The year 1982 and the 80s, in general, was an electric time in fashion. A very common silhouette was an oversized blouse with a statement belt to achieve the desired figure. The contrast between a large voluminous sleeve and a tiny waist was very desirable. Women’s power suits were popular as they were for the entire decade of the eighties. All of these silhouettes were seen in fashion magazines in bright colors and exciting prints. The dress of the year by Margaret Howell, Nigel Preston, and Maxfield Parrishshows a rather timid use of these elements (Fig. 1).
Do stripes, polka dots, plaids, florals, and geometric shapes come together to create a unified ensemble? Typically not, but in 1982, anything goes. Head-to-toe patterned ensembles were often seen in the pages of the trendiest fashion magazines. This image may seem unsettling, but somehow the designers of the year made these dynamic patterns into some of the most coveted items to own. An example can be seen in an advertisem*nt for Jack Mulqueen’s designs in Voguefrom November 1982 (Fig. 2). These eye-catching ensembles were available for purchase in department stores such as Bergdorf Goodman’s for around $248. This trend was similarly seen in French design houses. In Dior’s fall/winter 1982 collection, designer Marc Bohan combined a burgundy floral pattern with stripes of blue, green, and yellow fabrics to create one dress (Fig. 3). The Italian brand Missoni capitalized on this trend in the eighties as well. Their use of various patterns can be seen in this advertisem*nt from Vogue Italia‘s April 1982 issue (Fig. 4). Designers were inspired by many things to create such decorative prints. In discussing fabrics for Fall 1982, Women’s Wear Daily writes;
“Modern and classical art themes are the inspiration for printed American fabrics for fall, 1982. Works from Seurat, Van Gogh, Mondrian, and Monet are among the sources for the designs that include a sophisticated abstract brush-stroke paisley on polyester satin… Another directional trend is classified as Renaissance, featuring baroque and tapestry moods. A velveteen print from Miroglio Textiles, for example, features a border with diamonds, miniature leaves, and flowers on a paisley ground.” (24)
Many European design houses utilized statement patterns in their designs. Another popular designer of the year was Yves Saint Laurent, who was at the top of the industry (Golbin 607). An example of one of his designs is seen in Vogue Italia‘s March 1982 issue (Fig. 5). This dress also features the patterns on trend in 1982.
For sleeves in 1982, the more voluminous, the better. Tops of the year would commonly feature largely exaggerated balloon sleeves that added extra volume to a woman’s arms. Since the fashions of the year showcased an oversized sleeve, to accomplish the ideal female figure, designs would often be belted or tight around the waist. This strong juxtaposition between a voluminous sleeve and a tiny waist achieved a common ideal silhouette that can be found throughout fashion history. An example of this silhouette can be seen in an advertisem*nt for Adolph Schuman’s designs in the pages of Vogue‘s February 1982 issue (Fig. 6). This not only features a desired shape of the year, but also the bright colors and exciting prints that were in fashion. Everyday women on the street could be seen in a design like this during the year. In a very over the top example, Oscar de la Renta, one of the most influential designers of the 80s (Butchart), incorporated this style into his designs. His use of exaggerated sleeves can be seen in this advertisem*nt in November’s issue of Harper’s Bazaar (Fig. 7). This exceptional design features a classic bell sleeve that takes the trend to an even more over the top shape. Perry Ellis, an American ready-to-wear designer popular in the eighties, designed clothes with the year’s trends in mind. An example of this can be seen in this design where he features not only exaggerated sleeves but also a combination of statement patterns (Fig. 8).
