Versailles
’73: American Runway Revolution chronicles the events leading to America making
history in the world of fashion, which began as a charity event to raise funds
for the restoration of the Palace of Versailles before turning into a presumed
rivalry between five renowned designers from Paris, (Couturiers) and five
leading designers from New York.
Organized
with the help of Palace of Versailles curator, Gerald Van der Kemp, and
visionary fashion publicist, Eleanor Lambert – who long anticipated the world
seeing America’s value to fashion and her ability to compete with French haute
couture – the event took place on the night of November 28, 1973 at the Chateau
de Versailles to a packed audience of French royalty, socialites, financiers,
and performances by Josephine Baker and Liza Minnelli.
Yet,
before history ensued, the Americans encountered obstacles, setbacks, and
rehearsal dramas, leaving them with little prep time and no choice but to rely
on the models to present their designs and carry the show oppose to elaborate
staging.
Facing
off with the best couturiers in the world – Yves Saint Laurent, Christian Dior,
Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro, the event, (also known
as Le Grand Divertissement à Versailles),
was publicized as the “Battle of Versailles,” vs. top American contenders –
Anne Klein, Stephen Burrows, Bill Blass, Oscar de la Renta, and Halston.
Redefining
the catwalk, marked by haute couture’s rigid presentations at the time, the
Americans electrified the runway in revealing Halston ensembles, to a sinuous
collection of colorful jersey dresses by African American designer, Stephen
Burrows.
Adding
more diversity to the American voice was Anne Klein’s female perspective and
the original design aesthetics of de la Renta, Givenchy, and Blass, accompanied
by select
African American models putting “the strut” on the runway.
It
was Bethann Hardison’s defiant stomp; Pat Cleveland’s famous twirl; Billie
Blair’s magical allure – along with other noted models of various ethnicities,
including trailblazer, China Machado – that led the transformation in fashion
while breaking cultural barriers.
Interviewing
the filmmaker of Versailles ’73, Deborah Riley Draper shares an informative
discussion on a charity event, turned fashion revolution and the sociocultural
connections between society and fashion.
Interiors of
Man: With Yves Saint Laurent being the first couturier
to launch a pret-a-porter collection informed by street culture, how much of an
influence do you think his admiration for Burrows’ design aesthetic had on the future of American ready-to-wear?
Deborah Riley
Draper: YSL’s pret-a-porter
collection’s first store debuted in 1966 and a few other French designers
debuted ready-to-wear collections the same year. The inspiration was more about looks from the art and culture scenes of the early 20th
century. In 1973, Stephen Burrows
brought down the house at the famed fashion gala, Le Grand Divertissement à
Versailles. Stephen’s uses of black
models, disco music and jersey fabrics that danced and moved wowed the
audience, including Yves Saint Laurent.
Yves had always created new and different styles for the women compared
to the other designers of the time in France.
And, Stephen further liberated Yves’ approach to dressing women. The
influence could be seen in Yves’ decades-long muse Mounia, black model who
became one of the top stars of the runway in the 80s.
IOM: Had all the American players conformed to a
protocol of some sort, particularly the black models who brought their fierce
strut to the runway under the sounds of Barry White, et al., I imagine the
Americans would not have enthralled the French, nor would the revolution had
ignited for lack of character.
DRD: The Americans did not have a specific
protocol. Each designer selected their
own music. As the squabbling between the
American designers ensued and rehearsal time at Versailles became practically
non-existent, the models stepped up and brought their essence to the clothes
and the runway. The convergence of black
models, fabulous clothes that were stylish and sexy, and disco music was indeed
revolutionary. Necessity is the mother
of invention and with no rehearsals or props, Stephen Burrows brought his love
of music and dance to his segment.
IOM:
The film unveils the conditions that shaped the revolution: support from Fashion Publicist, Eleanor
Lambert who envisioned and orchestrated the event; American designers bringing
an accessible style to fashion; the couturiers understanding that times were
changing; and black models bringing their own voice to the runway.
DRD: 1973 was only five years after the
assassination of Martin Luther King, and the seventies ushered in more opportunities for black designers and models and
a strong sense of pride. The 70s were a
period of great change in American society and popular culture. And, New York in the 70s saw an emergence of
music, gay discos, young, fresh designers who were artsy and creative and who
mixed and mingled from uptown to downtown and from the upper Eastside to the
Village. Fashion was no longer just for
the ladies who lunched. Fashion has and
always will reflect the politics of the street and the people. Fashion led the way of hippie culture and
painted a cool canvas for hip hop from the 80s to now.
IOM:
Versailles also alludes to the
influence that the models had on Givenchy’s future presentations from then on –
evident with Erykah Badu as the new face for Givenchy’s spring 2014
campaign.
DRD: Yes, I spoke with Mr. Hubert de
Givenchy, and his greatest memory of the event
was of the black models who dazzled the stage with their movement and
beauty. Mr. Givenchy maintained a cabine
of black models for years after the Versailles event. The presence of the black models had a tremendous impression on Givenchy. And, Erykah Badu's photos for the Givency shoot were brilliant, beautiful and perfect.
IOM: Some people may view fashion as a shallow
aesthetic, but with creativity, its allure is the tool that can draw attention to
such vital issues as, hunger, poverty, education, and on.
DRD: Fashion, politics and advocacy for
issues are inextricably linked. The
timeline of fashion trends and statements align very clearly with what is
happening in any culture. From the turtlenecks
for beatniks to black jackets and Black Panthers to the sapeur style in the
Congo amidst war and poverty to the first all-vegan fashion show in 2013,
fashion speaks volumes about what is on the minds and Facebook pages of pop
culture. The fact that the hoodie was an exhibit and point of discussion in the Trayvon Martin case sheds light
on how fashion impacts culture both positively and negatively.
IOM: Versailles was a great production on a
historical moment that many are unaware of.
Do you have plans for other historical documentaries pertaining to arts
& culture?
DRD: Yes, I am currently researching the fashion
model Donyale Luna, the 1936 Olympics and the 1925 La Revue Negre as subjects
for my next documentaries.
IOM: Looking forward.
Fascinating
and enlightening, Versailles ’73 is a remarkable documentary on a significant
achievement in American fashion. As with
most revolutions, it required a collective effort to exact change, thus the
runway revolution was a mutual victory involving black and white models,
American designers, [and] progressive couturiers who understood the relational
dynamics between fashion and a liberated society with an added appreciation for
the presence black models brought to
the runway.
To
learn more about Versailles ’73 and filmmaker, Deborah Riley Draper, visit www.versailles73movie.com and www.coffeebluffpictures.com