Taylor Swift Style Questions
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Taylor Swift Style is dedicated to identifying the fashion of singer/songwriter Taylor Swift and will host a collection of exact finds from her wardrobe.
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Taylor Swift Style 2011-2018
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The Eras Tour | Acoustic section | Version 6
Roberto Cavalli custom
The Eras Tour | Acoustic section | Version 5
Roberto Cavalli custom
There’s a part of me playing between two potential reads on the new silhouette (and designer) of the surprise song dresses.
The first primarily is function in that not only do these dresses seem lighter in terms of fabric (the previous looked like a heavy plissé, this appears to be a more lightweight, flowy chiffon) which she might find more beneficial for summer. This dress style also does away with the cold shoulder element of the previous style. This, I have to imagine, is a result of Taylor contributing to the Errors Tour one too many times. For background, during the quick change from the 1989 Set to the Acoustic Set Taylor would have to don the Surprise Song dress in darkness … and she missed the arm hole a few times. Amusing to us but perhaps frustrating for her! This lightweight, sleeveless design tackles both those issues.
But there’s another part of me that’s possibly ‘reaching’ because these dresses sort of bear resemblance to the breezy, sundress styles that were signature to the Debut era when she most often performed just her and an acoustic guitar. As a debut stan, I’ve always begrudgingly accepted the acoustic set as a pseudo stand-in for her early day, unplugged roots.
That said, I actually really loved the nostalgia of the past designer she used here - Jessica Jones. It felt like an appropriately sentimental use of fashion costuming as Jessica was the primary costumer for the 1989 and reputation Tours.
Photo by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | Fearless section | Version 4
Naeem Khan ‘Beaded Fringe Tank Dress’ - $4,995.00
I’ve always felt the power of fashion is its ability to demarcate time.
In Taylor’s world, she’s used it as a visual tool to anchor that version of herself at a specific moment in her life. So when I first saw grainy images of this fringey dress, that sparkly guitar, plus black boots I felt immediately transported to 2009 and the Fearless Tour. Then, Taylor wore a strikingly similar fringed dress by Mandalay and accessorized it with a pair of knee high black boots by Everybody. Those boots were a new-to-her signature that was the successor for the cowboy boots she used to wear for Debut-era performances.
To me one of the key functions of the Eras Tour, especially in the form of its costuming, has been toeing the line between referencing eras of the past while also giving them a slightly refreshed, modern facelift. The first three Fearless dress iterations on the Eras Tour all felt recognizably ‘Taylor’, just newer. I loved the lighter metallic, but still Western-shaped, boot that was a modernized nod to the sundress and cowboy boots of her youth.
But this! Hand to heart, full swoon eyes in effect feels more copy + paste than reference + refresh. The only difference is the absence of ringlets and perhaps a few more heartbreaks on her sleeves.
To me, it’s really giving that we were both young when I first saw you. The transportive magic of fashion (and the Eras Tour).
Photo by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | The Tortured Poets Department section | Version 1
Vivienne Westwood ‘Messaline Orb Three Row Choker’ - $600.00
Many more thoughts to come on the newly added Tortured Poets set to the Eras Tour, but it feels noteworthy with this necklace to take a moment and track the progression of VW as an Easter Egg.
Back in January, Taylor threw us an intentional Easter egg red herring courtesy of a candid outfit while out to dinner with Blake Lively. Her ensemble (a velvet olive green dress and leather boots adorned with snakes) screamed reputation (as she knew it would be perceived as such) but the hidden clue all along was the VW bag she was carrying.
The bag in question featured VW’s iconic 'orb’ logo which we also see here on this choker. The orb, to VW, was meant to be a take on the Sovereign orb of the British Royal Family and a cheeky reference to Vivienne’s self-described title of “queen” of fashion.
We also saw one of Vivienne Westwood’s ruffled shirts pop up in the “Fortnight” music video as Taylor received electroshock therapy for her perceived descent into madness.
And now we see this designer on the Eras Tour stage, bringing together the Clara Bow-esque choker accessorizing from Taylor’s 2024 Grammys appearance full circle.
It also doesn’t escape my notice that Taylor would opt to use the designs of one of the most well know British designers in the stage incarnation of what she dubbed Female Rage: The Musical from an album that achingly documents two high profile splits from British men.
