Though the dominant trend of the 1980s was characterized by an ethos of “bigger is better,” exemplified by taffeta and vibrant colors, a counter-narrative emerged as certain designers forged their unique paths, crafting distinct styles.
For everyday wear, American designers such as Perry Ellis and Ralph Lauren drew inspiration from traditional menswear, incorporating elements like blazers, button-down shirts, and hand-knit sweaters to fashion a casually sophisticated womenswear aesthetic.
These designs became synonymous with a relaxed American style and were embraced as “preppy” fashion within the United States, a term alluding to the prestigious preparatory schools attended by affluent teenagers.
This style was deeply rooted in the sartorial traditions of the Ivy League and Seven Sisters colleges, alongside the fashion sensibilities of early twentieth-century British aristocracy. Rebecca C. Tuite, in her work Seven Sisters Style, aptly notes, “Lauren’s interpretation of the collegiate look was never a costume or a disguise; it was an understated appreciation of good, classic style” (104).
The plaid suit designed by Perry Ellis serves as a clear homage to the collegiate fashion prevalent in the late 1940s and early 1950s. Tuite further elaborates on the diverse interpretations of this look throughout the decade: “The preppy fashions of the 1980s ranged from understated and classic to gaudy and ironic” (107).
Concurrently, on the other side of the globe, a groundbreaking and unconventional fashion movement was taking shape in Japan. De la Haye and Tucker observe, “The clothes of innovative Japanese designers, who continued to show in Paris, offered a stark and often startling alternative to Western styles” (Laver 277).
Designers of the caliber of Rei Kawakubo of Comme des Garçons and Yohji Yamamoto employed deconstruction and exaggerated proportions as key techniques to fundamentally alter the interplay between clothing and the body.
This avant-garde approach resulted in striking styles that stood in sharp contrast to the prevailing fashion norms of the decade. Their dominant use of black as a color palette would extend into the early 1990s, marking a transition from the power dressing of the eighties towards the minimalist aesthetics of the subsequent decade.
