The statements of fashion: Clothing and the rise of conservatism

Fashion is political. In fact, it always has been. Just look at the attire worn by the Suffragettes which largely consisted of stereotypically feminine attire such as long, white dresses and lace gloves, in contrast with their daring and often controversial actions. This was a clever way of using clothing in order to ensure women were taken seriously by a narrow-minded, patriarchal society and would thus gain the right to vote. Additionally, the Black Panther Party’s style was revolutionary. For example, their signature, militaristic black berets connote strength and power whilst their sunglasses were used to conceal their identities and protect them from facing unjust police brutality. Thus, it is no surprise that fashion continues to reflect the political climate. However, rather than protesting the political agenda, fashion now seems to be conforming to the rise of conservatism.

I’m sure we have all seen the rising popularity of the ‘trad wife’ figure as well as the ‘old money’ and ‘quiet luxury’ aesthetics across social media. The ‘trad wife’ famously wears feminine and modest clothing, reminiscent of the ideal housewife illustrated in 1950s political propaganda. On the other hand, ‘quiet luxury’ advocates for investment in simple yet expensive garments, an unattainable concept for the vast majority of society.

All these trends have one thing in common: They romanticise conservative values of traditionality, whether it be through idealising stereotypical gender roles or upholding damaging notions of classism and elitism. It is no surprise that these online obsessions have spiralled since Donald Trump’s re-election in 2024 and the rise of right-wing ideology.

It is clear that modesty is now at the forefront of fashion

Whilst these online trends encourage an increasingly restrictive and gendered sense of fashion, past times of rebellion and liberalism have championed a focus on individualistic style. For example, the freedom of expression found in 1970s women’s clothing paralleled the second wave of feminism as women began to wear masculine styles and crafted their own hippie garments. However, currently, the rise of conservatism has infiltrated the fashion industry so deeply that it is beginning to influence runway style, as seen on Skovgaard’s spring ’27 line at Copenhagen Fashion Week calling back to the 1960s through gingham dresses, feminine silhouettes, and skirt suits.

It is clear that modesty is now at the forefront of fashion. The dominance of corporate style on the high street, such as blouses and midi skirts, reflects a conservative focus on business. This office-inspired style moving from the workplace into home could be a consequence of the ‘quiet luxury’ aesthetic which advocates for minimalist pieces that can be worn on all occasions. However, this modesty is also an undeniable example of the hemline index. This theory states that the strength of the economy can be inferred from a woman’s skirt length. The longer the skirt, the worse the economy is. In a time where shorts are being replaced by capris and miniskirts have been dethroned by maxi skirts, current trends are advocating for women to show no more than their ankles in public. So, perhaps this growing sense of modesty within the fashion industry isn’t just a reflection of conservatism but also a recession indicator.

The white wedding dress is repeatedly being displayed in the media and subtly nodding towards the conservative expectation for women to marry

This growing popularity of modest clothing isn’t the only indicator that traditional gender norms are currently being reinforced through fashion. Weddings are increasingly being portrayed in film and television such as the recent box office hit The Drama, the highly anticipated final season of Euphoria, and the third film in the Enola Holmes franchise. Thus, the white wedding dress is repeatedly being displayed in the media and subtly nodding towards the conservative expectation for women to marry and fulfil the role of a wife.

In fact, there has lately been a rise in neutral tones across the fashion industry in general. The infamous colour matching system, Pantone, even named this year’s colour of the year to be ‘cloud dancer’, a shade of white. This is just another example of minimalism and elegance currently being prioritised over individuality and creative freedom within fashion.

In contrast, some creatives are clearly protesting conservatism through returning to maximalism. Whilst everyday fashion is generally remaining neutral and restricted, bright and bold makeup styles are increasing in popularity. For example, blue eyeshadow has made a grand return to the beauty scene this summer. Could this small step towards creative expression signal a change in political ideologies on the horizon? Or will we continue to move backwards in both fashion and thought?