This November 28th marks 47 years since the legendary fashion show, The Battle of Versailles. Today, I remember Versailles ’73: The American Runway Revolution.
You may recall the name Eleanor Lambert, founder of the International Best Dress List, New York Fashion Week, the
Met Gala, and the CFDA. Ms. Lambert, relentless in her efforts to boost recognition of American fashion.
The fashion publicist instrumental in the idea of a showdown of the top French designers against American newcomers. Why? Twofold.
First, a fundraiser idea to raise money for restorations at the historical monument, the Palace of Versailles organized by Lambert and
the Versailles curator Gerald Van der Kemp.
Second, a friendly competition that would pit the creme de la creme French Haute Couture – Yves Saint Laurent, Pierre Cardin, Emanuel Ungaro, Christian Dior, and Hubert de Givenchy against the top five American ready-to-wear and sportswear designers, Oscar de la Renta, Stephen Burrows, Bill Blass, Halston, and Anne Klein.
Of the 42 models chosen, for the first time, runway models included ten culturally diverse, mostly African American women, AKA, “the 7th Avenue Girls:”
Pat Cleveland
Barbara Jackson
Bethann Hardison
Charlene Dash
Billie Blair
Norma Jean Darden
Alva Chinn
Ramona Saunders
Jennifer Brice
Amina Warsuma
Black models were a rarity in Europe in the 1970s, and the French fashion shows didn’t walk to music. “The dresses that these girls wore during the Battle of Versaille, fitted for them.” The designers knew their personalities, so they weren’t just designing a collection; there were like, This is perfect for Pat, Bethann’s going to kill this, Alva’s going to slay this. That’s how they won.
According to the Women’s Wear Daily publisher-editor, John Fairchild, it was a triumph of sportswear ease over couture fussiness. Each African American model is a captivating and original way of walking, twirling, and emoting, hence the name “voguing” to American music using cassette tapes.
Longtime Parisian resident and world-renowned entertainer Josephine Baker opened the overreaching French presentation that lasted 2 and 1/2 hours. Fresh off of an Oscar win for Cabaret, Liza Minelli closed the show after the American 35-minute performance with no elaborate sets, just performance exemplified with the model’s gestures. And no orchestra.
“The American team won because of Kay Thompson,” “It was like a Broadway production, more or less. The Americans won not because of the clothes but because of the choreography.”
How about the pale blue invitation with gold-script, announcing the Grand Divertissement à Versailles lavish fundraiser for the palace? One would expect such an elaborate invitation to set the tone for an evening of splendor and beauty.
Now let’s talk about the world’s social elite gathered at Versailles. The 650 guests included Princess Grace Kelly, Jane Birkin, Andy Warhol, CZ Guest, and Betsy Bloomingdale, to name a few. And $280,00 raised.
We all know about the opulent status symbol of Paris’ Palace of Versailles, the former royal residence built by King Louis XIV in 1682 until the French Revolution in 1789. It was the major expansions and additions that led to the French Revolution.
Fast forward to the mid-1970s where the French kings’ former residence needed a $60 million renovation to restore its original glory. All I can remember is the long line while waiting to enter the palace in August 2012.
Even though things didn’t turn out so well for Marie Antoinette, I think she would approve of the American Runway Revolution at Versailles in 1973.
And it’s worth noting in 2011; the Huffington Post Game Changer Awards honored the African American models of Versailles with the Style Award.
As always, thank you for visiting The Age of Grace; I appreciate your support. Please remember to wear your mask and social distance.
Happy Thanksgiving too
