Tennis Attire is Everywhere. Credit the Pandemic, Social Media and Pickleball

Aryna Sabalenka, of Belarus, greets Emma Navarro, of the United States, at the net after winning their semifinal match of the US Open tennis championships, Thursday, Sept. 5, 2024, in New York. (AP Photo/Julia Nikhinson)
Aryna Sabalenka, of Belarus, greets Emma Navarro, of the United States, at the net after winning their semifinal match of the US Open tennis championships, Thursday, Sept. 5, 2024, in New York. (AP Photo/Julia Nikhinson)
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Tennis Attire is Everywhere. Credit the Pandemic, Social Media and Pickleball

Aryna Sabalenka, of Belarus, greets Emma Navarro, of the United States, at the net after winning their semifinal match of the US Open tennis championships, Thursday, Sept. 5, 2024, in New York. (AP Photo/Julia Nikhinson)
Aryna Sabalenka, of Belarus, greets Emma Navarro, of the United States, at the net after winning their semifinal match of the US Open tennis championships, Thursday, Sept. 5, 2024, in New York. (AP Photo/Julia Nikhinson)

While tennis fans savor the last matches of the US Open, a subset of spectators and TV viewers have watched the year's final Grand Slam tournament as a source of fashion inspiration they can use to serve looks off the court.
It may have escaped people who don't pay attention to clothing trends, but cities from Australia to America are awash in short pleated skirts, tennis dresses, polo collars and other garments that can make everyone look like they possess a country club membership and a respectable backhand, The Associated Press reported.
The styles naturally are on full display in the stands of Flushing Meadows. Students are sporting skorts - the skirt-short mashup often worn by tennis players - and crew socks as they return to college campuses. Young professionals and middle-aged parents are taking the posh and preppy aesthetic to cafes, parks and wherever they run errands.
“I’ve never played pickleball or tennis in my life, and I have like five tennis skirts,” Stacy Sierra, 19, said while walking on the University of Notre Dame campus in Indiana. Sierra said she likes the look of the skirts and preferred their flowy material to denim during the summer and early autumn.
The trend, dubbed “tenniscore,” owes its timing to multiple factors. It's an extension of athleisure, the time-saving, comfort-minded concept that made elevated yoga pants, spandex shorts and other recreational attire acceptable to wear in public, no workout required.
The popularity of pickleball - an easy-to-play mix of tennis, ping pong and badminton - as well as interest in timeless fashions that exude “polished comfort” help explain why clothing and shoe lines for inspired by racket sports are so ubiquitous this year, according to Kristen Classi-Zummo, an analyst with market research firm Circana.
The market research firm's data showed sales of women’s tennis apparel spiked 22% in the US between the beginning of the year and early August, while men’s tennis apparel saw a 19% increase. Athletic brands such as Nike, Fila and Adidas have rolled out fashion-forward collections of tank tops, shorts and visors to capture the momentum.
Fila, for its part, said in July that it was an ideal time for the company to “refresh its brand and product offerings” due to the rising popularity of sports like pickleball and tennis. One of its first cracks at the refreshed brand was a “Bellissimo” campaign, which the company described as a reimagination of the traditional country club as a "mix of sport and play."
Adidas created a different collection in honor of each of the four Grand Slam tournaments; shoppers can buy the cobalt blue and black dress Jessica Pegula wore during her quarter-final victory match over No. 1 Iga Swiatek on Wednesday for $130. Nike recruited fashion designer Yoon Ahn to create outfits for Naomi Osaka to wear while competing at the US Open and a retail tennis collection in colors meant “to evoke a rebellious, anarchistic teen aesthetic.”
Last week, Vogue magazine and the racket sports brand HEAD unveiled a tennis collection that the fashion magazine said took two years to create. Women's apparel brands like Free People and Abercrombie & Fitch also have gotten into the game along with luxury labels like Gucci, which has a partnership with No. 1-ranked men's singles player Jannik Sinner.
Circana first started seeing tennis and pickleball apparel – particularly athletic dresses - pop up in its data when consumers started venturing out more after the peak of the COVID-19 pandemic, Classi-Zummo said. People wanted to retain the ease of the loungewear they lived in during lockdowns but to look more polished and put together, she said.
Some fashion watchers categorize the trend as an offshoot of social media-fueled niche fads such as “ quiet luxury,” - which emphasizes high-quality materials and clean styles with no logos - and a close cousin known as an “old money aesthetic.” That's a term for styles viewed as displaying wealth - oftentimes generational - in a subdued way.
Others have credited “Challengers,” the movie starring Zendaya about a love triangle set in the world of competitive tennis, with reigniting interest in court clothes. (A generation ago, it was Gwyneth Paltrow's Izod dress in “The Royal Tenenbaums.”) Skorts have made a comeback with the help of celebrities like Taylor Swift, who was seen earlier this year wearing pleated beige and ruffled lavender ones, the latter while on a pickleball court.
Brands and retailers have taken notice as pickleball has soared from nearly nothing to 13.6 million US players in just a few years. (Padel, another tennis spinoff with roots in Mexico, also has gained traction, particularly in Europe.) Brands like Recess Pickleball and Tangerine Paddle offer clothing or accessories such as tote bags, and customizable paddles.
“We’re very lucky to have capitalized on a growing market, but I’m even shocked with sort of how fast it’s grown,” Tangerine Paddle co-founder Carly Llewellyn, whose company sells striped, flowery and other styles of custom-made paddles.

