Let’s be clear: stadium tours are spectacles. Always have been. From the days of jumpsuits with more sequins than sense to the current era of pyrotechnics and elaborate set changes, they’re about spectacle first, fashion a distant second. But then there’s Taylor Swift.
Her 1989 tour, a whirlwind of hits and high-octane energy, also served as a masterclass in image control. Each costume change, and there were many, felt deliberate, a calculated move in the chess game of pop stardom. One minute she’s in a shimmering, fringed mini dress, all long legs and glittering confidence, belting out “Shake It Off.” The next, she’s in a sleek, black sequined jumpsuit, all sharp lines and smoldering intensity, for the slow burn of “Wildest Dreams.”
It’s a far cry from the early days, the frothy gowns and princess curls. Back then, the fashion felt like a costume, a layer of tulle separating her from the audience. This? This feels different. Calculated, yes, but also controlled. She’s older now, wiser. And the clothes reflect that. They’re armor, yes, but also a statement. A declaration of self.
There’s a certain irony, of course, in a tour named for the year of her birth becoming her most fashion-forward. 1989, after all, was a year of excess, of shoulder pads and power suits. But Swift subverts that, twisting the narrative to fit her own. The silhouettes are streamlined, modern. The colors, while often bold, never feel overwhelming. It’s a lesson in restraint, in knowing when to hold back and when to go full-throttle.
Take, for instance, the custom Versace bodysuit she wore for a performance of “Bad Blood.” A riot of color and print, it could have easily veered into costume territory. But the sleek silhouette and her undeniable stage presence kept it grounded, transforming it into a statement of pure pop star power.
And then there were the shoes. Oh, the shoes. Ankle boots, thigh-highs, sneakers – all chosen with a keen eye for both style and practicality. Because let’s be real, the woman dances. A lot. And she does it in heels that would make a lesser mortal weep. It’s a testament to her dedication, yes, but also to the skill of her team. These weren’t just clothes, they were tools, carefully chosen to enhance her performance.
I remember a particular show, years ago now, where the designer’s vision clearly hadn’t taken the practicalities of performance into account. The singer, a rising star at the time, spent the entire set awkwardly hitching up her dress, her discomfort palpable. It was a stark reminder that stage costumes need to be more than just beautiful, they need to work. And on the 1989 tour, they worked flawlessly.
Of course, no discussion of Swift’s style evolution would be complete without mentioning the crop top. Once a source of much hand-wringing among certain critics (myself included, perhaps), it became a signature of the 1989 era. Paired with high-waisted shorts or a flowing skirt, it highlighted her athletic physique, her ease of movement. It was youthful, yes, but never childish. Confident, but never arrogant. It was, in a word, Taylor.
So, was the 1989 tour a fashion masterclass? Perhaps. It was certainly a masterclass in image-making, in using fashion as a tool to tell a story. And in the end, isn’t that what fashion is all about?
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