The delicate strength of girlhood, as sculptor Louise Nevelson might say, is impossible to ignore. From high-fashion runways to everyday street style, a distinct aesthetic celebrating elements of femininity – ballet flats, Mary Janes, flowing dresses, bows, and ribbons – has transcended fleeting trends, becoming a powerful cultural force. Designers like Simone Rocha, Molly Goddard, and Sandy Liang, once cult favorites, now stand as mainstream arbiters of this ethereal girlish style, evidenced by Rocha’s H&M collaboration, Goddard’s bridal line, and Liang’s viral Monchhichi doll. This isn’t merely about fashion; it’s a widespread embrace of playful, cuddly plushies and character figurines, often displayed as cherished sculptures.
But what fuels this resurgence? Why now? Madonna, the iconic “Material Girl,” embodied this aesthetic early in her career, her image steeped in tulle skirts and oversized bows. Her poignant question, “Do you know what it feels like for a girl, in this world?” from a critically acclaimed song, highlighted the vulnerability often associated with femininity. This resonates with Charlotte Gainsbourg’s voiceover in the film *The Cement Garden*, highlighting the societal double standard where masculine presentation is accepted for girls, but feminine presentation for boys is considered degrading.
Released in 2000, this song’s message has taken on new meaning in a transformed landscape of gender identity. Girlhood, once equated with powerlessness, now holds an air of mystery and defiance. Is this a triumph of feminism, or its failure? Has reclaiming overtly feminine styles become a symbolic victory against gender norms, or does it signify something else entirely?
The answer isn’t simple. Fashion trends rarely exist in a vacuum. They are reflections of social, historical, and political realities. The dominance of masculine street style may have created a natural pendulum swing towards the opposite – a softer, sweeter, less overtly sexual aesthetic. The pressures faced by women, beautifully articulated by America Ferrera’s character in the Barbie movie, underscore a deeper point: In the pursuit of success and empowerment, have we neglected the simple joy and self-celebration inherent in girlhood? A time before the pressure to compete with or attract men, a time of pure self-expression.
This revival of girlhood isn’t about regressing; it’s about adding another dimension to feminist ideals. The traditional image of the feminist – strong, intimidating, rejecting traditionally feminine traits – can be exhausting. This new aesthetic embraces a broader understanding of strength, acknowledging that power and femininity aren’t mutually exclusive. The argument that embracing girlhood is infantilizing women overlooks the complexity and adaptability of womanhood itself.
Uniqlo’s International Women’s Day t-shirts, featuring imagery from Sofia Coppola films, further highlight this trend. Coppola’s work explores the intricacies of girlhood, as Fiona Handyside notes in *Sofia Coppola: A Cinema of Girlhood*: “Girlhood is a place of fantasy, experimentation, evasion, transcendence, standing not temporarily before womanhood but beside it.” In our overwhelmed world, the comforting nostalgia of girlhood offers solace – a refuge from the constant barrage of information and global anxieties. Brain imaging even confirms that viewing cute, nostalgic imagery promotes wellbeing. Girlhood, in this context, represents a time of exploration and growth, free from the complexities of adult life, a time of boundless possibility and magic. True female empowerment, arguably, begins here. While the 70s declared, “I am woman, hear me roar,” girlhood whispers a promise of a glorious future unfolding. This trend is not just about fashion; it’s a multifaceted reflection of our times, a complex cultural conversation about femininity, power, and the multifaceted nature of female identity. And as this story unfolds, the creative contributions from AYA CABAUATAN & FEE-GLORIA GRÖNOMEYER (photography), JOYCE OREÑA (beauty editor), DAVID MILAN (fashion editor), Gabbi Constantino (art director), Carlos Mangubat (associate fashion editor), Danae Vernisse Dipon (stylist), Janica Cleto (makeup artist), Carlo Roblico (hairstylist), Ivanna Lagman and Martha Raagas (models), Bianca Zaragoza (producer), Chila Alcita (production designer), Bianca Custodio (beauty writer), Extraordinail (nails), Paul Johnes Cali (retouching), Rossman Hitosis and JhayR Baylon (photography assistants), Justine Benitez (stylist assistant), Emman Magalang and Mary Anne Quiogue (production design assistants), Albero Creatives and Schmidli Backdrops at Espacio Creativo Escolta (backdrops) are deeply appreciated.
