Like the Model T , the little black dress was simple and accessible for women of all social classes. 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 Depression , predominantly 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 II , the 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. 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.
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.
The grunge culture of the s saw the combination of the little black dress with both sandals and combat boots , though 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. Diana's dress has been compared to a "little black dress" .
Wallis Simpson , Duchess of Windsor, was known to own several little black dresses and said much in praise of the garments. One quote of the Duchess: "When a little black dress is right, there is nothing else to wear in its place. It was thought that the dress helped audiences focus more on Piaf's singing and less on her appearance.
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