The ‘gypsy’ skirt, and what it represents (2024)

• Hannah

• Hannah

Back in 2005, the Global Language Monitor, an organisation that analyses trends in word usage and their impact on culture, sent out an alert entitled ‘The “Skirt With No Name” Challenges Linguists – and the Fashion Elite’. Its subject was a skirt that was currently trending, variably being called tiered, flouncy, peasant, pioneer, boho, crinkled and gypsy.

No doubt you can already picture the fashion item in question (although in the 2010s you may have a new term for it, the maxi skirt). For the purposes of this article I will use the term gypsy skirt.

The skirt originated with the Romani people, who believed women should cover their lower bodies for modesty. Then, in the Swinging Sixties, it was embraced by women in the hippy movement, who no longer wanted to conform to fashion norms. Gypsy skirts were easy to make by hand, easy to customise for a unique look (some were even painted with peace symbols), and of course they were sublimely easy to wear.

In 2005, the gypsy skirt enjoyed a renaissance, but now it had caught the eye of fashion designers, which ultimately saw it spring up in every high-street retailer. To this day, it’s a popular choice for balmy summer days and nights.

What is it about the gypsy skirt that makes it appealing? I think it’s a fashion piece that is unique for the fact it marries practicality and allure. The skirt is cool in summer and very comfortable to wear, but at the same time a woman in a gypsy skirt can really turn heads: bare toes peeking out beneath a colourful and feminine skirt which hides all from the eyes and suggests a relaxed bohemianism – magnifique!

In my Andalucian Nights trilogy a community of gypsies features prominently. The gypsy girls are sensual and seductive, and this is reflected in their dress.

Here is an excerpt from Masquerade:

The feast in the gypsy camp was now in full swing. Voices rose rhythmically, shot through with shouts and the occasional report of a revolver. The moon shone in all her silver splendour, spotlighting the lone figure now central to this kaleidoscopic whirl of colour, a dancing Tzigane girl with piercing black eyes and long jet-black hair worn in a single braid that hung down her back like a gleaming rope. She wore voluminous, flounced multicoloured skirts, an embroidered bodice and tight basque of coloured calico.

The girl’s waist was tightly cinched by a narrow belt, which further emphasized the curving lines of her very full bust and hips. Her slender arms were covered with gold bracelets, bangles and chains, and in her graceful hand she held a tambourine, which she tapped in time with the music. A gauzy veil floated on her head, which she used for posturing. Her well-shaped feet and ankles were bare. From time to time there were glimpses of silver anklets and hennaed toes and heels as her feet twinkled in and out under the long skirts. For this brief interlude she was queen of all, surrounded by a circle of men and women, now four-deep, who were beating time for her dancing by clapping hands and knees rhythmically; all the while they chanted a loud call, which rose in volume until the air throbbed with it and then diminished to a lower note before swelling higher again.

What do you think of this gypsy’s style? Do you, or would you, love to dress this way? What do you think of colourful skirts and to-the-toe skirts? I would love to hear your thoughts.