Many of the bright, distinctive shapes and colors associated with mid-late 80's graphics and fashion trends are derived from the Memphis-Milano collective's work. Although this group didn't have a huge amount of output itself, it became widely copied by commercial designers, and I'll point to some examples of such in media. Fashion isn't my forte, but parallels between media and fashion aesthetics are easy to find.

For example, the titles and credits to Beverly Hills Teens use the Memphis patterns and colors more or less directly. Trapper-Keeper binders often mixed some of this design style with airbrushed renditions of the early 3D CGI that started to make appearances during the 80's. And, of course, MTV sampled nearly everything that was trendy for its idents and one can find an occasional whiff of the Memphis look in those.

While discussing design in this period, new technology is a major factor. The shift to CGI, the appearance of "desktop publishing" computer software, and its concurrent shift to digital typography, all constituted a revolution in media aesthetics. Around the start of the decade, the high-end option in TV graphics was the analog-computing Scanimate system, which used a mix of practical effects(think cameras recording hand-crafted masks and mattes) and simple video signal manipulations to composite, blend, and animate. By the end of the decade, everyone had moved towards digital, which allowed for more details and experimentation with palette, as well as being cheaper and faster to iterate on.

I should also point out that 80's revivalist work today acts to distort our view of the period, since it tends to be a distilled mash up of particular works and their aesthetics - it seems like every faux-80's title card now uses an early-CGI laser grid with neon colors and VHS tape artifacts, which you can find examples of if you're looking for it, but really competed with a variety of other styles.