structural:reformatting, structural:expansion
Women's sportswear

Lenglen redefined traditional women's tennis attire early in her career. By the 1919 Wimbledon final, she avoided donning a corset in favour of a short-sleeved blouse and calf-length pleated skirt to go along with a distinctive circular-brimmed bonnet, a stark contrast with her much older opponent Dorothea Lambert Chambers who wore long sleeves and a plain skirt below the calf.

The following year, Lenglen ended the norm of women competing in clothes not suited for playing tennis. She had Jean Patou design her outfits that were not only intended to be stylish, but allowed her to perform her signature leaping ballet motion in points and did not restrict her movement on the court. This type of attire was among the earliest women's sportswear. Unusual for the time, her blouse was sleeveless and her skirt extended only to her knees. Lenglen replaced the bonnet with a bandeau, which became known as the "Lenglen bandeau" and was her signature piece of attire throughout the rest of her career. On the court, she routinely wore makeup and popularised having tanned skin instead of a pale complexion that other players had preferred before her time. Later in her career, she moved away from just wearing white in favour of brighter-coloured outfits. Overall, she pioneered the idea of players using the tennis court to showcase fashion instead of just competing. Off the court, Lenglen frequently wore an oversized and expensive fur coat.