The Game Changer: How Billie Jean King Redefined Women’s Tennis Apparel Design and Branding

Billie Jean King is more than a tennis icon—she is a cultural force who reshaped the sport from the baseline to the boardroom. While her victories on grass, clay, and hard courts are legendary, perhaps her most enduring legacy is the way she transformed the design, function, and branding of women’s tennis apparel. Long before athletes were celebrated as fashion influencers, King understood that what a woman wore on court could signal power, personality, and progress. Her relentless advocacy for better-fitting, more expressive, and high-performance clothing helped spark a revolution that continues to define the look of women’s tennis today.

The world of women’s tennis apparel before King was largely defined by constraints. Traditional white dresses, often made from heavy cotton or restrictive fabrics, prioritized modesty over movement. Players like Suzanne Lenglen had broken the mold decades earlier with short sleeves and headbands, but by the 1960s, most female athletes still wore conservative, ill-fitting garments that limited their range of motion and offered no branding appeal. King stepped into this landscape and refused to accept the status quo. She began working directly with manufacturers to modify hemlines, choose brighter colors, and introduce materials that could withstand the rigors of elite competition while allowing athletes to feel confident and comfortable.

One of King’s most significant contributions was her insistence on functionality without sacrificing personality. She famously wore a pair of blue-tinted glasses on court to protect her eyes from glare, turning a practical accessory into a signature style element. She also championed shorter skirts and sleeveless tops, arguing that players needed freedom of movement to serve and volley at the highest level. Her influence was not merely stylistic—it was commercial. By demanding better apparel, she opened the door for sportswear brands to see women athletes as a distinct, valuable market.

The Pre‑King Era: From Corsets to Cream Dresses

To understand the magnitude of King’s impact, it helps to revisit the apparel landscape before she turned professional. In the 1920s, Suzanne Lenglen shocked Wimbledon by wearing a short-sleeved, calf-length dress, but conservative norms quickly reasserted themselves. By the 1950s and early 1960s, female tennis players were still expected to wear all-white attire, often with petticoats or even restrictive undergarments. The fabrics were heavy, the cuts were boxy, and any concession to performance was accidental. Brands like S. Spalding & Brothers manufactured basic uniforms with no thought to moisture-wicking or ergonomic fit. The idea that a tennis dress could be a marketing tool—a way for a player to build a personal brand—was almost nonexistent.

Even the most daring styles of the era, such as Maria Bueno’s elegant lace-trimmed dresses, were still designed by costume makers rather than athletic wear specialists. There was no consideration for the specific movement patterns of a tennis player: lunging, twisting, reaching overhead. Women were expected to look “ladylike” first and perform second. King herself recalled wearing a heavy, starched dress in her early career that would cling to her skin with sweat, making movement difficult. “I wanted something that felt like I could play my best tennis,” she said later, “not something that felt like a uniform from a 1950s boarding school.”

Billie Jean King’s Design Philosophy: Comfort, Color, and Confidence

King’s approach to tennis apparel was rooted in her core belief that athletes should play in clothes that enable, not restrict. She worked closely with designers to shorten hemlines, add stretch panels, and incorporate synthetic fabrics that allowed for better breathability. One of her early innovations was a sleeveless top paired with a bias‑cut skirt that moved with the body rather than against it. She also broke the all‑white rule with abandon, wearing hot pink, bright yellow, and electric blue outfits that made her instantly recognizable on court.

In 1973, the year of the famous “Battle of the Sexes” match against Bobby Riggs, King wore a custom‑made outfit that blended performance with spectacle. The dress was designed by Jerry Bussilles and featured a bold, striped pattern and a shorter cut than was customary. It was a statement: women tennis players could be both serious athletes and vibrant individuals. That match, watched by an estimated 90 million people worldwide, became a turning point not just for gender equality in sports but also for the visual identity of women’s tennis. Viewers saw a woman playing with power and precision while wearing clothes that looked modern and energetic.

