Pop Goes the Fashion

If the Ai and fake images of Taylor Swift’s Dior by Jonathan Anderson wedding dress are anything to go by, the synchronisation of fashion and popular music is a completely watertight partnership. We see Bad Bunny fitting a visit to Schiaparelli couture in between his concerts, Benson Boone and his love affair with Dolce e Gabanna, Lady Gaga obviously continues to be a leader of discovering and wearing new names, and so many in the business of performing and making music working with the fashion industry and designers to enhance their image. At the couture shows held in Paris the first week of July, Cardi B was at Robert Wun, Jennifer Lopez at Celia Krithorioti and Zuhair Murad and so it goes. Singers and performers love fashion, and there is a long history of this mutually beneficial and harmonious partnership.

There is plenty of information out there to make a book, it is a fascinating subject, and I hope my “notes” will remind you of high points in your music and fashion life. I will summarise by the decades since 1900 and how it’s all developed to today really to show that the obsession with Dior and the Swifties is nothing new.

Words by Tony Glenville

To start at the dawn of the twentieth century 1910-1920 sees musical comedy and music hall in the British Isles, the Ziegfeld Follies in America and the Follies and Reviews in France link many performers to fashion. A brief example: Lucile couture, the great Lady Duff Gordon, dressed Lily Elsie in London and the Ziegfeld girls in New York, Paul Poiret dressed Mistinguette in Paris, and many others made stars look like stars in stylish extravagance and plumes. It was the period of Cecil Beaton’s costumes for My Fair Lady, so you get the picture.

Moving on to 1920- 1939 we are in the time of Art Deco and short skirts, flappers, and the emergence of cinema as a huge influence. Jean Patou dressed the Dolly sisters and emerging designers not only dressed people on stage but also in their private lives. Actress and singer Gertrude Lawrence wore Molyneux day and night, in public and in private. During the difficult years leading up to the Second World War fashion and glamour and escapism was essential in terms of both the performers and fashion.

After the war years and austerity between 1940 and 1950 fashion in the 1950’s and 1960’s is focussed on the rise of live performance and entertainment alongside the growth of television. It is a huge boom time for fashion since being on a weekly show meant a new wardrobe every week. Dinah Shore 1951 – 1957 then Judy Garland 1963 -64 worked with many fashion designers. Ray Aghayan, Bob Mackie, Howard Greer, and Norman Norell are amongst those who dressed these stars, experienced both in fashion and movie costume. Indeed, the delightful story is Ray Aghayan was so up to his ears in costuming Judy Garland he sent Bob Mackie to Mitzi Gaynor to design for her TV series, leading the way to Mitzi wearing the first nude beaded gown by Mr Mackie. At the same time, the gentlemen singers and performers like Dean Martin, Frank Sinatra, and Andy Williams were predominantly seen in suits or tuxedos, with minimal dressing down.

1960-1970 is a time of a huge fashion shift, and no one saw the link to music better than Diana Vreeland when she joined Vogue as editor in chief in 1963. Her pages across the seasons included Barbra Streisand wearing Madame Gres, Cher inside and on the cover of the magazine, coverage of The Beatles and the Rolling Stones and styles encompassing rock to disco, heavy metal to country and western. In the U.K. stars like Sandie Shaw, Lulu and Cilla Black wore trendy London designers like John Bates or Biba, the elegance and ball gowns of the older stars now replaced with mini skirts or slender empire line dresses. During the 1960’s no one in British popular music was as stylish as Dusty Springfield; dressed by Douglas Darnell and Eric Plant as well as June Fernihough her look from hair to shoes looks as wonderful now as it did then. Menswear starts to relax, but early images of bands are shocking in their clothing looking back rather than forwards and it is not until the end of the decade Ossie Clark dresses Mick Jagger and even later 1974 to see Freddie Mercury in Zandra Rhodes. Of course, David Bowie flouts all convention and wears Kanzai Yamamoto but also not until after 1971.

1970-1980 is a decade that started with disco and ended with punk, but also where we see Aretha Franklin teach us how to drop a fur on stage, marvellous. Steve Nicks threw down a fashion and style gauntlet by having her own sketches translated into her personal style by Margi Kent, whilst David Bowie and Elton John broke every menswear rule. Diana Ross and all the Motown singers were dressed by designers Michael Travis and Pat Campano alongside Bob Mackie produced endless sequinned and feathered dresses, catsuits, tops and trousers glittering and dancing in studios, nightclubs, and concert halls. Note that across decades Cher does fashion on her own terms since she switches, even with Bob Mackie, from black velvet simplicity to insane pirate gypsy queen, she is in a sense outside, and even fashion.

1980-1990 is the decade where lace fingerless gloves and crucifixes heralded Madonna, Prince invented a genderless but sexy dandy, Boy George just did gender confusion to perfection, and also blurring masculine/feminine Grace Jones continued to stun with impeccable style. Cyndi Lauper looked like no one before and had a spirit and a zest in her approach to fashion that still lingers. The wonderful partnership between Tina Turner and Azzedine Alaia started mid eighties, although I have to say I once saw Tina and her backing singers and dancers all dressed top to toe in Thierry Mugler at Le Palace in Paris, amazing. Prince also gained Dolce e Gabbana clothes at this stage in his promotional videos, but they were uncredited. This is the decade MTV launched hundreds of videos worked with fashion designers, indeed fashion of every sort, but often uncredited. Meanwhile Madonna moved on to Jean-Paul Gaultier and the cone bra and tailoring on the cusp of the decade.

1990 and onwards means we discover Bjork whose design partnerships are conceptual and intellectual, not just fashion. Alexander McQueen, Iris van Herpen, Marjan Pejoski, Hussein Chalayan, Junya Watanabe or Issey Miyake, are amongst her collaborators on stage and screen looks, she is truly special and her contribution to music and fashion must never be underestimated. Lady Gaga searches everywhere with her team for styles and creations both glamorous and edgy since she herself can perform intimate jazz or arena size concerts. Giorgio Armani and Valentino haute couture or Marc Jacobs and Brandon Maxwell also point to the substantial change that most musicians and performers explore fashion and designers. And it is not about a partnership across seasons, it’s about what they need, this also reflects how designers themselves move from house to house. Today after Donatella Versace and Riccardo Tisci, Madonna has her latest tour looks designed by Gurum Cvasalia.

We must also note that in this brief look we have ignored how partisan many musical performers are to designers from their own country of origin. Typically, French chanteuse Sylvie Vartan wore a great deal of Yves Saint Laurent to perform in France and there are many, many examples of this across the globe.

In the beginning although fashion played a part, for many performers specialist designers were often best at the job. Also, some performers know their own style, what the audience and fans expect, and stay pretty much true to their image. It is exciting whilst writing this piece to note that Bad Bunny wore Schiaparelli, as well as attending the show. So, in musical and fashion terms there’s lots of choices and balances to be made, it is not a simple or easy decision. Eccentricity versus glamour, designer label promotion or a variety of names, new discovery or heritage and established, luxury name. Oddly, to return to Taylor Swift, her wardrobe isn’t such a huge part of her star quality and according to Ai her go to designers on stage are, Oscar de la Renta, Roberto Cavalli and Vivienne Westwood, that is American, Italian, and British? Of course, now there is a jump to Dior in Paris, under an Irish designer. So, I think we can safely say that Taylor, in her fashion choices sums up music and fashion in 2026, it is truly international.