Health club operator Life Time and Lululemon signed an agreement allowing the active wear company to sell its apparel directly to club members and to collaborate on key pickleball events.
In April, Target rolled out a limited-time pickleball collection with the tennis brand Prince that included pleated skirts and other items that “delivered incredible sales momentum in all things pickleball,” Christina Hennington, the discount retailer's chief strategy and growth officer, said during a May earnings call.
Social media content creators, some of whom get paid to market products for brands or earn commissions from retailers like Amazon, have played a part in making tenniscore mainstream.



Paris Fashion Doyenne Nichanian Bows Out at Hermes after 37 Years

French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
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Paris Fashion Doyenne Nichanian Bows Out at Hermes after 37 Years

French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP
French designer Veronique Nichanian took over ready-to-wear Hermes menswear in 1988. GEOFFROY VAN DER HASSELT / AFP

France's Veronique Nichanian will present her final men's collection for Hermes on Saturday after 37 years as chief designer, the end of an era for the family-run firm and one of the industry's top female creatives.

Her departure adds to the upheaval at the top of the European luxury clothing sector over the last 12 months, which has seen a new generation of designers promoted at a host of brands including Chanel, Dior and Gucci, said AFP.

Many of them were barely in school when the doyenne of Paris fashion took over menswear at Hermes in 1988 with instructions from then company boss Jean-Louis Dumas to run it "like your small company".

Paris-born Nichanian helped transform a niche luxury brand known for its scarves and leather goods into a global fashion profit machine with sales of menswear estimated at several billion euros a year.

Her design philosophy mirrors her own discreet personality, with a focus on quality and comfort through quiet evolutions, rather than flashy re-invention.

"It is time to pass the torch," the 71-year-old said as she announced her departure in October, adding that she intended to relax more and fulfil "a long-standing dream" of spending several months in Japan.

Hermes is one of the few fashion houses in a male-dominated industry to have women in charge as creative directors.

Womenswear has been designed since 2014 by fellow French couturier Nadege Vanhee-Cybulski, while Nichanian will be replaced by 30-something London designer Grace Wales Bonner, who previously ran her own label.

Wales Bonner, whose work draws on her father's Afro-Caribbean roots in Jamaica and British tailoring, represents a generational and stylistic shift for the classic French house.

"Grace Wales Bonner is very modern, committed... Hermes has chosen someone who will bring not only quality, but also an image and a point of view," Marie Ottavi, a fashion journalist at France's Liberation newspaper, told AFP.

- 'Macho milieu' -

On the eve of her last show, Nichanian told the Business of Fashion website that no one at Hermes had said "you have to stop" but she had felt the need to step back due to the frenetic pace of the corporate business.

"There's so much change, it loses something magic, the something that makes people happy," she told the website about the fashion industry.

"When I talk to my friends at the different houses, they're not happy. It's not only insecurity, it's pressure."

She started out working under Italian designer Nino Cerruti, who plucked her from her Paris fashion school, L'Ecole de la Chambre Syndicale de la Couture Parisienne (ESCP).

They worked together for eight years before Hermes came knocking.

She told AFP in 2014 she had had to "work harder" and "be determined" as a woman in a man's world.

