The Observatory Hotel invited CHIC to present a series of Master Classes on ‘The Top Ten Frocks that changed the world’ at their Night of Luxury Frock Star event in June. Here is a short version of this Master Class.
Choosing which ten dresses changed the world was no mean feat. From 1920’s-now, there have been more than 50 dresses that we could have picked. Our selection criteria ended up being based on three key qualities:
1) timeless
2) created a significant trend/following
3) memorable
Each dress we chose had it’s own unique merits as well as these three qualities.
Dress No. 1 - 1930 – VIONNET
The 1920 & 30’s were dominated by female designers, such as Chanel, Jeanne Lanvin and Elsa Schiaparelli, focusing on Madeleine Vionnet for this era. Madeleine Vionnet’s Grecian dress is as an example of the freedom women looked for in a dress. No corset or boning, the real body was draped and allowed to move. Vionnet also established the BIAS CUT. This allows the fabric to stretch, to flow around the body but not mould it. This bias cut remains in many garments today so this design was considered timeless.
The following two designers and their dresses were introduced in 1947 but then influenced the shape and themes of the 50’s. It also re-established Paris as the centre of fashion.
Dress No. 2 - 1947 – DIOR
The mend and make do era of clothing ended in 1947 with the launch of Dior’s New Look, so called because of a Harpers’ Bazaar journalist response. ‘It’s such a new look’ With soft shoulders, waspy waist and metres of beautiful fabric, it gave the world a new Optimism and Freshness.
It was not initially welcomed by the press or governments who were concerned about the amount of fabrics, but who can tell a woman what to wear?
Dress No 3 - 1954 – CHANEL
Seeing Dior’s success brought Chanel back from exile in Switzerland and re-launched her label in 1954 (she was 71) although not technically a dress, it was a revolution in women’s dressing. The tailoring was soft and elegant and without corsetry, which Chanel was concerned was returning in the Dior look. The Americans were her greatest supporters in this era and saw the versatility of the working world in a Chanel garment. They took the suit to boardrooms and out to lunch.
Dress No. 4 - 1961 – GIVENCHY
The Little Black Dress (LBD) was started by Chanel but we have to honour Givency and Breakfast at Tiffany’s for the most everlasting, desirable image of a LBD. It was recently voted the most memorable screen dress.
What does a LBD do for a woman? It can be long or short and still be successful. It’s respectable, versatile, slimming and elegant, mostly it’s completely reliable. If a man in Black Tie is James Bond then a women in a LBD is Audrey.
Dress No 5 - 1965 - MARY QUANT – THE MINI
Mary Quant was a London boutique owner, who took ideas and made them appealing to the fashion hungry youth of London. She was inspired by Correges and Balaciaga’s modern cuts and tunic shapes, where the tailoring was determined from the shoulders, thus taking the emphasis of the waist. This allowed Quant to shorten the hem without affecting the structure of the dress.
In 1965 she put her Mini’s (named after her favourite car) in her ‘Bazaar’ store windows. The 60’s look was now ready for consumption. Interesting to note the mini has innocence to it. The neckline is high, the detailing is feminine. This was for the for young women who were coming into economic power. Initially expensive, it was extensively copied and made at home, creating the first mass fashion revolution.
Dress No 6 - 1973– HALTERNECK DRESS – HALSTON
“You are only as good as the people you dress” Halston
The Hippie era was coming to an end and Halston, and American millinery designer (he designed Jackie Kennedy’s pillbox hat) was one of the first big American designers. His look was clean but sexy and elegant with a hint of the optimistic American.
His style featured block colours, shirt dresses; floating silk jerseys and the use of a spiralling bias cut (think Vionnet). Initially he styled stars, and gave Liza Minelli her signature tunic and pants look, for Halston loved dressing famous people. Halston slinky dresses were perfect for Studio 54, the disco of the ear, for jet setting to Europe (perfect for packing) but were also not sizist. His mu-mus and tunics were popular with the larger celebrities. Today the revival line is called Halston Heritage and can be seen in Sex in the City 2.
Dress No 7 - 1983 – DYNASTY - NOLAN MILLER
These images of Alexis (Joan Collins) and Crystal (Linda Evans) epitomise the Glamour, the Grandness and the Glitter of the 80’s. This is the era of the Bitch, the powerful woman in control who can fight for what she wants. No shoulder was too big, no sequin too much. The 80’s was Bling (if only that word was around then!). Nolan Miller, the show’s designer, launched a line of clothing. The use of celebrity and media to further a fashion style is now an established route.
Dress no 8 - 1994 – VERSACE – SAFETY PIN DRESS
Known as the Greatest Red Carpet Dress, Elizabeth Hurley (29) was the guest of Hugh Grant for Four Weddings and Funeral launch (that’s him in the background). Notice her grooming, it’s not harsh, it’s natural and approachable, a girl next door in a killer dress. This dress heralds the age of the Celebrity Dress and how to ignite a career
Dress No. 9 - 2001 – JULIA ROBERTS – VINTAGE VALENTINO
The dress is from 1982 by Valentino. It caused a sensation. The gown was so perfect, so Hollywood and elegant, but wasn’t fresh from the collections, because it was Vintage, a term not heard of before. It gave the dress an edge of exclusivity and Julia Roberts an Oscar. Vintage is now a legitimate fashion choice and has created an alternative to boutique shopping with the rise of the Vintage Boutique. This dress can be seen at The Queensland Art Gallery’s exhibition on Valentino.
No. 10 - 2005 - GALAXY DRESS – ROLAND MOURET
Some dresses are not necessarily original to the eye, but hit a fashion need, clean sweeping all styles around it and making them redundant. This is a reminder of how much we love dresses. Technically the dress is understated, but it does everything we need it to do. It’s flattering; it shows off the curves, it’s neither too old nor too young. It’s really a perfect dress and thus became the most copied dress of the 'Noughties'.
As you can see, all of the dresses made a statement in fashion. They could all be worn today with grace and style so depict a sense of timelessness. What top ten dresses will change this century, we wonder?
Author: Catriona Carver - Vintage Stylist Guru
