香奈儿小黑裙的前世今生

 [导读]小礼服裙/小黑裙（Little black dress，通常缩写为LBD ）享有百搭易穿、永不失手的声誉，因而顺理成章地成为女士们衣橱里的必备品。

   今年，全世界都在庆祝最具影响力的时装革新之一，香奈儿小黑裙的八十一岁生日。

　　1926年，香奈儿女士第一次发布了她的小黑裙。这个时机可谓选择得相当完美，因为一战给欧洲社会带来的暴风雨般的改变，为小黑裙创造了机会。在它面世后，人们用最好卖的美国汽车的名字来称呼它，叫它Ford裙。小黑裙的受欢迎程度可见一斑。

　　尽管之前也有黑裙，但香奈儿创造的款式、廓型是彻底地前所未有。卸去了战前的大帽、窄裙摆和极致的装饰，小黑裙长至膝盖，带着几分帅气的纤细，而且，它所需要的配饰也是越少越好。

　　毫不惊讶地，女士们很快就发现小黑裙谁都能穿得好看，尤其对那些想要有新妩媚造型的人来说，小黑裙能使她们更婀娜。同样，小黑裙也让无法一天内更换两三套服饰的新时代女性有了相当可行的选择。

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尽管小黑裙也曾遭恶评，如设计师Paul Poiret就特别地认为它“营养不良”，但越来越多的人还是把它纳入了自己的衣橱。在时装史的众多转折点上，小黑裙不断地被重新演绎，并且已经成为知识分子、摇滚一族和庞克一族共同的心头好。

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             小黑裙是T台上永恒的潮流

　　时至今日，女性对小黑裙的渴望和依赖更是空前。正如Didier Ludot在他的《The Little Black Dress》中所写，“没有小黑裙的女人就没有未来。”

　　香奈儿的现任设计大师Karl Lagerfeld大谈他眼中的小黑裙：

　　问：你最喜欢的小黑裙是哪一款？

　　答：香奈儿女士著名的Ford裙，因为它开创了先河。

　　问：你所设计的LBD (小黑裙)中哪一款又是你最喜欢的？

　　答：我从不回答有英文缩写的提问，听起来就像医学术语。

　　问：你认为历史上谁把小黑裙演绎得最精彩？

　　答：Reginald Fellowes夫人（美国的法裔社交名媛）、奥黛丽·赫本和香奈儿女士本人。

　　问：其他设计了小黑裙的设计师中，你最欣赏哪几位？

　　答：没有哪个法国设计师没有尝试过设计小黑裙。Rochas的Olivier Theyskens、Balenciaga的Nicolas Ghesquiere、Lanvin的Alber Elbaz、YSL的Stefano Pilati，都设计过非常别致的小黑裙。如果Hedi Slimane也做女装的话，我相信他也会设计出很棒的小黑裙。当然，我的一些设计也不太坏。

　　问：那么在男装中有没有哪一款可以和小黑裙相媲美的？

　　答：黑色小夹克。或者按你可怕的表达法来说，LBJ。

　　问：你有多少件黑色夹克和多少条黑色领带？

　　答：到我的住处去抄一个目录下来吧。当然，我所拥有的和平常我所穿着的是有区别的。我只喜欢我新近买的东西。我是个十足的fashion victim，总能让商店的生意很好。至于黑领带，噢，是的，我的领带都是黑色的。平常我对粉色领带不太感冒，但偶尔也会强迫我自己系一次。

　　问：为什么黑色最讨人喜欢？

　　答：因为黑色是非彩色，不用花费多大努力就能穿好它。同时，作为像我们一样的时装工作者，我们必须穿黑色，否则，我们就可能迷失在自己的世界中。

　　问：电影中你最喜欢的小黑裙呢？

　　答：很多好电影都是黑白的。它们之中总能看到小黑裙，尽管其中它们不太漂亮或甚至都不是黑色的。

　　问：艺术作品中的呢？

答：Balthus所画的Marie-Laure de Noailles的画像。

小黑裙起源
　　Chanel最经典的设计。竟然是她最爱的男人去世后她为自己做的。简洁流畅的线条，精致大方的剪裁，她着上这样一袭黑裙，剪短了头发，她用Coco的方式来悼念她灿烂过又无奈凋零的爱情。她从未为感情歇斯底里过，她平和而稳重，至多拥有眼角隐忍不落的泪水。然而，一个女人的坚强与独立，男人是爱，是恨？我相信他们爱过，可他们同样也践踏了。
　　也许她是属于寂寞的，如这袭黑裙。黑色，是能毁灭一切的颜色，包括爱情。
　　她香奈儿小黑裙

　　小黑裙（Little black dress，通常缩写为LBD ）享有百搭易穿、永不失手的声誉，因此顺理成章地成为女士们衣橱里的必备品，也是服饰史上影响最深远的设计之一。

在1926年，香奈儿女士第一次发布了她的小黑裙。这就便赋予了女性一种全新的自由，来展现传统既定规范外的另一种女性美。 “女人一心想着所有的色彩，而常会忽略了无色彩。她认为黑色与白色一样，凝聚了所有色彩的精髓。它们代表着绝对的美感，展现出完美的和谐。

关于电影

电影中，这个故事仍然让我们知道香奈儿穿小黑裙并不是特立独行，而是有着一个令人感动的爱情故事在她的背后。可以说小黑裙是香奈儿一生中最大的时尚成就，在我看来，这个成就远远超过了著名的Channel 5°。想想，前几年的宴会上，多少名流、明星走红地毯女士穿的都是小黑裙。无论是怎样的设计，一律的黑色，高贵，典雅、冷艳，衬托了她们美丽明艳的肌肤，完美无暇的演绎了红与黑的经典美丽。

