When the Wimbledon tournament returns once again, the symbolic tournament brings more than tennis.
Since 1877, Grand Slam Britain has served in style Vat Exercise with hard code of all whites.
Here’s a look at 100 years from the Wimbledon court-from the pants to the high-tech kit.
Twenty years old
The 21st decade was the beginning of modern sportswear.
Susan Langlene, a French tennis tennis and six times a single -player Wimbledon champion, transformed not only the way women play, but also in how to dress.
When most female players in ankle restrictive costumes, long sleeves, and even corsets, they seemed to sign a knee-lane skirt, sleeveless blouse and a band forehead to hold their kick hair-a group that shocked traditionalists but a new former.
From the gentlemen, Rene Lacstos, as well as French and a Grand Slam champion several times, were just as influential.
Traditionally, male players wore long -sleeved shirts, flalanle pants and even bonds.
Lacoste introduced a short-sleeved cotton shirt with a soft collar that could rotate the neck against the sun-and was then known as the top of the polo.
Lacosteh ran the crocodile symbol on his shirts – referring to the nickname “crocodile” for his stubbornness in court – which later became his unknown label logo in 1933.
Thirty years
Come on, the Wimbledon Fashion of the Court moved to a more shiny and more practical clothing, and the style became the expansion of sports performance.
On behalf of the gentlemen, Fred Perry – one of the biggest Tennis heroes of England – was a tennis legend and a style symbol.
During the three consecutive titles of Wimbledon from 1934 to 1936, Perry left the heavy and layered appearance of decades and was in favor of lighter weight chins and clean trousers.
However, his signature of the wreath wreath, until his fifty -fifty -fifty -fifty -clean, clean, quietly unnecessary.
Fifty
It was a period that defined post -war renovation as tennis style.
For men, athletes replaced the proportionate trousers for short shorts, which allowed more ease of movement and reflected a broader cultural change to occasional clothing in court.
Women’s fashion also evolved in court, the Hamlans were shortened and the skirts were replaced for more practical clothing.
The cooked waist and skirts, while allowing agility, retained elegance, and many players flourish any delicate design – such as Peter Pan or delicate plumbing – while still joining the famous clothing code.
Sixty
While the whole white clothing code remained completely in place, the sixties ghosts began to modernize and moved away from the extraordinary forms of Feminin of the fifties.
Hemlines, above all, the cuts became easier and substances such as an artificial mixture replaced the heavier natural fabrics, allowing for better and comfortable movement in court.
British tennis player Angela Boxon, who won the Wimbledon Women’s Dual Championship in the early fifties in the early fifties in the early fifties.
Her clothes were often sleeved or sleeved, with cleaner lines and less decorative details than in previous years, paving the style that will continue to this day.
Seventy years
The seventies reflected the social and cultural change of this period – the free ghosts and bold statements began to deceive the Wimbledon courts.
American player Billy Jean King, who is currently based in the champion, played an important role in this evolution, both in court and abroad.
King’s appears to be balanced with a calm defense of the Convention. She was still limited to the whole white dress code, she chose tennis dresses that were simpler with elegant flames such as embroidery or flower lace or lace.
His symbolic round glasses also became a signature and brought the personality to court. King’s view helped form a new standard of tennis fashion – something that encompassed both power and personality.
Eighty years
The eighties saw that tennis abrasion became more functional, and the players began to combine the color, while the whole dress code remains white.
In 1980, Barker’s look from the late seventies to the 1980s showed classic white tennis clothing with platelets, polo and pink pop.
Her clothes were clean and ordinary with a reference to ready -made clothes.
Until 1981, American player John McCain brought a calm and rebellious energy. While he was still in white, his branded forehead, strong hair and perfectly fit, gave the gentlemen a new edge.
It is often seen in Nike, McNo’s clothing pointed to the increasing impact of sports brands in tennis, adding his attitude to traditional whites.
When German player Stefi Graf attacked Wimbledon in 1988, he did so in classic editions of eighty and supported Adidas year by year.
The 19th decade
In the nineties, Stefi Graph continued to championship a classical aesthetics of retro -integrated, with a maximum of eight years old in his White Adidas, as captured in the 1993 victory.
The nineties also witnessed the arrival of Williams’s sisters.
In 1999, Zohreh Williams brought an unauthorized talent to Wimbledon whites: From asymmetric cuts to vertebrals, he injected individuality and cultural identity into rigid historical aesthetics.
The color was no longer a way to overthrow the hard code, but the shape, cut and confidence of the scene for the Wimbledon style in the 2000s.
2000
In the 2000s, American sisters Zohreh and Serena Williams changed the coastal view of the sport.
Venus, which was a comet, in the late 1990s, continued to borders with unexpected design details and asymmetric cuts.
Her clothes, often designed in collaboration with the big brands of sportswear, later designed eleven and eleven and highly balanced creativity.
Meanwhile, Serena was synonymous with her bold style.
His appearance in 2008-a coat of Nike White White, wearing at warming-was a symbolic and symbolic knot, a knot to the British land and a new sport.
In the 2010s, the Wimbledon court fashion became even more theatrical and almost a look at the business that mimic the trends.
Serena Williams, never far from a bold moment, in 2010, in 2010, brought an unexpected talent in 2010 by pairing the right tennis dress with a piece of white.
During this time, her clothes often had plugs and pieces that mirrors decade mirrors.
Likewise, Wimbledon, a Russian player, Maria Sharapova has also relied on the process, once wearing a shirt and coordinated by Nike.
The players’ wardrobe was just as talented as part of their tennis – aroused titles, brand collaboration and a new type of relationship between sports stars and fashion houses.
2020s
In the late 2010 and early 2020s, Wimbledon fashion turned to the “quiet luxury”, where the clean and elegance lines defined the appearance of modern tennis elites.
This emphasis was changed from flashing ghosts to thoughtful details, with emerging stars such as Emma Raducanu England and Coco Gauff in America.
In 2024, both players brought new interpretations of classic tennis. Raducanu went to the central center in the center of the Earth with a glossy Nike outfit.
Outside the court, Raducanu has become a fashion actress in the fashion world and has been large campaigns with Dior and Tiffany & Co. Signs and regularly covers high-level jewelry in court-Major becomes popular with tennis bracelets.
Meanwhile, Coco Gauff continued to collaborate with New Balance by wearing a brand during Wimbledon last year.
Outside the court, the gap is known for the championship of individuality, which often mixs sportswear with street style.
Together, Raducanu and Gaufff represent the way tennis deforming with the brand awareness in court for his career – proves that Wimbledon is just as style as the sport itself.
