous in the 1930s. They often would try to look sophisticated, wearing apparel of more muted colors, as well as clothes adorned with geometric or floral patterns. Unlike it had been in the decade before, many females of the 1930s wore mid-calf or floor-length dresses with long sleeves and wide shoulders. These dresses often were characterized by the accentuated high waist; and yet, they sometimes were bias-cut in order to make stress on the wearer’s curves (“1930s Fashion” n. pag.). Hats were still often used by women, though their use was reducing gradually (Phipps n.pag.). It is also worth pointing out that such material as nylon was introduced at the end of the decade; nylon stockings have become a popular type of clothing (“1930s Fashion” n. pag.). Thus, women of the thirties preferred more sophisticated and modest clothes than before. The dressing habits also were affected by the Wall Street crash, causing people to buy manufactured apparel rather than custom-made; and yet, they still tried to look fashionable and elegant.

In the 1940s, the USA recovered from the Great Depression; at the same time, the war was going on in Europe, which reduced the amounts of imports and provided the U.S. clothes industry with a boost. The women’s apparel was often characterized by “squared shoulders, narrow hips, and skirts that ended just below the knee” (“Women’s Clothing” par. 1); very slim, “wasp” waists were also popular. And yet, due to the war, limiting legislation was in effect, which caused firms to reduce the use of cloth and led to the use of more practical garments (“1940 to 1950” n. pag.). At the same time, the needs of war caused more women to work in factories; this led to the popularity of slack garments, which were perceived as scandalous before (“1940 to 1950” n. pag.). However, in 1947, Christian Dior’s first fashion collection was presented; in the American media, it gained the name of “New Look.” Even in spite of the fact that the collection had at first been met with disapproval as wasteful, “New Look” gradually became more and more popular, and added long skirts and “curvaceous shapes” to the American women’s fashion (“1940 to 1950” n. pag.).

The Dior’s “New Look” was already mentioned; it had a significant effect on the fashion for American women in the 1950s. The general look that included a very slim waist, making a woman look like an hourglass, still remained popular (Monet par. 2); this led to the frequent use of corselets, waist-cinchers, and similar means of making a female look thin. It is also stressed that women often had to attend social events in order to help their husbands with their career advancements, which led to the constant use of gloves (“1950 to 1960” n. pag.). The need to constantly look fashionable was alleviated by the fact that pret-a-porters became widespread, which allowed for the mass use of garments that resembled those of the “high fashion.” It is also noteworthy that women frequently had to play the roles of entertainers for males, and often wore cocktail dresses. This tendency became especially accented at the end of the 1950s, and was one of the factors that led to the development of the babydoll style in the 1960s (“1950 to 1960” n. pag.).

1930s Fashion for Women . n.d. Web.

1940 to 1950 . 2014. Web.

1950 to 1960 . 2013. Web.

Monet, Dolores. Fashion History – Women’s Clothing of the 1950s . 2015. Web.

Phipps, Paul . Fashion in the 1930s . 2016. Web.

Women’s Clothing . n.d. Web.

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IvyPanda. (2024, March 5). Fashion History - Women's Clothing of the 1930s, 1940s and 1950s. https://ivypanda.com/essays/fashion-history-womens-clothing-of-the-1930s-1940s-and-1950s/

"Fashion History - Women's Clothing of the 1930s, 1940s and 1950s." IvyPanda , 5 Mar. 2024, ivypanda.com/essays/fashion-history-womens-clothing-of-the-1930s-1940s-and-1950s/.

IvyPanda . (2024) 'Fashion History - Women's Clothing of the 1930s, 1940s and 1950s'. 5 March.

IvyPanda . 2024. "Fashion History - Women's Clothing of the 1930s, 1940s and 1950s." March 5, 2024. https://ivypanda.com/essays/fashion-history-womens-clothing-of-the-1930s-1940s-and-1950s/.

1. IvyPanda . "Fashion History - Women's Clothing of the 1930s, 1940s and 1950s." March 5, 2024. https://ivypanda.com/essays/fashion-history-womens-clothing-of-the-1930s-1940s-and-1950s/.

Bibliography

IvyPanda . "Fashion History - Women's Clothing of the 1930s, 1940s and 1950s." March 5, 2024. https://ivypanda.com/essays/fashion-history-womens-clothing-of-the-1930s-1940s-and-1950s/.

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The stars of the game wore top fashion labels Monday night that turned the draft into a mini-Oscars where style was front and center along with the picks.

Caitlin Clark. Cameron Brink. Kamilla Cardoso. Angel Reese.

They all stepped onto the stage and met the challenge essentially every woman can identify with: Overcoming the trepidation of finding just the right outfit for that special occasion.