"It was a pretty macho milieu and the men didn't expect a woman to tell them what to do," she recalled of her early career.

As well as her gradual modernizing touch, she has also won fans for her attention to what she calls "selfish" details, hidden touches of luxury such as a lambskin-lined pocket.

"We women can sometimes make concessions to comfort. But men, never," she told Le Figaro newspaper in 2018. "My whole approach, therefore, is to offer them a comfort that should be felt yet remain invisible, imparting a certain sensuality and a relaxed, chic look."

Her final show during Men's Fashion Week on Saturday will be held at 8:00 pm (1900 GMT) in the historic Paris stock exchange building in the center of the French capital.

Her 76th and final show will not be a "retrospective, but full of nods" to her past work, she told Madame Figaro magazine in early January.


The Trends at Paris Fashion Week Are Statement Coats, Even Bigger Shoulders and Sharp Tailoring

 A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
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The Trends at Paris Fashion Week Are Statement Coats, Even Bigger Shoulders and Sharp Tailoring

 A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)
A model presents a creation by Dior for the Menswear Ready-to-wear Fall-Winter 2026/2027 collection as part of the Men Paris Fashion Week in Paris on January 21, 2026. (AFP)

Paris men’s Fashion Week has been arguing for a new kind of authority this season — coat-first.

Across the runways, statement outerwear, bigger shoulders and sharp tailoring have been doing the work, turning familiar staples — trench coats, suits, denim and workwear — into clothes with a harder stance.

With the fashion week heading into its final stretch, the common thread is a push to make menswear more protective, performance-minded and built for real life, without losing the showmanship that defines Paris.

That argument landed most clearly at Dior Men, where Jonathan Anderson bent classic codes into new proportions, and Louis Vuitton, where Pharrell Williams framed luxury as practical convenience — heritage shapes upgraded with weatherproofing, reflectivity, reversibility and engineered comfort.

Other designers from Ami Paris to Rick Owens, Yohji Yamamoto and IM Men at Issey Miyake worked along the same lines: rebuild the shoulder, reshape the body, and lean into the idea of uniform, not as costume, but as modern equipment.

Celebrity presence raises the stakes

Paris menswear is also being driven by celebrity gravity, the kind that turns a runway into a global moment within minutes.

Dior’s room was packed with VIPs including Robert Pattinson, Lewis Hamilton and SZA.

Louis Vuitton delivered a front row mixing music, film and online fame — SZA, Usher, Future and Jackson Wang among them — plus a runway cameo from BamBam of GOT7.

The clothes are the product, but the frenzy is amplified by who is watching, who is posting, and who is seen.

A season built on ‘classic, but smarter’

Instead of chasing novelty for its own sake, many designers are taking familiar silhouettes and making them perform.

At Vuitton, Williams’ show was filled with recognizable pieces — double-breasted suits, blousons, polished outerwear; then the twist arrived in the materials and construction.

Tailoring carried reflective elements for night visibility.

Jackets turned into water-repellent hybrids.

Fabrics were lightened, waterproofed and sometimes embellished with crystal details that mimicked raindrops.

Accessories followed the same logic: caps designed to be crushed and returned to shape; shoes built to flex more like sneakers while still reading as traditional footwear.

The message was clear: luxury is not only a look. It is also capability.

The silhouette: shoulders, height, and controlled volume

Across brands, the silhouette focus moved upward. The shoulder became the season’s main design focus — where structure, protection and attitude all meet.

Anderson’s Dior treated tailoring history as a series of pivots.

Jackets nodded to the 1940s and early 1960s, then were cut abruptly short or shrunken to expose the hipbone.

Ordinary pieces were pushed into new scale, including a round-neck sweater extended to ankle length.

Throughout, he made the familiar feel new by changing proportion, fabric or what it was paired with.

IM Men also leaned into shoulder architecture, remixing outerwear by blending storm flaps into trench coats and amplifying volume.

Yohji Yamamoto used padding along arms and legs to give different bodies a similar shape, then controlled that bulk with buttons and adjustable details.

Even when designers disagreed on mood — sharp, romantic, severe, strange — they converged on shape: the body is being redesigned.

The mood: protection, uniform and modern armor

There has also been a clear emotional undercurrent: protection. Paris is dressing men for a world that feels harder, more uncertain, and more public.

Rick Owens described thinking about police uniforms and the impulse to mock a threat as a way of processing it.

