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From Divas to Dreary: An Analysis of 1920s and 1930s Trends in Fashion

Matilda Molokela Student Contributor, Howard University
This article is written by a student writer from the Her Campus at Howard chapter and does not reflect the views of Her Campus.

One can credit the industrial revolution for the 1920s economic boom as American production moved from agriculture to machines. But It’s not the only reason. 

The 1920s was a decade that saw primarily republican presidents including Warren G Harding and Calvin Cooling. With these presidents there was a rise in ‘laissez-faire’ capitalism. This is a French term that refers to the idea of doing as you please.

In America, this meant less government regulation for businesses during a period where an influx was established. The government promised low taxes and the wealthy benefited the most. Though, according to trickle-down economics, surely, regardless of social class, one can enjoy the fruits of capitalism …eventually. 

Between the alcoholism, flapper girls (revealing their ankles!), partying, and spending shamelessly, it is obvious the 1920s were a time to be salacious. The country immersed itself in newfound wealth, and this reflected in the fashion of the time

As afore mentioned, the flapper girl represented women daring to be more scandalous and breaking the rules of fashion at the time, akin to government breaking laws. Additionally, furs, sequins, and feathers were staples of the time as people dressed to demonstrate excess, and clothing was a status symbol. Being unashamed to show one’s wealth is a sign that the country itself is wealthy. 

In the 1930s, silhouettes became more conservative, and people dressed in a plainer style compared to the prior decade. In 1929, the stock market crashed, and the banking system collapsed as people began to lose confidence in the economy. It was the start of the Great Depression.

The end of an affluent economy was the end of affluent wardrobe. Even those who still harbored wealth during the Great Depression would be less likely to show it in their clothing because so many people were going without. 

Even after the financial crash in 2008, ‘logomania’ and the flashy aesthetic of the early 2000s disappeared as fashion became more muted. In the 1930s, hats and collars were all the rage for women who began to dress in the name of practicality instead of glamour. The style became formal, tailored, and more based on work wear, visualizing the office siren, but a more buttoned-up up. This trend reflected how people were always ready to work since jobs became so scarce. 

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20th Century Fox

All this to say, if one is not confident about the economy, they can look at fashion trends to predict if their pockets will remain full. If we are in the midst of a recession, workwear and conservative culture are likely to be romanticized and integrated into the trends of now. 

The office siren aesthetic erupted last year, reflecting how much political instability was caused by the election season, creating economic insecurity. Even the old money aesthetic, which established itself during COVID, is defined by quiet luxury—a color palette of whites and blues, an homage to tennis chic with no logos or loud prints. The wealthy would not want to be ostentatious during a time of economic downturn since so many people are going without. 

But even if we were in an economic boom and glamour, logomania, fur, and flappers reflected that it would likely mean the rich were tap dancing on the backs of the poor.

Hi! My name is Matilda Molokela and I’m from Johannesburg, South Africa. I’m currently a sophomore at Howard University, majoring in Economics and minoring in English.
I’m passionate about writing, especially when I get to explore the intersection of economics and fashion—two worlds that shape how we express ourselves and navigate society. I love crafting think pieces that respond to current events in pop culture, often drawing inspiration from creators like Life According to Tessa, Mina Le, and Elegance Echo. Their work blends storytelling with cultural critique, and I recommend giving them a watch!

Beyond academics, I find joy in cooking, reading, playing guitar, and curating Pinterest boards that reflect my aesthetic moods and creative ideas. Debate practice is another highlight of my week—it keeps me sharp, expressive, and engaged with complex issues.

Whether I’m analyzing consumer behavior or unpacking the economics of celebrity fashion, I’m always looking for ways to connect disciplines and spark conversation. My goal is to make economics feel more human, more stylish, and more relevant to everyday life.