The mark of feminism in the contemporary fashion history

Back in 1987, at just six months old, the Olsen twins charmed their way into the role of Michelle Tanner on ABC’s Full House, beating a sea of hopefuls with nothing more than wide-eyed mischief and endearing, gummy smiles. Given the restrictions placed on child actors, their identical looks offered a neat workaround—swapping seamlessly between scenes to meet filming requirements. What followed was a journey through the whirlwind of teen stardom, making it all the more striking that today, at 38, the sisters have receded into a life of remarkable elegance and quiet.

Their unconventional upbringing fostered a deep-rooted understanding that now informs everything from the way they carry themselves to how they express personal style. While many twins consciously seek distinction, Mary-Kate and Ashley have always moved in sync—experimenting with silhouettes, moods, and moments. From gothic flourishes to bohemian ease, from commanding sunglasses to sweeping hats, they’ve made a habit of strolling through Manhattan clutching Birkins and takeaway coffee with identical, nonchalant flair.

They have since stepped away from Hollywood’s glitter and re-emerged as designers of The Row, a brand quietly built on the principles of Savile Row’s precision and British tailoring at its finest. While many celebrity labels court attention, the Olsens have done the opposite—retreating from the spotlight so their creation could step into it. Their decision to relinquish fame in favour of craftsmanship is perhaps the most enduring proof of their power and their feminism.

While some still murmur about the age-old adage, “never mix business with family”, the Olsen sisters chose a different path. They built something together that many assumed would be short-lived, yet it has endured for nearly twenty years. As they once remarked in an interview, their partnership resembles a marriage—intimate, tested, and requiring decades to master the art of communication. By September 2024, The Row had drawn investment from some of fashion and beauty’s most influential dynasties, including the Wertheimer family, Françoise Bettencourt Meyers, Natalie Massenet and Lauren Santo Domingo—raising the label’s valuation to around $1 billion.

Still holding creative control, Mary-Kate and Ashley remain true to their ethos. “Luxury is something that makes your life easier,” they’ve said—a quiet declaration that mirrors their path. And with The Row’s quiet ascent, sisterhood reveals itself to be a rarefied luxury—precious, and by no means universal.

Vera Wang—From “other people’s daughters” to the bridal dream of every daughter.

As the eldest child in a distinguished Chinese-American family that had resettled in the United States during the 1940s, Vera Wang embodied the kind of daughter who brought honour to her name. Her glittering career became a point of pride, positioning Asian talent visibly on the global fashion stage. Yet the woman once crowned the “queen of bridalwear” might quietly tell you this: sometimes, letting go at just the right moment, and softening your own expectations, brings you closer to what matters most.

Vera Wang’s lineage was notable on both sides. Her paternal and maternal families had deep roots in China’s social elite, and her education reflected that legacy. She began with a childhood dream: to skate competitively. After coming close to qualifying for the 1968 US Olympic team, she pivoted swiftly, refocusing her ambitions with calm clarity.

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A lifelong observer of couture—she often attended Dior and Balenciaga shows with her mother—Wang’s early exposure to high fashion led her to Vogue, where she became the magazine’s youngest-ever senior editor. After 17 years, whispers circulated that she might succeed Grace Mirabella as editor-in-chief. But as the world watched Anna Wintour ascend to the role in 1988, Vera chose a different course, stepping into a design role at Ralph Lauren instead.

Vera Wang’s father, Cheng Ching Wang, was a successful businessman who owned a pharmaceutical company. Her mother, Florence Wu, worked as an interpreter at the United Nations. Raised in a household steeped in business acumen and cultural sophistication, Wang developed a discerning eye early on—one that would shape her future in fashion.

When she married at the age of forty, many assumed it marked the beginning of a serene domestic chapter. But fate had other plans. The bride’s frustration at not finding the perfect wedding gown led her to design one herself—a turning point that would redefine bridal fashion for generations to come.

Having initially refused to fund her studies when she voiced an interest in design, it was her father who, in time, helped shape the business plan—and became an early investor in the Vera Wang brand once he believed she was truly prepared. Determined not to disappoint her family, and least of all herself, the once exemplary daughter has become a global “godmother” of feminism in bridalwear, dressing the dreams of women across the world.

