Sunday, 29 March 2026

A Brief History of Denim and Why the ‘Perfect Pair’ of Jeans Remains Elusive

Slim, straight-leg and skinny jeans have made a return, this time with higher waists and softer denim. Pictured above is Bella Hadid in am indigo Topshop 'Orson' pair. Cover picture of Jean-Christophe Bouvet (aka Pierre Cadault in Emily in Paris) by Andrea Heinsohn for DAM
By Rose Marroncelli

Denim is present in practically every country in the world and is widely adopted as one of the most common forms of everyday attire. Its appeal spans generations and social groups: jeans are worn worldwide by those who follow fashion and those who do not, by people seeking to stand out and by those who prefer to blend in. However, many of us have never found the perfect pair.

Although denim has been produced since the 16th century, its association with American culture and durable workwear emerged during the Californian gold rush of the 1850s. It was during this time that Levi’s – now arguably the most recognisable denim brand – was established.

Levi Strauss, an immigrant entrepreneur who arrived in California from Bavaria in the 1850s, opened a dry goods business catering to miners. One of his customers, the tailor Jacob Davis, developed the innovative use of metal rivets to reinforce stress points in work trousers, making them more durable. Strauss and Davis jointly patented this technique, and the Levi’s brand was born.

Blue jeans were originally a seen as symbol of labourers (like the miners) and they also gained a strong association with cowboys. In the decades that followed, denim jeans evolved from practical workwear into one of the most iconic and enduring symbols of global fashion and culture. Film stars such as Marlon Brando and James Dean popularised the jeans and t-shirt look to a young generation in the 1950s. These films personified motorcycle-loving nonconformists, and 1950s Hollywood embraced denim as the garment of rebellion.

Today, the cultural significance of denim jeans has moved beyond early associations with workwear, the cowboy and the teenage rebel, to become a staple worn by people of all ages and backgrounds.

Finding the perfect pair

Denim jeans are often seen as a problematic fashion product in terms of sustainability, because their production leaves a considerable environmental footprint.

Cheap prices on the high street can encourage consumers to treat denim products as short-term items, reducing their lifespan. Cotton, which is commonly the main fabric for denim, is incredibly water intensive; the production of one pair of jeans uses approximately 7,500 litres of water.

Different components involved in the making of a single pair of jeans, such as denim, thread, cotton and buttons, can originate from different countries all over the world. This raises questions regarding the environmental costs involved in the production process. Further issues include that jeans are often not made from single fibre materials and therefore cannot be recycled.

Woman wearing all denim
Denim is a popular fabric around the world. Andrii Nekrasov

Adding to sustainability concerns, at the consumer level, the perfect pair of jeans remains an elusive concept. But in a recently published book chapter, I explain that the perfect pair of jeans is elusive for a reason. Jeans have to be correct for the individual wearer in terms of comfort, social and personal identity, and also the complexity of fit.

Previous reports have focused on women’s struggle to find jeans that fit and are flattering. The inability to find the perfect pair of jeans may encourage overconsumption, due to repeated purchasing based on poor fit.

My research shows that this is an issue which applies to all genders. The men I spoke to noted how they resented paying a higher price for brands like Levi’s, so spent less by purchasing cheap, high street alternatives. This attitude can lead to overconsumption, as low price points achieved through low-quality production often compromise product longevity.

This demonstrates the perpetuating cycle of fast fashion, driven by cheap, low-quality production, and contradicts the original purpose of jeans of being highly durable and having longevity. The combination of highly environmentally damaging production processes with overconsumption results in even greater environmental harm.

Retailers can make efforts to reduce the trend of overconsumption with better fitting garments. However, fit is a complex issue for retailers as well as consumers. For the retailer, producing jeans in a wide range of sizes and styles is often not cost effective, and complex sizing systems can also confuse the consumer.

Technology could provide future solutions to improving the accuracy of fit. Personalised virtual fitting, made possible through improvements in 3D human shape recognition, could ensure improved fit for the consumer. This would benefit online shoppers, although the technology does remain in its infancy, and is yet to be adopted by major online fashion retailers. Virtual fitting rooms also cannot replicate the feeling of denim next to the skin, so although the fit may be perfect, comfort could be compromised.

