Lenglen: the tennis icon who redefined style – and how she still shapes the game

Before Serena, before Venus, there was Suzanne Lenglen – ‘La Divina’ – a force of nature on and off the court in the roaring twenties. She wasn’t just dominating Wimbledon; she was rewriting the rules of fashion, too.

A revolution in white: lenglen’s daring dress

Forget the fussy garden party attire of her predecessors. Lenglen shattered expectations with a breezy, drop-waist Patou creation in 1919, a stark contrast to the corsets and full skirts that defined women’s tennis at the time. Patou saw a dramatic surge in sales, and even this magazine recognized the dress’s revolutionary simplicity – ‘the freedom, appropriateness, and excellence of its simple lines.’

It was a bold statement, a move towards practicality and movement, allowing Lenglen to play with unprecedented agility. A year later, she upped the ante with a sleeveless design, topped with a turban – a clear signal of her continued defiance of convention.

Beyond the court: style as a strategy

Sunita Kumar Nair’s ‘ACE: The Times & Style of Tennis’ meticulously traces this fascinating parallel between society and the sport. It’s astonishing how consistently tennis has reflected the prevailing trends, even today. Nair argues convincingly that tennis is, in essence, the most stylish sport. From the aristocratic origins, tied to wealth and social standing – where tennis whites signified immediate access to bespoke sportswear – to the modern couture-inspired performance wear, the relationship between tennis and fashion has been a constant.

Think of Patou and Coco Chanel, whose Deauville boutique, ‘Le Coin des Sports,’ catered specifically to the athletic elite. Now consider Lacoste’s iconic alligator logo or the recent partnership between Coco Gauff and Miu Miu. The threads are undeniably interwoven.

A legacy of innovation

Nair’s book, structured thematically around ‘The Classic,’ ‘The Mavericks,’ and ‘The Cool,’ explores this evolution brilliantly. It’s a tapestry of designers – Ralph Lauren, Tory Burch, Yohji Yamamoto – alongside iconic items like skirts, sweaters, and even tattoos. Players like Agassi, Osaka, and Nadal are examined through the lens of their personal style, showcasing how individual expression has always been a key element of the sport’s allure.

Andre Agassi’s audacious look – spandex and a rock-and-roll haircut – was a deliberate statement of individuality, a refusal to conform. It’s a psychological game, isn’t it? Wearing something that feels right, that empowers you to perform at your best.

And the echoes of Lenglen continue to resonate. Serena Williams’ groundbreaking Nike catsuit in 2018, banned by officials despite its performance benefits, remains a powerful symbol of pushing boundaries. Wimbledon’s strict white-clothing code, a relic of its upper-crust origins, reinforces this tension between tradition and innovation.

A sport that reflects us all

It’s a goldmine for brands, truly. Two to five hours of uninterrupted viewing provides a massive platform for exposure. And the performance wear itself? It’s not just sportswear; it’s couture. Brands are practically salivating at the opportunity to associate themselves with this world of style and athleticism.

“It’s a tapestry,” Nair concludes, “a beautiful, complex tapestry woven with threads of tradition, rebellion, and aspiration.” The sport’s aesthetic has consistently mirrored society’s attitudes towards the female form, from the restrictive silhouettes of the early 20th century to the unapologetic power of Serena’s catsuit. It’s a celebration of youth, performance, and the human body – a truly remarkable legacy.