His runway delivered skinny foundations, then added cropped jackets, tactical hybrids, leather and Kevlar-like materials, and ambiguous details that hinted at insignia without turning into costume.

His question — “sheriffs or outlaws?” — captured the season’s tension between authority and rebellion.

Yamamoto also drew from army and working clothes, but described a softer kind of protection: enveloping layers meant to endure long stretches outdoors.

IM Men’s draped, layered looks pushed a related idea, less militant than nomadic: clothing as shelter.

Paris wearability, sharpened

For all the experimentation, the week has not abandoned everyday dressing.

Ami Paris’ anniversary show was built on an idea of real Parisian style — camel coats, stripes, denim, clean tailoring — then refined through better proportion and styling.

The clothes were designed to mix easily, with small shifts that made them feel current: longer coats that sit better on the shoulder and cleaner lines.

The takeaway is that the daily wardrobe still matters, but it is being tightened and upgraded.

Dries Van Noten sharpened that idea with color and craft. Julian Klausner built the show around “coming of age" — men leaving home in hand-me-down coats, then made knitwear the engine, from structured-shoulder cardigans to patterned collar pieces on narrow coats and cloaks.

He also brought kilts and skirt-like belted layers back into the mix.

Saturated, pattern-heavy coats, including Polaroid florals and patchworked panels, showed how Paris can make a wardrobe feel new through layering, proportion and finish.

Styling as the signal

Many of the season’s strongest statements have come from styling as much as garments.

At Dior, Anderson’s “anti-normal” attitude appeared in wild wigs and ruff collars that turned what was formal and old into something sharp and slightly dangerous.

At Vuitton, the styling did the opposite — staying restrained — while letting materials and construction carry the message: classic shapes, but built for movement and weather.

While Dior and Vuitton set the tone, the rest of the schedule reinforced it in different registers — wearability with precision at Ami, confrontation and control at Owens, protection through layering at Yohji, and sculpted outerwear at IM Men.

With the week ending Sunday, the final shows will decide whether this season’s turn toward function and shape becomes a deeper shift or remains a Paris moment where luxury briefly proved it can be practical, too.


Stars Turn Out for Valentino’s Funeral in Rome

US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
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Stars Turn Out for Valentino’s Funeral in Rome

US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)
US actor Anne Hataway (C), along with her husband Adam Shulman (L), arrives to attend Valentino Garavani's funeral at the Basilica of S. Maria degli Angeli e dei Martiri in Rome, Italy, 23 January 2026. (EPA)

Anne Hathaway and Donatella Versace were among the stars who attended the funeral Friday of legendary Italian designer Valentino Garavani, with some mourners wearing touches of his trademark red in tribute.

Rome's Basilica of Saint Mary of the Angels and of the Martyrs was decorated with wreaths of white roses while a large photo of the designer, who died on Monday aged 93, was placed in front of the altar.

Throughout a long career, Valentino dressed some of the world's most elegant women, from Elizabeth Taylor and Jackie Kennedy to Princess Diana, Julia Roberts and Gwyneth Paltrow.

Hollywood actress Hathaway, who attended the funeral with her husband Adam Shulman, this week paid tribute to a "titan of a designer" who was also a friend with whom she shared dancing and karaoke.

He "made my world so much brighter, grander and more delightful than I could have ever understood it to be", she wrote on Instagram.

"Now he rests forever surrounded by eternal beauty, a most fitting next chapter for the one true Emperor who gifted us all a legacy of unparalleled magnificence... I love you my darling, and I miss you already," she wrote.

Designers Versace, Tom Ford, Alessandro Michele -- the creative director of Valentino -- Balenciaga's Pier Paolo Piccioli, Anna Fendi and Brunello Cucinelli were also among the guests, as was fashion editor Anna Wintour.

Most of the mourners -- who also included many of Valentino's employees -- wore black. But several wore a red hat, scarf or shawl, recalling the designer's signature color.

Valentino died on Monday at his home in Rome, and his coffin was put on public display at his foundation in the city center on Wednesday and Thursday.

"We'll never find the class that Valentino had again," said one member of the public who came to pay his respects, Francesco Sangiovanni, 81.

"He conquered the world with his refinement... and he enhanced Italy, because he brought Italy to the world. The greatest people wore Valentino," he told AFP.