As a contributing editor for Glamour throughout the 1960s and 1970s, Gloria Steinem carved out a distinct and influential niche as a cultural and style commentator. Her work was consistently timely, sharp, and witty, addressing dating, societal shifts, and politics in pieces such as “The Death of Cool and the Birth of Beyond-Cool” in October 1964 and “It’s a Young Man’s Game” in August 1965. Following the news that the pioneering feminist, journalist, and author has passed away at the age of 92, her profound impact on both the political landscape and the world of fashion is being widely reflected upon.
Few figures have managed to fuse intellectual rigor, radical political activism, and effortless personal style quite like Steinem. Even as she entered her nineties, maintaining a signature aesthetic of concha belts, tinted aviator sunglasses, and the occasional touch of leather and sequins, she retained the unmistakable presence that defined an era.
Long before she became an undisputed leader of the global women’s liberation movement, Steinem rose to journalistic prominence in the 1960s by tackling subjects that were largely considered taboo or novel at the time, including contraception and systemic gender parity. Her investigative work captured the public consciousness in 1963 when Show magazine hired her to go undercover as a Playboy Bunny. The resulting two-part exposé shed a harsh light on the shocking, exploitative working conditions experienced by women at the high-profile New York cocktail club.
Nearly a decade later, in 1972, Steinem co-founded Ms. magazine, creating a first-of-its-kind publication that gave a mainstream voice to feminist discourse. As her platform expanded, she cemented her status as one of the preeminent political activists of the modern era. She co-created the National Women’s Political Caucus, tirelessly championed abortion rights, and advocated fiercely for equal pay legislation. While her foundational role in the women’s movement has never been up for debate, her relationship with fashion and personal presentation has frequently sparked wider cultural conversations.
From the very beginning of her public life, Steinem established herself as a radically different kind of style icon. Rather than adopting the prim, coordinating suits and matching accessories popularized by Jacqueline Kennedy during the 1950s and early 1960s, Steinem spearheaded an entirely new dress code for contemporary women. Her wardrobe staples included fitted Henley shirts paired with flared jeans and low-slung belts, or suede miniskirts worn alongside knee-high boots and Mary Janes. Oversized jewelry, heavily highlighted hair, and bold political slogan pins completed a look that felt simultaneously relaxed, youthful, and deeply purposeful against the backdrop of the sexual revolution.
This aesthetic resonated deeply with the public. Fashion historian Einav Rabinovitch-Fox, author of Dressed for Freedom: The Fashionable Politics of American Feminism and an instructor at Case Western Reserve University, noted Steinem’s immediate resonance. When Steinem first emerged into the public eye, she embraced miniskirts and a visibly feminine appearance. By pairing this aesthetic with a distinct hairstyle and her signature aviator sunglasses, her look rapidly evolved into a national trend. She became a new kind of role model, culminating in a 1971 Newsweek cover appearance under the headline “The New Woman,” which featured a spread of everyday women who had adopted her signature voluminous hair and eyewear.
Reflecting on that era, fashion designer and longtime friend Diane von Furstenberg recalled her initial impressions. Arriving in New York as a young woman in the 1970s, von Furstenberg viewed Steinem as a primary hero, noting her striking beauty and immense personal style. Yet, as Steinem charted her own course, she found herself at the center of a philosophical debate that persists in various forms today: Can an individual be a dedicated feminist while also caring deeply about their personal appearance and style?
The relationship between fashion and feminism has historically been complex. Critics and theorists have long questioned whether fashion functions merely as a tool of patriarchal control designed to enforce restrictive gender roles, or whether it serves as a valid medium for self-expression. Is clothing worn primarily to appease external expectations, or can it act as a powerful vehicle to communicate personal values regardless of public approval? Furthermore, does an interest in clothing undermine a woman’s intellectual worth, or can it be utilized to amplify a message of inherent value?
For women operating in the public and political spheres, these intense scrutiny cycles have been unrelenting. Former First Lady Hillary Clinton faced sharp criticism for appearing too dowdy when she first entered the White House, only to later face global mockery and endless conversation regarding her collection of trademark pantsuits. Similarly, Congresswoman Alexandria Ocasio-Cortez faced backlash for showing an interest in fashion when she appeared on the cover of Vanity Fair in 2020 wearing a high-end, New York-produced ivory silk-and-wool suit. It has frequently been a scenario where women in power find themselves criticized regardless of the sartorial choices they make.
Steinem herself was frequently questioned regarding her commitment to the women’s movement due to her glamorous image. Observers making these critiques often missed the broader point of her life’s work, which centered on the fundamental premise that women should have the autonomy to make their own choices. Steinem consistently maintained that an interest in clothing is entirely compatible with feminism, provided the choices are driven by personal agency rather than external conformity. In the 2011 HBO documentary Gloria, she articulated this philosophy directly, noting that while fashion in the past often meant conforming and losing oneself, fashion in the present could mean embracing individuality and self-discovery.
Von Furstenberg echoed this sentiment, emphasizing how Steinem bridged a perceived gap between intellect and aesthetics. Having the world’s most prominent feminist wear attractive, stylish clothing helped normalize the idea that women do not have to abandon their personal presentation or conform to rigid stereotypes to be taken seriously as political and social change agents.
Consciously or unconsciously, Steinem demonstrated how fashion could be leveraged to advance a cause. Rabinovitch-Fox observed that Steinem never argued for the complete rejection of fashion; rather, she recognized its utility as a medium to capture public attention and engage political leaders who might otherwise ignore activist messaging.
This legacy has endured for decades, leaving a clear imprint on contemporary fashion trends and the wider industry. Designer Michael Kors explicitly cited Steinem as a primary inspiration for his fall 2023 collection, which featured low-slung belts, aviator frames, and oversized accessories. The broader 1970s revival, highlighted by flared denim and micro-minis, continues to heavily influence major fashion houses, while modern designers increasingly utilize runway platforms to encourage civic participation and social activism.
Contemporary activists continue to follow the blueprint laid out by Steinem, recognizing the vital connection between grassroots organizing and visual communication. Steven Kolb, CEO of the Council of Fashion Designers of America—an organization that honored Steinem with its Board of Directors Tribute in 2017—noted that her approach inspired generations of women to view style as an instrument of rebellion and self-expression.
This influence remains visible in modern political spaces, such as when Democratic congresswomen wear white to State of the Union addresses to honor the historical suffragist movement while advocating for contemporary women’s rights. Steinem’s legacy demonstrates that clothing can serve as a potent vehicle for driving social progress while embodying the core principles of equality, individuality, and activism.
Ultimately, Steinem’s footprint extends far beyond the specific wardrobe items she popularized. The central theme of her public life—the fundamental importance of personal choice—remains inextricably linked to her fashion philosophy. Whether an individual chooses to embrace a traditionally feminine aesthetic or opt for a different presentation, the core message is that women should possess absolute autonomy over their bodies, their work, and their wardrobes, free from the burden of unwarranted criticism.