Photo by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | Midnights section | Version 4
Zuhair Murad couture custom
Quickly climbing my personal ranking of the Midnights bodysuits! I personally prefer this true midnight blue navy tone over the ‘blurple’ of some of the other suits in this set. The chevron-like details of the crystal placements, keyhole detail, and cutouts are well so well executed here.
In terms of neckline, I think she’s also found a sweet spot in this latest round of costume additions with a halter neckline that probably provides the functional support and security needed during these performances.
Photos by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | 1989 section | Version 5
Roberto Cavalli custom
Christian Louboutin custom
One of the signature elements of the Eras Tour costuming has been how it balances visually referencing eras past but refreshing them for the modern day. Her co-ordinating tops and skirts worn for the 1989 section are a great example. The previous quad of beaded ensembles (pink, gree[eeeee]n, orange, and blue) all featured colours and coordination that embodied the polish and shine of the original 1989 era but in a new, fitted skirt silhouette.
With Version 5 by Fausto Puglisi for Roberto Cavalli we see a lot of changes in tactic. From the ombre shading, the skater skirt fit, the incorporation of the Cavalli big cat emblem at the bust, and the two tone element. To me it all falls much closer to the original costuming of the 1989 Tour with bralettes and metallic skater skirts by Jessica Jones. Many of the new outfits debuted in Paris seem to have undergone what I call a ‘makeunder’ to more closely resemble their original, canonical tour ensembles and not the refreshed 'Taylor Versions’ we’ve seen thus far on the Eras Tour in 2023/24.
Unless this is Taylor’s cheeky attempt at an Alvin and the Chipmunks meme replication I’m a bit stumped on the decision to go cotton candy two tone across this entire outfit - mismatched Louboutins included. My only thought is there is one very famous New Yorker known for mismatching her Louboutins which would be an apt 1989 era reference if intentional: Carrie Bradshaw.
Photo by Kevin Mazur/TAS24 via Getty Images
taylor swift tour top crop top coord skirt shoe roberto cavalli christian louboutin eras tour
The Eras Tour | The Tortured Poets Department section | Version 1
Vivienne Westwood custom
For my own predictions post guessing at tour designers for The Tortured Poets Department set on the Eras Tour I noted: “When it comes to designers, I feel Vivienne Westwood would excel at this assignment.” The theatricality, the dramatics, the corsetry, the Britishness of it all (that cavalry / Black Parade moment). It’s the perfect style match and I’m so happy that Taylor and team fully hit the nail on the head when it came to selecting the right design partner for this moment.
The white colour of the gown ties into the established colour-leached palette of #TTPD while also adding to line of similar white gowns she wore for the 2024 Grammys announcing the album and in the album’s lead single music video “Fortnight”. There’s of course the wedding gown comparison, particularly for the way the skirt seems to mimic the gathers of a bride making a harried exit after being left at the altar. The way her lyrics are scrawled all over the garment also seems to combine Taylor’s emotive vulnerability in wearing her heart on her sleeve (and centering the ownership of her work) while also reading a little like the scribbling psychosis from The Shining when a single phrase was repeated in a typewritten manuscript. A part of me wonders if there will be additional variants of this skirt with other TTPD lyrics as we saw on the backs of the different album variants and Taylor’s grief playlist titles.
It also feels notable to me that this is an area in Taylor’s costuming that is absent of her signature sparkle. Sequins aren’t just a glittery aesthetic that Taylor loves to wear, but they also serve a function for stage to draw eyes to a performer and catch the light. In the same way she’s said that she can show us lies when “the lights refract sequin stars off her silhouette every night” in bravely going on stage every weekend amidst trying to heal a broken heart I also think there was a lot of catharsis and healing in performing these songs, her proudly owned body of work, for tens of thousands every weekend.
Photos by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | folkmore section | Version 6
Alberta Ferretti custom
Between its new place in the setlist, “cardigan” usurping “the 1” (which had previously taken the place of “invisible string”) as an opener, and the two pandemic albums combining into one super set it took me a long time to actually accept this was a new folklore gown. Mostly because, if my eyes aren’t deceiving me, this is the first time we’re getting a new folklore gown that’s a repeat silhouette - just a different colour. If I’m not mistaken, V6 is a yellow version of the V2 white gown (which appeared in the Eras Tour Movie).
