“The Little Black Dress,” famously quoted by the designer Karl Lagerfeld, is getting its own spotlight at the National Museum of Scotland in Edinburgh. The exhibition, titled “Beyond the Little Black Dress,” explores the enduring appeal of this wardrobe staple in film, television, and high fashion. With over 60 looks from collectors and designers worldwide, the exhibition tracks the evolution of the LBD and its role in reflecting social change over the past century.
Georgina Ripley, the principal curator, emphasizes that the LBD goes beyond its literal interpretation. Many dresses featured in the exhibition challenge traditional boundaries of gender and societal norms, blurring the lines between masculinity and femininity. The aim is to provoke thought and challenge viewers’ perceptions by showcasing dresses that embody respect and rebellion.
One of the main exhibits is a long-sleeved silk crepe day dress designed by Coco Chanel in 1926. At the time, this dress was considered a symbol of minimalism, but it carries a deeper historical significance. Before 1926, black dresses were primarily worn by domestic servants to distinguish them from the mistress of the house. Chanel’s design borrowed elements from both working-class fashion and menswear, reflecting the broader modernization happening in women’s clothing during the 1920s. The dress’s association with Henry Ford’s Model T car symbolizes the democratization of fashion, even though Chanel used expensive silk fabrics to transform it into a luxury symbol of haute couture.
The exhibition also explores the significance of the color black itself. Dresses commissioned by Wallis Simpson, known as the “rebel royal,” and Princess Margaret play into the idea that black was traditionally reserved for mourning. In the 1980s, Japanese designers like Issey Miyake and Yohji Yamamoto revolutionized fashion by using black to experiment with light, darkness, and innovative techniques like pleating and creasing. Yamamoto’s declaration that “red is black” shattered traditional perceptions of color, and a striking crimson dress from his 1991 collection challenges visitors to rethink their understanding of color.
Beyond fashion, the exhibition delves into the erotic and provocative aspects of black. Dresses inspired by bondage from Gianni Versace’s Miss S&M collection and Christopher Kane’s Hellbound latex dress explore themes of sexual empowerment and ignite important conversations around sexuality and identity.
Rather than familiar iconic black dresses like Diana’s “revenge dress,” the exhibition showcases lesser-known dresses worn by contemporary figures like Jodie Comer’s character Villanelle in Killing Eve and Jonathan Van Ness from Queer Eye. These dresses serve as blank canvases for projecting individual identity, demonstrating the versatility and personal expression that the LBD allows.
In addition to the exhibition, the article highlights five memorable black dresses from film and popular culture, including Audrey Hepburn’s iconic LBD in Breakfast at Tiffany’s and Elizabeth Hurley’s daring Versace dress held together by gold safety pins.
The “Beyond the Little Black Dress” exhibition will be on display at the National Museum of Scotland from July 1st to October 29th, 2023.
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