As fashion revisits the 1950s, it’s OK to be a boomer

Australian designer Nicky Zimmermann is focusing on the ’50s, just as the Y2K revival peaks with Lily Rose-Depp’s sleazy bralettes in the HBO television series The Idol and Pete Davidson’s velour tracksuit at the New York premiere of Transformers: Rise of the Beasts.

The frothy petticoats, jazzy prints and firm bodices in Zimmermann’s romantic resort 2024 collection Matchmaker flip the insult “OK boomer” on its pomaded head by celebrating style signatures, from a time before the dawn of Millennials.

“I was inspired by old images of dance halls,” says Zimmermann. “I loved the movement of the big skirt twirling, the toughness of the boyish rolled sleeves and the clashes of style, and the overall mood of such an exciting, rebellious place where people were able to express themselves freely whilst connecting with one another.

“We played with many silhouettes this season – exaggerated hip shapes, boxy denim separates, full circle skirts, rolled sleeve shirts and corset waists, alongside finer details, like 3D sculptural flowers and paper daisy adornments.”

Before Zimmermann’s video presentation, filmed in Pennsylvania, the rustling of ’50s skirts was heard outside New York Fashion Week shows in February, where street style targets promenade for attention. It reached the runway at Dior’s autumn-winter show in March, where creative director Maria Grazia Chiuri updated the image of singers Juliette Greco and Edith Piaf.

Olivier Rousteing at Balmain and Matthieu Blazy at Bottega Veneta also found creative freedom in the restraint of sculpted silhouettes and wasp waists in their autumn-winter collections.

For Zimmermann, who mined the nostalgic territory of early Australian theme parks and Rupert Bunny artworks in recent shows, the ’50s mood struck on the streets of Spain, where the label opened a Madrid boutique last year.

“There were couples dancing in the street, getting together in an organised group and just having fun,” Zimmermann says. “It set me down a path of research and looking at old photos of dance halls across the world from the time.”

The prosperity of the ’50s is fertile ground for designers. An outbreak of pocket handkerchiefs and princess dresses followed the success of Mad Men in 2007. The popularity of Happy Days and Laverne & Shirley on TV, Olivia Newton-John in Grease and Michael J Fox travelling Back To the Future in the ’80s, saw sweater sets and varsity jackets replace the gender-blurring trends of the previous decade.

Rather than dismiss the retro-revival for reinforcing gender stereotypes, fuelled by the glamorous appearance of Florence Pugh in the controversial Don’t Worry Darling, Olivia DeJonge as Priscilla Presley in Elvis and Margot Robbie in the upcoming Barbie, Dr Lisa Hackett from the University of New England embraces the era’s positive elements.

“The clothes of the ’70s and the heroin chic era were designed for a straight up and down figure that didn’t consider women with curves,” says Hackett, author of Size and Shape Elements of 1950s-Style Fashion. “Many women who choose to dress in ’50s style clothes today do so because they’re more flattering and generally of a higher quality than other clothes. Their selection is also a critique of the fast fashion industry.”

When Hackett asked the women with a fondness for hyper-feminine accessories, hairstyles and skirts whether they wished to live in the 1950s, only one replied yes.

“The majority of these women like being in charge of their own lives. While some dressed to resemble Marilyn Monroe or pin-up Bettie Page, many were paying tribute to their grandmothers.”

“I even interviewed a drag queen who wore ’50s clothes as a homage to their grandmother.”

Just as Newton-John as Sandy in the problematic Grease toughened her image by dropping her good girl image, Zimmermann brings some Elvis-esque masculine energy to the resort range with boxy denim, a blue boiler suit and tuxedo styles.

“We have a strong sense of femininity to a lot of what we create, but I always temper it with the more masculine, be it in tailoring or accessories or other pieces,” Zimmermann says.

“It’s about the mood of the references and how it gave us a sense of fun and optimism.”

Make the most of your health, relationships, fitness and nutrition with our Live Well newsletter. Get it in your inbox every Monday