Ultimately, the enduring challenge of finding the “perfect pair” of jeans highlights not only the garment’s cultural significance but also the opportunity for the fashion industry – and consumers – to move toward more sustainable, better-fitting and more thoughtfully designed denim for the future.The Conversation

Rose Marroncelli, Lecturer, Nottingham Trent University

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Look Back at the Highlights of Paris Haute Couture Streetstyle Spring/Summer 2026 Captured by Andrea Heinsohn

American actor Teyana Taylor strikes a pose on the steps of the Petit Palais before the Schiaparelli show. Photograph (above) and cover picture of Jean-Christophe Bouvet (who plays Pierre Cadault in Emily in Paris) by Andrea Heinsohn for DAM 

In Paris, haute couture does not always begin on the runway. During Spring/Summer 2026, the pavements, courtyards and grand staircases, notably outside Schiaparelli at the Petit Palais, formed a parallel arena where fashion was defined in real time. We document the evolving language of couture street style, tracing how influence moves fluidly between celebrity, industry, and a global audience. These images present a record of moments when the street did not simply reflect couture, it actively shaped it. Photography by Andrea Heinsohn

Heart Evangelista wears a tailored
Schiaparelli jacket to the Paris show.
LOOKING back to January’s Spring/Summer 2026 Paris Haute Couture Week, it is the scenes outside Schiaparelli at the Petit Palais that feel most enduring. The wide stone steps leading up to the gilded façade became a stage in their own right, an informal yet highly visible theatre where editors, stylists, and invited guests shaped the visual identity of the week. 

Andrea Heinsohn's photographs capture this fleeting street choreography: the stillness before a pose, the movement between frames, the quiet negotiation between spectacle and self-possession. 

Among the front-row regulars, fashion editors stood out as much as the stylists themselves, Suzy Menkes with her signature bouffant hair, Anna Dello Russo commanding attention in her signature maximalist yet elegant style, and the German fashion influencer Leonie Hanne.

Among celebrity arrivals was Teyana Taylor, whose arrival was self-possessed as she wore a pearly double crown. In the weeks since, that appearance has gained added context. At the 98th Academy Awards, she received a nomination for Best Supporting Actress for One Battle After Another, a role that had already earned her a Golden Globe earlier in the season. While the Oscar went to Amy Madigan, the film itself secured Best Picture, with Taylor joining the cast on stage during the acceptance, a moment that quickly circulated online.  

Andrea Heinsohn's photographs capture the fleeting choreography of streetstyle: the stillness before a pose, the movement between frames, the quiet negotiation between spectacle and self-possession 

Chiara Ferragni back in the
fashion ring after her legal
troubles kept her away.  
Also on the steps was Heart Evangelista, whose presence underscores the increasingly global dimension of couture week. Known for her series I Am Heart and her multifaceted career spanning fashion, art, and philanthropy, she brought a polished yet personal sensibility to the setting, bridging the distance between high fashion and lived experience. Nearby, Chiara Ferragni maintained her signature poise, reinforcing the ongoing dialogue between couture and digital influence, after resolving her legal troubles in Italy. 

Elsewhere in the city, beyond the steps of the Petit Palais, the street style narrative continued with equal intensity, even with umbrellas raised with the downpour before the Chanel show and the chilly temperatures at night for the evening events.

Jean-Christophe Bouvet, widely recognised for his role as Pierre Cadault in Emily in Paris, became an unexpected focal point for photographers and fans alike. Moving between shows, often accompanied by his signature fan and an air of theatrical ease, he blurred the line between character and self, embodying the enduring allure of Parisian fashion eccentricity.

Beyond these recognizable figures, the vitality of the street lay in its wider cast. Emerging creatives, independent stylists, and seasoned editors contributed to a visual landscape that felt considered rather than excessive. Tailoring was sharp, silhouettes strong, and even the more expressive looks carried a sense of editing, suggesting a shift toward style over spectacle. What follows is a portrait of couture beyond the runway, captured in passing moments across Paris, where fashion is not only shown, but lived. ~ Jeanne-Marie Cilento

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