Battle of Versailles: Fashion’s Forgotten Night
If you asked me which moment in history I wished I could travel back to and witness first-hand, I would say the Battle of Versailles without hesitation. Yet, this incredible moment in fashion history is often unheard of, and people think I am referencing an actual battle. So, for this history lesson, we’re taking it back to the ‘70s, a decade you may know for its groovy and iconic fashions, with bell-bottom jeans and warm-toned colors. But what many people don’t know is that during this time, the American fashion industry was seen as behind-the-curve when it came to trends, mostly just following what their European counterparts were doing. To the rest of the world, we were the annoying younger sibling who copied everything their older siblings did.
At the same time, the Palace of Versailles in France was starting to fall apart, and conservators needed money ASAP to make some much-needed repairs and maintenance.
One woman took on these two problems and found a solution. Her name was Eleanor Lambert, and she was that generation’s Anna Wintour. She was in fashion publishing in New York but also “was the force behind the International Best-Dressed List... the Costume Institute and the Met Gala, the Coty Awards, the CFDA Awards, and ... the Council of Fashion Designers of America” (CFDA) She basically was the American fashion industry.
Lambert spoke with Versailles curator Gerald Van der Kemp and devised a plan to raise money for the palace and put American designers on the map.
The plan was simple: five American fashion designers and five French fashion designers would put on a fashion show, showcasing eight looks each. The original plan wasn’t for the two sides to compete, but once the media got involved, it became a competition; hence, the event was deemed a “battle.” The French side was stacked, with designers Marc Bohan (from Dior), Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro. The designers for the American side were Oscar de la Renta, Halston, Anne Klein, Bill Blass, and Stephen Burrows.
When the Americans first landed in Paris, it was all glamour. Some of the models had never been to Paris before, and as Pat Cleveland (one of the models) recaps, “They got out of the bus and kissed the ground; they were so happy.” Leading up to the event, there were also several parties to kick things into swing.
However, circumstances were less than ideal when it became time to work. Due to the chilly November weather, the workspace was freezing cold, and the Americans faced obstacle after obstacle. Things got so tense that Halston threatened to quit and walk off, but Liza Minnelli, who, in addition to being a performer for their show, also happened to be his friend and muse, convinced him to stay.
The Battle of Versailles occurred on November 28th, 1973, at the Théâtre Gabriel. Many (wealthy) supporters of the arts were in attendance, from Andy Warhol to Princess Grace of Monaco. The guest list was over 600 people.
The French were the first to go on, and since they had a much larger budget than the Americans, their show was very grandiose. They had a Cinderella carriage, a rocket ship, ballet dancers, a live orchestra, and a performance by Josephine Baker. Givenchy showcased colorful evening gowns with a flowery motif, Cardin went with a space theme and dressed his models in leotards, and Bohan for Dior employed a neutral color scheme for their chiffon pieces.
The French half went on for about 90 minutes, with some reporters from the event saying that while charming, it could have used some edits. They stated that the show lacked cohesiveness, as each designer had their own theme and set, and some didn’t make sense together (i.e. Dior’s Cinderella pumpkin carriage and Cardin’s rocket ship). The other issue was that traditionally, models were to act as nothing more than mannequins, so their movements looked robotic, making their whole act feel stiff. Between the ballet dancers, stiff models, overdone sets, and long acts, the French show felt old-fashioned and dragged out.
After the French completed their act, the Americans came in and switched up the mood. The American setup was straightforward, with mostly just spotlights and pre-recorded music -- but it was full of life. Liza Minnelli did a theatrical-style performance with fun and lively choreography, almost like a Broadway show. The models glided around the stage between the performances, allowing the clothes to move and come to life as the colorful garments lit up the stage. The Americans could also keep their act short and sweet, lasting only 30 minutes. Bill Blass showed off his roaring '20s-inspired garments, whereas Stephen Burrow’s collection was a show of funky color-blocked dresses. Oscar de la Renta closed with vibrant, eye-catching colorful gowns.
While the French show was beautiful, there was no argument that the Americans had won. Their show had left the audience astonished and full of wonder, and they ultimately challenged the traditions of runways. Norma Jean Darden, one of the models for the American team, said that when their show had concluded, the audience was “ecstatic... they jumped to their feet, threw up their programs, clapped, [and] screamed.” She also emphasized that “this was a very laidback Jet Set audience,” so their show must have impressed them to get such a reaction.
After the show, there was a banquet in Versailles's Hall of Mirrors; before this event, only royalty and political figures were invited into the room. The American models and designers oohed and aahed as they gazed around the spectacular golden space. The French designers and excited audience members quickly approached them, everyone still buzzing from their performance and eager to speak with them.
After seeing the beautiful, natural, and dynamic movements of American models, the rest of the fashion industry did a complete 180. Instead of the traditional mannequin-like movements that were expected, models on runways everywhere slowly started to add life to their motions, eventually leading us into the era of modeling in the 1990s, when runways were bursting with personality.
In addition to the way they changed how designers went about their fashion shows, the Americans also challenged the lack of diversity in the fashion industry. This event showcased the talent of African American designer Stephen Burrows, and about 1/4 of the models for the American team were African American, which was highly unconventional at the time. After the performance, their careers skyrocketed, opening doors for people of color in the fashion industry. Models such as Pat Cleveland and Norma Jean Darden became household names, and Burrows was seen as New York’s biggest talent.
In many ways, the show displayed the old versus the new. The French followed tradition, whereas the Americans challenged it. After the American designers' creativity, boldness, and originality that day, the American fashion industry was officially put on the map, and we were finally seen as worthy adversaries. Although the Americans were originally seen as the underdogs, they put on a show so spectacular that they upstaged industry giants, not only leaving them stunned, but also inspiring them to change to be more like us. We went from being trend-followers to trend-setters, all in a matter of one night.