How to Serve

Written by Quinn Diedrich

Tenniscore has its own context today given the ties to the recent quiet luxury trends, but the sport has seen an evolution of wildly different styles since the time of wooden racquets.  Match outfits tended to reflect the trends of the era in the 1900s, but certain icons throughout the decades made their marks with signature styles, even if said signature involves complete unpredictability and experimentation. 

Women in this sport have done what women everywhere continue to do—break through constrictive barriers and challenge the status quo.  Let's walk through the evolution of professional tennis attire, highlighting particular game-shakers including Billie Jean King, Anna Kournikova, the era-defining Williams sisters, Maria Sharapova and more recent standouts such as Naomi Okaswa and Coco Gauff.  

1800s

Oh, Charlotte “Lottie” Dod, thank you for bringing excitement and competitiveness into a tennis world that valued decorum over performance.  Dod’s explorations outside the tight confines of floor-length skirts and corsets were limited by her time, but she did venture to play in footwear more functional than boots or dress shoes and (presumably) corsets altered for sport.  She was a polite rulebreaker, probably more of a bender, but at this time, the fact that she was playing competitively and winning meant that she was expanding the discussion on what women were “allowed” to do in sports.  In fact, she more than dabbled in sports, plural, having competed in golf, archery and Olympic level curling. Imagine what she could’ve done if they’d actually given her athletic clothing…sigh. 

1920s/30s

Typical court style in this era included long skirts, long-sleeve blouses, corsets, heavy cotton or wool fabric and neutral tones.  I don’t much care to discuss “typical” style, though.  Are you even aware of the original diva? French player Suzanne Lenglen can be attributed with inventing tennis style long before fashion was a conversation anywhere near the court. It should be noted that our girl pulled up to said court stepping out of a chauffeured car in full glam.  Lenglen had a “flapper” attitude, donning daring match attire, including calf-length skirts, short-sleeved blouses and silk dresses designed by Jean Patou, all of which prioritized freedom of movement.  Meanwhile, her rivals were cinched up in rigid corsets—doesn’t take a genius to guess who had the edge in a match.  As if Lenglen hadn’t established herself as chic already, she, of course, had a trademark dramatic bob and silk headband to keep it in place so that she could dominate without the hindrance of pesky flyaways.  Suzanne Lenglen didn’t need tenniscore inspo; she was entirely her own aesthetic.

1940s/50s

In the 40s and 50s, the players began laying the path for change and venturing outside the box.  Marueen Connolly emerged with a more aggressive and purposeful swing than was the norm in women’s tennis at the time.  In the post-war era, she was a symbol of excellence, discipline and mental ferocity for America.  Her style reflected this mindest—keeping clean and business-forward.  She didn’t make time for frills, but relied on A-line skirts and fitted bodices for her crisp white dresses.  Meanwhile, Gertrude “Gussie” Moran made headlines with her lace shorts under the shorter-than-usual white dress at Wimbledon in 1949.  This is a representative moment of her intentional use of fashion as a form of self-expression and provocation.

At a time when women were supposed to be modest and muted, Moran made the world look—forcing people to confront their discomfort with femininity and female visibility in sports.  This wasn’t a mockery, Moran took her sport very seriously. It was a stand against the idea that the best way for a woman to succeed in the public eye or to be taken seriously was to remain as close to invisible as possible and apologetic when they failed to do so. Whether through the lens of indignance or fascination, Moran made the world see her and her agency, taking up space in a place in a time when they wanted women to shrink.

1960s

Finally accepting the fact that these competitors required the ability to move freely, functionality was becoming more of a recognized priority. Hemlines were no longer at a locking-length and the Mod mini dress made its debut in this time period.  The photos of Lea Pericoli and Maria Bueno at Wimbledon exemplify the still refined but increasingly more experimental and athletic attire.  Maria Bueno was a Brazilian star known as “The Tennis Ballerina” for her graceful and fluid playstyle—which happened to be highly effective in earning her 7 Grand Slam singles titles and 12 doubles titles.  Bueno capitalized on and embraced her image of femininity, showing an interest in fashion and even designing a few of her own dresses.  Her popularity was also helpful in introducing tennis in a big way to her traditionally football-fanatic home country.

1970s

Billie Jean King is a true queen, famous for advocating equal pay for women in the sport—and proving her point by (crushingly) defeating Bobby Riggs in the 1973 “Battle of the Sexes” match.  Having donned a menthol-green dress during her victory, King was a key player in diffusing color into the all-white attire tradition that had defined the style of the sport up to this point. King was a champion of the tennis but also a champion for social justice, having advocated for gender equality, LGBTQIA+ rights, equal pay and so on.  In fact, she played a crucial role in the passage of Title IX, a law that prohibits sex-based discrimination in any educational program that is a recipient of federal funding (including sports).   