Branding Billie Jean: From Athlete to Icon

King was among the first female athletes to understand that her appearance on court was a form of branding. She didn’t just wear clothes; she wore identity. Her signature eyewear, her colorful tops, and her confident stride all coalesced into a marketable persona. Brands began to take notice. In 1975, she launched her own clothing line in partnership with the company Slew (later known as King’s Court), one of the first athlete-owned lines specifically for women. The line offered fitted shorts, breathable tops, and vibrant dresses that departed radically from the plain white uniforms of the past.

King also became a consultant for major sportswear manufacturers, pushing them to invest in women-specific designs. She argued that female athletes needed apparel tailored to their biomechanics—shorter inseams, higher waistbands, and softer fabrics. Her influence helped persuade companies like Wilson and Adidas to develop dedicated women’s tennis lines. In a 1976 interview with Sports Illustrated, she said, “Women shouldn’t have to wear men’s clothes cut down. We deserve our own designs.” That sentiment became a rallying cry for a generation of female athletes.

Her advocacy extended beyond clothing to the overall marketing of women’s tennis. She helped create the Virginia Slims Circuit (later the WTA Tour), which emphasized health, athleticism, and style. The tour’s branding was deliberately modern, using vibrant logos and fashion-forward imagery to attract a younger audience. Sponsors like Virginia Slims and later Avon saw the value in aligning with an athlete who represented both excellence and independence. King’s image—glasses glinting, fist raised, wearing a color-coordinated outfit—became the face of a movement.

Modern Impact: How King’s Legacy Lives On in Today’s Tennis Fashion

Today, women’s tennis apparel is a multi‑billion‑dollar industry, with brands like Nike, Adidas, Fila, and Lacoste competing to outfit the sport’s biggest stars. Yet every innovation—from Serena Williams’ catsuits to Naomi Osaka’s custom lace‑up dresses—owes a debt to King’s pioneering work. Williams has openly credited King’s influence, saying in a 2018 interview, “Billie Jean made it okay for us to express ourselves on court. She showed that you can be powerful and fashionable at the same time.”

Specifically, King’s push for function‑first, style‑second design has become the industry standard. Modern tennis dresses incorporate moisture‑wicking fabrics, built‑in shorts, and UV protection. Players like Bianca Andreescu and Coco Gauff wear outfits that reflect their personalities—bold patterns, asymmetric cuts, and bright neons—while still meeting the highest performance demands. The idea that a female athlete can have a signature look, distinct from her peers, is now commonplace. This shift can be traced directly back to King’s insistence that women should not be forced into homogeneous, outdated attire.

Furthermore, King’s influence extends to the business side of tennis fashion. She was one of the first athletes to take an ownership stake in her clothing line, setting a precedent for player‑owned brands. Today, stars like Venus Williams with her EleVen line, Serena with her S by Serena collection, and others have followed that entrepreneurial model. They understand that apparel is not just gear—it’s a platform for empowerment and personal narrative.

The Battle of the Sexes as a Fashion Catalyst

The 1973 match against Bobby Riggs wasn’t just a sporting event; it was a fashion moment. King’s custom‑designed dress, created by Jerry Bussilles, featured a striking blue‑and‑white striped pattern that stood out vividly on the grainy television screens of the era. The dress was cut shorter than any woman’s tennis dress seen in a high‑profile match before, and it allowed King to move freely. Thousands of women wrote to King asking where they could buy a similar outfit, demonstrating that there was a powerful consumer demand for functional, stylish tennis clothes.

In response, King went into business with Slew to produce “Billie Jean King for …” (the name of the line was later shortened). These were not just replicas of her match dress; they were complete performance collections—shorts, tops, dresses, and warm‑up suits—designed for the active woman. The success of this line proved that female athletes could drive retail trends and that tennis apparel could be a legitimate fashion category.

