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from the East, and so the dolman sleeve was revived as a modern, exotic fashion. One of the great appeals of the dolman design is that it gave an elegant, flowing line, while allowing the wearer freedom of movement. In the 1940s, following the hardships of the economic depression of the 1930s, glamour and elegance became very fashionable. The dramatic lines of the dolman sleeve were perfect for those who wanted to dress with the flair and grace of a movie star. In 1941 the dolman dress became one of the most stylish dresses a woman could own. Within a year, however, World War II (193945) had caused fabric shortages throughout Europe and later the United States, and the baggy fabric of the dolman sleeve went out of style. The dolman sleeve returned at the end of the war as part of the ultrafeminine New Look of the late 1940s and early 1950s. The dolman sleeve had another period of high popularity during the 1980s, when it returned as the batwing sleeve, both on formal clothes and on sportswear.

Baker, Patricia. Fashions of a Decade: The 1940s. New York: Facts on File, 1992. Payne, Blanche, Geitel Winakor, and Jane Farrell-Beck. The History of Costume. 2nd ed. New York: HarperCollins, 1992.

Little Black Dress

ntroduced in the late 1920s and first popular in the 1930s, the little black dressa slim-fitting dress of varying length worn for dinners, cocktail parties, and evenings outwas one of the most popular fashions of the twentieth century. Along with blue jeans and the T-shirt, it is one of the most influential and important garments of the twentieth century. The little black dress made its debut in May 1926, with a pen and ink drawing in Vogue magazine by designer Gabrielle Coco Chanel (18831971). The magazine editors called the dress Chanels Ford, comparing the dress to the simply designed, economically priced black Ford Model T automobile.




The dress caused an instant uproar in the fashion world. Choosing black as a fashionable color was itself startling. Before Chanel, black clothing was associated with either the clergy or servants, or with mourning. But the simplicity and economy of the dress appealed to women of the 1930s Great Depression era, a time of severe economic turmoil after the stock market crash of 1929. With this simple item in their wardrobes, accessorized only with a string of pearls or a pair of high-heels, middle-class women and highsociety ladies could be equals. As Chanel said, Thanks to me they [non-wealthy] can walk around like millionaires. One of the first celebrities to popularize the little black dress was the cartoon character Betty Boop, the squeaky-voiced, wellproportioned creation of animator Max Fleischer (1883-1972). Wallis Simpson (18961986), the American who married the former king of England in 1937, also wore the dress and reportedly said, When the little black dress is right, there is nothing else to wear in its place, as quoted by Valerie Mendes. The woman who, according to expert Amy Holman Edelman, made the little black dress an art form, was actress Audrey Hepburn (19291993). She wore a little black dress designed by Hubert de Givenchy (1927) in the role of free-spirited Holly Golightly in the 1961 film Breakfast at Tiffanys. By the end of the twentieth century almost every major designer from Ralph Lauren (1939) to Donna Karan (1948) had included a little black dress in their clothing lines. Amy Holman Edelman, who devoted an entire book, The Little Black Dress, to Chanels creation, has called the dress emblematic of a womans freedom of choice, her equal participating in the world and her declaration that, this time, she is dressing for herself.

Costantino, Maria. Fashions of a Decade: The 1930s. New York: Facts on File, 1992. Edelman, Amy Holman. The Little Black Dress. New York: Simon and Schuster, 1997. Haedrich, Marcel. Coco Chanel: Her Life, Her Secrets. Boston, MA: Little, Brown, 1971. Mendes, Valerie D. Dressed in Black. New York: Harry N. Abrams, 1999.
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