All of the folklore (or should I now be saying folkmore?) gowns are custom pieces by Alberta Ferretti and have shared similar design elements (a maxi length, flowing sleeves, ruffles, subtle embroidery to catch the stage lights). But they’ve each had unique necklines and embroidery details until what appears to be now.
Photo by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | RED section | Version 4
Ashish Sequin Tee - custom
During the RED set I wasn’t just confused because it was the first set to have moved from its original spot in the setlist, but Taylor’s new shirt saying took me aback.
Firstly, we haven’t had a new addition costume-wise to this set since the early days of the tour. You might recall that Version 3 of the shirt (featuring “We Are Never Ever” lyrics) was added in March 2023 during the show’s first three-day run in Arlington, Texas.
This phrase also took me aback because it’s our first in the series that isn’t a direct callback to an established moment within the RED era lexicon. In addition to the aforementioned V3’s lyrics, Version 1 (“Not A Lot Going On”) is a direct lift from the “22” music video costuming and Version 2 also features “22” lyrics (“Who’s Taylor Swift Anyway? Ew.”).
So what does this particular phrase mean?
To me one of the key functions of the Eras Tour, especially in the form of its costuming, has been toeing the line between referencing eras of the past while also giving them a slightly refreshed, modern facelift. We saw that in the fringed dresses of Fearless, the dramatic princess ballgowns of Speak Now, and the matching sets of 1989. But as we also saw tonight in Paris, all of those respective outfits got what I suppose we could call a ‘makeunder’. Which is to say, they all took a time machine to more closely resemble their original, canonical tour ensembles and not the refreshed 'Taylor Versions’ we’ve seen thus far on the Eras Tour in 2023/24.
But why is she now beginning to more overtly replicate instead of subtly reference? Something to think about!
Worn with: Gladys Tamez hat, Ashish bodysuit, and Christian Louboutin oxfords
Photo by Kevin Mazur/TAS24 via Getty Images
The Eras Tour | Lover section | Version 5
Versace custom bodysuit and blazer
Christian Louboutin custom boots
Like we were (new outfits) in Paris! After about four fortnights off, Taylor brought the Eras Tour back for its European leg in France. And with this new leg comes a handful of setlist changes (sections moved! songs omitted! Tortured Poets added!) and, more importantly, costume changes.
The first of course is a new tequila sunrise-y bodysuit, boots, and blazer ensemble for the opening Lover set. This particular version makes five variants for this portion of the show.
One of my favourite moments in the Eras Tour is how the Lover set seems to fulfill Taylor’s original vision of a summer festival moment (that we likely would have had with the sadly cancelled Lover Fest) and that its colourways seem to mimic that of a sunset.
Photo by Kevin Mazur/TAS24 via Getty Images
taylor swift tour romper outerwear shoe versace christian louboutin eras tour
Out and about | Las Vegas, NV | April 2024
Alaïa ‘Metallic Stretch Wool Blend Mini Dress’ - $1,941.00
I’m not quite sure what outing Taylor wore this LBD for while out in Las Vegas (after party, out to dinner, another event) but what I do know is this is a very important designer.
15 And the Mahomies Charity Gala | Las Vegas, NV | April 27, 2024
Versace ‘La Medusa Embellished Satin Sandals’ - $653.00
Taylor has owned and worn many a ‘Falabella’ style from Stella McCartney which is known for its chain detailing that is similar to the chunky design on these heels.
However, this particular pair of strappy sandals is from Versace. Taylor wears a rotating selection of Versace necklaces, including a Medusa Chain, as part of her opening ‘Lover’ set on the Eras Tour.
Worn with: Maria Lucia Hohan dress and Vitaly necklace
15 And the Mahomies Charity Gala | Las Vegas, NV | April 27, 2024
Vitaly ‘Shimmer Chain’ - $120.00
What a unique (and accessible - classic Taylor high/low) necklace. I love the combination of chain styles, paperclip attachments, and charm / drop pendant detailing.
Worn with: Maria Lucia Hohan dress
15 And the Mahomies Charity Gala | Las Vegas, NV | April 27, 2024
Maria Lucia Hohan ‘Regina Dress’ - $2,405.00
I’m sure somewhere locked inside my brain are smarter words to say about this dress but the only one I can summon up is greeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeen.
But the fashion historian in me would also be remiss if it didn’t pop its head out to say that I most associate this particular designer with the lovely flowing gowns (which are the brand’s signature) as seen in the “Begin Again” music video.
Worn with: Vitaly necklace