The Devil Wears Prada. But does the “Devil” enjoy being a wife?

There’s an old saying: “If husband and wife work together, they can drain the East Sea.” The marriage of Miuccia Prada and Patrizio Bertelli seems to echo that spirit—surprising many, and quietly impressing even more—because few could have imagined the pair would one day steer Prada Group to outperform even industry giants like LVMH and Kering.

Their first encounter took place at a Milan trade fair in 1977, where Bertelli was then one of Prada’s leather suppliers. Business soon gave way to a deeper connection, and the two began living together. She hailed from Milan; he, from Tuscany. She marched in student protests for feminism at nineteen; he founded his own leather goods company at twenty-one. She was measured and elegant, her smile warm but unyielding. He, by contrast, was known for his fiery precision—he once smashed a mirror in a Manhattan Miu Miu store because he thought it made customers look overweight.

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Though both strong-willed, the couple have weathered decades together, showing the world that a partnership built on respect and shared vision can survive—even flourish—under the pressures of fashion’s upper echelons. Their roles are clearly defined: Miuccia shapes Prada’s idiosyncratic creative identity, while Bertelli handles the mechanics of the business. Together, they are seamless.

In a candid interview, Miuccia Prada admitted she and her husband quarrel over work almost daily. On one occasion, Patrizio bluntly criticised her collection just before a show—leaving her furious. Yet she acknowledges that such honesty is what fuels Prada’s relentless creativity. She joked that theirs is a successful marriage precisely because the work never leaves space for boredom.

Once affiliated with the Italian Communist Party and drawn to pantomime—largely because she had little interest in following the path laid out as her inheritance—Miuccia Prada forged her own way. Her quiet defiance never meant abandoning tradition entirely. In fact, marriage did not constrain her; it seemed to unlock something further. It was Bertelli who encouraged her to launch the first Prada boutique in New York in 1986. Two years later, he pushed for expansion into women’s ready-to-wear. Five years after that, Prada menswear followed.

Speaking on the delicate balance of home and work, Miuccia once revealed her long-standing personal rule for peace: “If he mentions something more than three times, I have to think about it. Sometimes I don’t want to hear it, but I still listen.”

The pioneer spirit and the motherly instinct of Phoebe Philo

Much is said about the elusive balance between work and home, yet we often forget that family should be the very anchor of that balance—not simply something weighed against career ambition. Phoebe Philo seems to understand this instinctively. She approaches her creative work with care, and raises her three children with the calm precision of a woman who knows both what she values and what she must protect.

Appointed Creative Director of Chloé in 2001, the designer welcomed her first daughter in December 2004. Eschewing the tireless grind that defines so many in the industry, Philo handed over the Autumn/Winter 2005 collection to her team, allowing herself the space to experience early motherhood on her own terms. When she left Chloé in 2006, it marked a necessary pause—a chance to breathe. Two years later, she joined Céline, where a London-based working arrangement enabled her to remain closely connected to her family, even while shaping the future of a major French house. When her third pregnancy was announced, Céline chose to cancel its traditional Autumn/Winter 2012 show, opting instead for an intimate presentation—a gesture that respected her personal moment and reflected her professional stature.

Following her quiet departure from Céline, fans waited—with no shortage of hope—for a new chapter. It would take six years for that wish to be realised. Launched with LVMH as a minority investor, Phoebe Philo’s eponymous label moves at a considered pace. There are just a handful of releases each year, allowing her to maintain full oversight across every aspect: design, production, and communication. The absence of seasonal pressure allows for a purity that feels increasingly rare in today’s fashion landscape.

From the outset at Céline, Philo ran her creative process from London, despite the brand’s Parisian base. This was virtually unheard of at the time, but it was a set-up that worked—and served as yet another reminder of her quiet defiance and formidable talent.

The influence of motherhood on her designs is clear. Her clothes respond to life as it is actually lived. Rather than imposing idealised silhouettes, they accommodate reality—filling in the gaps that often go ignored. There’s a quiet rebellion in that philosophy: that women are at their most powerful when afforded real choice. Especially now, in a world where cultural, economic and political shifts continue to test the very progress of feminism that generations have fought for.

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