1980s

Color finally found its way to the tennis ball itself in 1986, perhaps symbolic of the complete transformation and immersion of vibrancy that would come to dominate match outfit designs.  Pastel palettes burst onto the scene, as exemplified by Chris Evert-Lloyd.  With 18 Grand Slam titles and a 90% win-loss record, Evert was a unanimous inductee into the Tennis Hall of Fame.  Her style of play was equally as elegant as her style of dress.  Alongside the title of “America’s Sweetheart,” Evert-Lloyd was dubbed a  “Cinderella in Sneakers” due to the juxtaposition of her competitive nature and graceful, composed appearance.  She was and continues to be the perfect representation of the duality of femininity

1990s

Anna Kournikova was a true 90s style icon—so much so that the Russian prodigy was a recognizable “It” girl throughout the late 90s and early 2000s.  With her Nike partnership in the mid 90s, her looks on the court grew sleeker and more fitted with mini skorts, tank tops and racer backs and a professional slick-back braid or poney. Kournikova’s marketing savvy and prolific portfolio of endorsements helped to increase the popularity of women’s tennis, attracting a wider audience and inspiring young girls. 

This wider audience, however, was not always a respectful one. Kournikova was one of the most photographed athletes in the world, but the attention was not all due to athletic accomplishment (she never won a singles title) and was instead rather fixated on her appearance.  Instead of shying away or letting the media define her, she leaned into her fame and used it strategically. She didn’t deny the attention—she owned it and took control of her image, building a brand empire.

2000s

Venus Williams’ Moulin Rouge-inspired look at the 2010 French Open was designed by her own clothing line, EleVen. Featuring a corset-style top with intricate detailing and a ruffled black and red skirt, Venus’s bold, theatrical outfit stood out for its blend of elegance, drama and athleticism.  The aesthetic may seem random, but in many ways, that was the point.  She was challenging others to break free from traditional aesthetics—especially the rigid ones placed on female athletes. 

One of her biggest admirers was none other than Serena, for whom Venus designed a groundbreaking denim-inspired look to be worn at the 2004 U.S. Open.  Accessorised with boot-like shoes and a chunky necklace, Serena’s iconic look brought a touch of casual, urban flair to the otherwise formal setting of tennis while marking the intersection of culture, performance and personal branding with sports.

2010s

In case you didn’t know, the Williams sisters continued to dominate throughout this decade, both athletically and stylistically. But, for the sake of adding another deserved name to the conversation, an appreciation for Maria Sharapova’s Vogue-worthy sense of style is overdue (yes, Vogue has published articles about her on and off-court fashion). 

In simple terms, she’s just so cool—the definition of demure, polished and powerhouse athlete all in one.  Her kits consistently leaned into cool-toned, tailored designs that complemented her tall frame and fair features.  They were characterized by a blend of sophistication, modernity and timeless silhouettes with a touch of edginess here and there.  If we’re coining terms, “icy precision” fits. Or maybe “calculated couture.” Either way, Sharapova’s style on the court reflected her entire brand: composed, confident and in complete control. She proved that an athlete could be deadly competitive and look editorial doing it.

2020s

We’re midway through this new era of tennis, and two stars already shaping its style narrative are Naomi Osaka and Coco Gauff. Osaka, a four-time Grand Slam champion, has consistently used fashion as a quiet protest and a source of cultural pride. At the 2020 US Open, she wore seven different masks honoring victims of racial violence, turning each walk onto the court into a moment of remembrance.  Her kits often feature nods to her Haitian and Japanese roots through vibrant colors and patterns.

Coco Gauff, on the other hand, brings a flashier, youth-driven energy. She’s been spotted in brightly colored New Balance tennis sets, graphic visors and custom sneakers. She also often completes the look with matching braids or bold accessories. Gauff doesn’t shy away from experimenting, and her style mirrors her game: fast, fearless and full of personality. Together, these two are redefining what tennis looks like—less country club, more global street style with purpose.  Through their fashion, activism and individuality, Osaka and Gauff aren’t just changing how the game is seen—they’re moving it forward, making space for a new generation of players to show up as their full, authentic selves.

Tennis style has always mirrored the times, but more than that, it’s helped shape them. From corsets to strict all-white dress codes to expressive, colorful statements, the evolution of tennis fashion reflects a parallel journey: one of rebellion, representation and redefinition. These women didn’t just wear what was trending; they set the trend, often using their style to challenge norms, start conversations and demand space. Whether subtly shifting expectations or making bold visual declarations, each era’s icons brought something new to the game. And now, with players like Gauff and Osaka pushing both performance and personal expression, the legacy continues. Tenniscore might be trending, but the heart of tennis fashion has always been about so much more than clothes—it’s about agency, visibility and the unapologetic pursuit of individuality on and off the court.  This is corny, but it must be said: the girls are serving looks.

Edited by Hana Razvi, Giselle Franco, Safa Razvi, Simran Khanuja, Olivia Ruetten