After a long-running tenure on the Las Vegas Boulevard, the showgirls from the revue Jubilee! gave one last synchronised kick in 2016. The extravaganza, renowned for its ornate costumes crafted by American fashion designer Bob Mackie, came to an end due to dwindling audience numbers and unimpressed commentators who called it a spectacle “trapped in time”.
Now, nearly ten years later, the showgirl, or at least the showgirl aesthetic, is experiencing a revival.
The Sultan of Glitz
Referred to as the “king of sparkle”, Mackie has made dramatic stage sparkle his defining aesthetic, dressing everyone from Hollywood icons to music superstars. Recently, a “naked” bodysuit he designed for Cher in 1978 sold for $57,600, well over its estimated price, while a shimmering beaded bodysuit with shiny wings that Mackie created for Tina Turner for a 1977 show sold for $19,200.
“I believe it looks more appealing for the new generation of stars who is looking for something other than what they knew from childhood”, he explained to a newspaper. “New stars are embracing a theatrical, more theatrical, attention-grabbing, grand statement.”
The Musical Resurgence
It’s a look that sashayed all the way to the centre of mainstream fashion in 2025 largely due to a global pop icon. Earlier this year, the entertainment titan wore one of Mackie’s classic Jubilee! costumes on the cover of her latest record. The bedazzled bra and thong, plumed armbands and sparkly headpiece were tailor-made for a record titled The Life of a Showgirl.
She is part of a trend. This year, showgirl inspirations have been incorporated by music artists including Miley Cyrus as they zoomed across world tours in sparkles, revealing designs and plumes, highlighted against theatrical sets. A top stylist a fashion expert told a style publication he wanted to bring “a showgirl spirit” to her Radical Optimism tour – referencing pictures from the 1950s, Lipa’s dancers fluttered giant feathered fans.
Drawing from History
Lipa, Carpenter and other hitmakers also draw on 19th-century performances, including vaudeville and ensemble references. The outcome are poles apart from the 90s pop style of crop tops and baggy pants, and hip-hop inspired dance moves that came before them.
But some critics are convinced with this showgirl renaissance. An ex-showgirl, a ex- Jubilee! showgirl who entertained in the 00s says the trend is “confusing”. She thinks the word term is being “treated as an catch-all phrase covering everything from The Radio City Rockettes to Broadway performers and now even Taylor Swift.”
A Highly Sought-After Classic Style
For gen Z and modern stars, Mackie’s vintage designs have become highly covetable. In 2024, Zendaya paid tribute to one of Mackie’s earliest clients, Cher, when the actor wore a semi-sheer beaded dress designed by the designer in 2001, which was inspired by one he designed for Cher to wear in 1967. Subsequently, another pop star paid an undisclosed sum to buy the Mackie beaded mini dress she had worn at an awards show to perform at the Grammys. In September, Carpenter wore a trio of classic Mackie designs at the MTV Video Music Awards. They are also a favorite among collectors.
“The showgirl aesthetic inspire fond memories for a historical elegance,” says Su Kim Chung, head of special collections at the an academic institution, who studies the history of showgirls. “Now it is viewed as a sort of ‘acceptable’ sexy because it has been adapted. It has got all the glamour, the crystals and the glitter but without the bare skin.”
A Than Simply Style: An Icon of Vegas
Chung says this figure are key to the identity of Las Vegas. She points to ex-mayor Oscar Goodman who, during public appearances, was accompanied by two showgirls. While Las Vegas currently lacks any traditional showgirl productions, Chung says they are still employed as an symbol of the city, showing up at conventions and in marketing. “The showgirl is still a remaining figure of Vegas glamour,” she says.
The Allure of Escape
Nancy Hardy says the transformative effect of a stage character is part of the attraction. This idea the singer hints at in a latest behind-the-scenes film that documents the backstage action from her year-long 2023 Eras tour, which included exhausting preparations, workouts and 149 concerts across multiple nations, each lasting 3.5 hours.
The performer describes her own showgirl performances as “similar to running a marathon in high heels every night”. Her feathered headdress tipped the scales at 34lbs. “I had to wear it all the way up the steps to the performance area from the backstage area three floors below in the basement. I had to start early for my entrance so I could catch my breath before I went on stage. You are working hard the whole time but maintaining this image that it’s effortless and stunning and dreamlike.”
Perhaps this is where the true allure of the showgirl really lies. In the chaos of 2025 there is a desire for a break from reality. Who better to emulate than these performers, who have always personified fantasy, idealism and a realm where no one misses a mark.
