The Little Black Dress: A Brief History
“I have no dress except the one I wear every day. If you are going to be kind enough to give me one, please let it be practical and dark so that I can put it on afterwards to go to the laboratory.” – Madame Curie
Audrey Hepburn. Lady Diana Spencer. Kate Moss. These style icons are known for their impeccable taste in dresses, little black ones in particular. Each has garnered a fashion moment wearing an LBD (for Hepburn, it was Hubert de Givenchy in 1961, for Lady Diana, Christina Stambolia in 1994, also known as “The Revenge Dress,” and when is Moss not wearing a show-stopping LBD?) So, where’s its power come from?
The LBD possesses what so many want to achieve with their style: effortless elegance. If effortless elegance seems like a paradox, it’s because it is, and, like many evergreen fashion trends, it relies on tension. The LBD does not give the woman who wears it anything to hide behind—the dress insists that its wearer shine. “Scheherazade is easy. A Little Black Dress is difficult,” said Coco Chanel. Chanel, of course, is thought to have originated the LBD. Though the “little black swan,” popularized the look in the mid-1920s, specifically with her Model T dress published in Vogue in 1926, the history of the LBD is actually centuries old.

The shade alone—black—holds such significance. It’s the fashion uniform for a reason: you can’t go wrong in black. Not only that, black imbues contradictory sensory associations. It is severe and seductive, demure and raven, posh and discreet, austere and chic. Fashion historian, Anne Hollander argues in her book Seeing Through Clothes that “the symbolism of black could be used with creative perversity for emotional effect.”
Fifteenth Century Duke of Normandy, Philip the Good was one of the first people of influence to do just that. Could it be that the originator of the LBD was, in fact, a man? As Hollander points out, the fourteenth century is a pivotal moment in fashion history, when clothing evolves from craft to art.