Beyond Apparel: King’s Influence on the Branding of the WTA

King understood that the apparel worn by players was part of a larger brand: the sport itself. As one of the founders of the Women’s Tennis Association (WTA) in 1973, she worked to create a unified, marketable image for women’s professional tennis. The WTA’s visual identity—its logo, its advertising campaigns, its tournament presentation—had to reflect the strength and diversity of its players. King insisted that the tour invest in professional photography, stylish uniforms for officials, and a consistent color palette that conveyed energy and prestige.

She also encouraged players to develop their own brand identities. “You’re not just a tennis player,” she often said. “You’re a business.” This philosophy has become central to modern tennis, where players like Emma Raducanu, Aryna Sabalenka, and Iga Świątek have personal logos, endorsement deals, and clothing lines that rival those of Hollywood celebrities. The WTA’s current marketing campaign, “Strong is Beautiful,” echoes themes King championed decades ago: that athleticism and femininity are not opposites, and that fashion can amplify both.

Concrete Examples of Modern Apparel Inspired by King’s Vision

  • Serena Williams’ “Guardian” catsuit at the 2018 French Open was designed to improve circulation and prevent blood clots—a direct example of function-first design. The suit also made a bold fashion statement, sparking debates about what women “should” wear on court, debates that King had ignited decades earlier.
  • Naomi Osaka’s custom Louis Vuitton dress at the 2021 US Open featured lace up the back and a minimalist cut, blending high fashion with sport performance. Osaka has cited King as a role model for owning her style and using fashion to communicate her cultural identity.
  • Coco Gauff’s New Balance collections have included bright, youthful colors and relaxed fits that prioritize movement. Gauff, who was born after King’s retirement, still embodies the spirit of individuality that King fought for.
  • Venus Williams’ EleVen line offers size-inclusive, high-performance tennis apparel designed to flatter a range of body types. Venus has said she learned the importance of owning your apparel brand from watching Billie Jean King.

Challenges and Ongoing Evolution

Despite the progress, King’s work is far from complete. Debates about appropriate tennis attire continue—as seen in the 2018 French Open ban on Serena’s catsuit and ongoing controversies around the WTA’s dress code for players. King has publicly supported players who push boundaries, arguing that the sport benefits from visual diversity. She also advocates for greater inclusivity in sizing and design, noting that many tennis brands still cater primarily to slender body types, leaving many women without performance options.

The industry has also faced criticism for objectifying female athletes through skimpy outfits, another issue King has addressed. She believes clothing should empower, not exploit. “If a player wants to wear a short skirt or a crop top because it helps her play,” she said, “that’s great. But the choice should be hers, not imposed by a brand or a federation.” This principle remains a guiding light for designers and athletes alike.

Conclusion: A Legacy Woven into Every Match

Billie Jean King’s influence on the design and branding of women’s tennis apparel is not a footnote in sports history—it is a foundational thread that runs through every modern outfit, every corporate partnership, and every player’s personal brand. She took a sport where women’s clothing was an afterthought and turned it into a platform for performance, expression, and economic opportunity. From the shortened hemline of her 1973 match dress to the high‑tech, personalized gear worn by today’s stars, King’s fingerprints are everywhere.

Her vision that women tennis players could be both athletic and stylish, both serious and colorful, has endured and evolved. The industry now produces clothing that helps athletes move faster, recover faster, and feel more confident. Brands that once ignored the female market now compete fiercely to outfit the WTA. And young players, from every corner of the globe, step onto the court knowing that what they wear can be as powerful as how they play. That is Billie Jean King’s enduring legacy—a game changed, one brilliant garment at a time.

For further reading on the history of tennis fashion, visit the WTA’s official history of tennis fashion. Learn more about Billie Jean King’s life and activism on her official website. The Women’s Sports Foundation, which she founded in 1974, continues to advocate for equity in sports. For a deep dive into the Battle of the Sexes and its cultural impact, see Encyclopedia Britannica’s entry.