“There’s never been a bigger spotlight on women’s basketball, thanks in large part to players like Caitlin Clark and coaches like Dawn Staley,” Rose Minutaglio, ELLE senior editor of features and special projects, wrote in an email to The Associated Press.

Usually, when a woman finds what she wants, it’s not a question of whether alterations are needed, but how much. The taller the woman, the bigger the challenge can be.

These tall ladies appeared to pass the test.

It was the perfect time for a fashionable splash just like NFL and NBA players do on their draft nights. Last year, Taylor Hendricks of UCF wore a pink suit with the jacket lined with photos representing his journey to the NBA and the people who meant the most to him.

“With more eyes on the league, players recognize the opportunity to showcase their personalities through their style,” Minutaglio said. “Because of glaring pay discrepancies, fashion partnerships and brand sponsorships will continue to play a big role for female athletes.”

Staley and her South Carolina Gamecocks’ victory over Clark and Iowa in the women’s national championship game outdrew the men in television ratings, and this is shaping up to be the WNBA’s most-watched draft.

The 6-foot Clark was joined in New York by the 6-7 Cardoso, 6-4 Brink and 6-3 Reese, among others. They’ve been busy since the NCAA Tournament, too, especially Clark, who made a surprise appearance on “Saturday Night Live.”

Clark went with a white jacket and skirt with a sparkly cut-off top, sunglasses and black heels. She credited having people help her prepare keeping it less stressful.

“The first time Prada has ever dressed a male or female for WNBA or NBA draft so pretty cool,” Clark said during the WNBA’s livestream from its orange carpet.

Brink and Reese wore outfits that wouldn’t be out of place during Fashion Week or a red carpet in Hollywood. Brink wore a diagonal black and white dress showing off both shoulders with a slit exposing her right leg.

Reese shimmered in a hooded, backless gray dress with a plunging neckline after a late wardrobe change with help from designers Bronx and Banco, Simon Miller and Christian Louboutin.

“I got this two days ago,” Reese said. “My original dress didn’t fit.”

Rickea Jackson of Tennessee made a wardrobe change between the orange carpet and the draft itself before being selected fourth overall by the Los Angeles Sparks.

“They’re just going to be falling in love with my personality,” Jackson said of Sparks’ fans.

Alissa Pili, the eighth pick by Minnesota, worked with a designer to pay tribute to her Alaska Native heritage in the black and gold pattern of her dress.

Most of these glam looks didn’t come off the rack.

Being tall is an advantage and not a hindrance for WNBA players. Models who grace the runways during fashion week and the covers of fashion magazines often stand at least 6 feet and taller.

The league’s own growing popularity in recent years also has helped.

“Players are also starting to work directly with designers, who help outfit them, and stylists, who focus on game-day drip,” Minutaglio wrote.

This was only the second WNBA draft with fans in attendance, and 1,000 tickets sold out in February for the event at the Brooklyn Academy of Music. Fans got to attend the 2016 draft at the Mohegan Sun when former UConn All-American Breanna Stewart was the top pick.

Shakira Austin, the third overall pick in 2022 by the Washington Mystics, understands the angst Clark and others faced. While the 6-5 center was playing in college at Mississippi, Austin was forced to be creative as she struggled to find pants that fit or any clothing that captured her style.

So she got busy with a sewing machine and became her own designer. Now that Austin is in the pros, she’s a fashionista tapping into her creativity, doing more than just pants, leggings and shirts. Austin told the AP earlier this year that it’s a great time to dive into both modeling and clothing design.

On her way to becoming the NCAA Division I all-time leading scorer, Clark was surprised by designer Kristin Juszczyk, whose husband, Kyle, plays for NFC champion San Francisco in the NFL. She created a puffer vest with Clark’s No. 22 in Iowa black and gold, putting the player in select company with the likes of pop superstar Taylor Swift.

Minutaglio said several brands work with female athletes, with Glossier and SKIMS teaming up with the WNBA specifically. She noted sports brands like Puma, Adidas and Nike all work with women in basketball.

“What’s interesting is we’re seeing players and teams branch out into high-fashion, wearing Dior and Louis Vuitton and Gucci,” Minutaglio said.

Staley herself was decked out on the sideline of the title game in Louis Vuitton, from her silver jacket down to her sneakers, grabbing attention for her look far beyond the sports pages. Minutaglio noted New York-based women’s wear brand M.M. LaFleur has a multiyear deal with the New York Liberty.

“I wrote a story for ELLE in 2022 predicting the rise of WNBA game-day fashion, and since then, the looks just keep getting better and better,” Minutaglio wrote. “The fashion set is excited to see where it goes from here.”

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The Associated Press