A little black dress LBD is a black evening or cocktail dresscut simply and often quite short. Fashion historians ascribe the origins of the little black dress to the s designs of Coco Chanel and Jean Patou [1] intended to be long-lasting, versatile, affordable, accessible to the widest market possible and in a neutral colour.
Its ubiquity is such that it is often simply referred to as the “LBD”.
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The “little black dress” is considered essential to a complete wardrobe by many women and fashion observers, who believe it a “rule of fashion” that every woman should own a simple, elegant black dress that can be dressed up or down depending on the occasion: for example, worn with a jacket and pumps for daytime business wear or with more ornate jewelry and accessories for evening or a formal event such as a wedding or a ball.
Black has always been a color rich in symbolism. In the early 18th century, black represented romance and artistry.
As Ann Demeulemeester said of it, “Black is poetic. How do you imagine a poet?
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In a bright yellow jacket? Probably not. As the Victorian era began, black transitions from a color of art to one of grief and mourning — widows were expected to wear black for at least four years — and also for service livery, as the uniform for maids.
In Gabrielle “Coco” Chanel published a picture of a short, simple black dress in American Vogue.
It was calf-length, straight and decorated only by a few diagonal lines. Vogue called it “Chanel’s Ford”. Like the Model Tthe little black dress was simple and accessible for women of all social classes.
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Vogue also said that the LBD would become “a sort of uniform for all women of taste”. As Coco herself proclaimed, “I imposed black; it’s still going strong today, for black wipes out everything else around.
The little black dress continued to be popular through the Great Depressionpredominantly through its economy and elegance, albeit with the line lengthened somewhat.
Hollywood ‘s influence on fashion helped the little black dress’s popularity, but for more practical reasons: as Technicolor films became more common, filmmakers relied on little black dresses because other colors looked distorted on screen and botched the coloring process.
During World War IIthe style continued in part due to widespread rationing of textiles, and in part as a common uniform accessorized for businesswear for civilian women entering the workforce.
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The rise of Dior’s “New Look” in the post-war era and the sexual conservatism of the s returned the little black dress to its roots as a uniform and a symbol of the dangerous woman.
Hollywood femme fatales and fallen women characters were portrayed often in black halter-style dresses in contrast to the more conservative dresses of housewives or more wholesome Hollywood stars.
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Synthetic fibres made popular in the s and s broadened the availability and affordability of many designs. The generation gap of the s created a dichotomy in the design of the little black dress.
The younger ” mod ” generation preferred, in general, a miniskirt on their versions of the dress and designers catering to the youth culture continued to push the envelope – shortening the skirt even more, creating cutouts or slits in the skirt or bodice of the dress, using sheer fabrics such as netting or tulle.
Many women aspired to simple black sheath dresses similar to the black Givenchy dress worn by Audrey Hepburn in the film Breakfast at Tiffany’s.
The popularity of casual fabrics, especially knits, for dress and business wear during the s brought the little black dress back into vogue.
Coupled with the fitness craze, the new designs incorporated details already popular at the time such as broad shoulders or peplums : later in the decade and into the s, simpler designs in a variety of lengths and fullness were popular.
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The grunge culture of the s saw the combination of the little black dress with both sandals and combat bootsthough the dress itself remained simple in cut and fabric.
The new glamour of the late s led to new variations of the dress but, like the s and the s, colour re-emerged as a factor in fashion and formalwear and repeatedly shows an aversion to black.
The resurgence of body conscious clothing, muted colour schemes, and the reemergence of predominant black, along with the retrospective trends of the s in the late s paved way to the return of interest to the dress.
Betty Boopa cartoon character based in part on the s ” it girl ” Clara Bowwas drawn wearing a little black dress in her early films, though with Technicolor later, Betty’s dress became red.
Wallis SimpsonDuchess of Windsor, was known to own several little black dresses and said much in praise of the garments.
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One quote of the Duchess: “When a little black dress is right, there is nothing else to wear in its place. Edith Piafthe French folk icon, performed in a black sheath dress throughout her career: for this habit she was nicknamed “little black sparrow”.
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It was thought that the dress helped audiences focus more on Piaf’s singing and less on her appearance. Diana’s dress has been compared to a “little black dress” [8].
In an incident at London ‘s Covent Garden theatre ina director fired the then- obese soprano Deborah Voigt from an opera because she could not fit into a “little black cocktail dress”, replacing her with the slimmer Anne Schwanewilms.
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From Wikipedia, the free encyclopedia. For other uses, see Little Black Dress disambiguation.
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Paris Fashion: A Cultural History. Oxford University Press. Retrieved The Little Black Dress. Coco Chanel: the legend and the life.
London: Harper Collins Publishers. Before and after images included.
Mock Neck Button Sweater Dress. Black Sweaters. Long black jersey sheath dress for women Mori Lee 7. Filters 0.
Accessed May 27, Retrieved May 29, Coco Chanel Karl Lagerfeld. Little black dress Jacqueline Kennedy’s pink Chanel suit. Chanel 2.
The Allure of Chanel.
Bra Camisole Undershirt. Categories : s fashion 20th-century fashion 21st-century fashion Dresses History of clothing Western fashion History of fashion Chanel.
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