试问，女性为什么会在一夜之间爱上小黑裙呢？因为它在当时的色彩上的独特，还是经典，因为它的冷静，还是特立独行？如果是我，我会选择最后一个。对黑色的裙子有深刻的认识是在《飘》中，想想斯嘉丽有多少次穿上黑裙子，想想她每次穿上黑色的裙子的时候心中有多少的埋怨和诅咒。可以说，在香奈儿之前，黑色的裙子对于女性而言是最大的束缚，尤其是对美丽和时尚不停追逐的女性而言，可谓是世界末日的到来。

自1926年香奈儿推出的“小黑裙”，它已成为时尚的一个缩影。 Her first LBD was a slash-necked, short silk dress with only diagonal pin-tucks as decoration.她的第一个发光二极管是一个斜线颈，只有对角针作为装饰塔克斯短丝的衣服。 American Vogue called it the "Ford."美国时尚把它称为“福特”。 Like Henry Ford's Model-T car, the LBD was an instant hit, widely available, though only in black.像亨利福特的Model - T的车，发光二极管是一炮打响，随处可见虽然只有黑色。 Chanel believed fashion should be functional as well as chic.香奈儿认为时尚应该是功能性以及别致。 Radically simple, her LBD was designed not to show stains and to fit every woman.从根本上简单，她的发光二极管的设计不是为了显示污渍，以适合每个女人。 It was meant as the fashion ideal: a perfectly simple, yet sexy object.它本来是为时尚的理想：一个非常简单的，但性感的对象。http://s8/middle/91384518hb24a7cf61517&690

To modern eyes, Chanel's original LDB may seem rather plain, perhaps too simple, at least compared to the glamorous Givenchy LDB (above) worn by Audrey Hepburn in the 1954 film Sabrina (Paramount Pictures).以现代的眼睛，Chanel的原六味地黄丸可能看起来非常平整，或许过于简单，至少相比，迷人的纪梵希六味地黄丸（上）戴由奥黛丽赫本在1954年电影和Sabrina（派拉蒙电影公司）。 Until she was seventeen in 1900, Gabrielle Chanel was educated at a convent orphanage run by nuns.直到她在1900年十七岁，曾就读于加布里埃尔夏奈尔运行修女修道院的孤儿院。 It does not take a psychologist to see in Chanel's revolutionary LBD concept a subconscious affinity for the "uniform" (the nun's habit) worn by the women who had raised the penniless provincial girl.它没有考虑心理学家看到Chanel的革命的LBD概念为“统一”的潜意识亲和力谁曾提出身无分文省妇女戴的女孩（修女的习惯）。

As early as 1915, Coco Chanel envisioned the LDB as the new uniform for women for afternoon and evening wear.早在1915年， 可可香奈儿晚装的LDB的设想下午和作为新的统一的妇女。 Though apparently quite simple, these dresses showed masterful cut and proportion.虽然表面上很简单，这些衣服显示高超的切割和比例。 She used traditional elegant materials like lace, tulle, and soft weightless silks in a newly tailored way.她用柔软的失重丝绸，薄纱，并以新的方式定制的材料，如传统的优雅花边。 The LBD made women wearing anything else seem overdressed.使妇女的政治领导人似乎什么都穿着盛装。

One time at an opera gala, Chanel saw many women in the brilliant, clashing colors of Paul Poiret's new dawn.一次在一个晚会歌剧，香奈儿看到了辉煌的许多妇女，发生冲突的黎明颜色保罗波烈是新的。 From that day Chanel, the champion of beige and neutrals, was determined to change the fashion landscape.从那天起，香奈儿，米色的中立冠军，并决心改变的时尚风景。 She rejected the accusation that she was trying to impose the style of the working girl on haute couture by creating the "deluxe poor look."她拒绝了这一指控，她试图强加的女孩的工作通过创建高级时装风格的“豪华贫困面貌。”

By the end of the 1920s, Chanel had triumphed.到了20年代末，香奈儿已经取得了胜利。 Although never a brilliant designer, she was a fashion visionary, who could intuit the needs and desires of stylish women.虽然从来没有一个辉煌的设计师，她是一个有远见的时尚，谁能够直观的需求和欲望的时尚女性。 Chanel was the first couturier to understand the most profound fashion change of the century—in the clothes she wore daily, a woman no longer had to create the impression of great wealth. Vogue summed up the designer's impact: "Chanel's silhouette, staying close to the lines of the uncorseted figure, begins to make the skirts of Lanvin look old-fashioned and Poiret too theatrical."是第一个服装设计师，了解重要的是她穿着每天，深刻地改变了百年的衣服的女人不再需要建立的印象。巨大的财富香奈儿时尚总结了设计师的影响：“Chanel的剪影，力求贴近uncorseted来看，线条的，开始使Lanvin的裙子看起来守旧，波烈太戏剧。“

Paul Poiret, before WWI The King of Fashion (the title of his autobiography), spent his final years in decline and debt, having been surpassed by modernist designers like Coco Chanel.保罗波烈，第一次世界大战前国王的时装 （他的自传的标题），花了他的下降和债务的最后几年中，虽然已经超过了像可可香奈儿现代主义设计师。 She and Poiret had a chance encounter on a Paris street in 1928.她和波烈曾在1928年巴黎街头上的偶然相遇。 Noticing that Chanel was wearing all black, Poiret inquired, "For whom, Madame, do you mourn?"注意到这香奈儿穿一身黑，波烈问道：“谁，夫人，你悲哀？” To which Chanel replied, "For you, Monsieur."对于这些香奈儿回答说：“对于你，先生。”

Before the Little Black Dress came the black dress.前小黑裙来的黑色礼服。 Although I use the phrase "the color black," it is technically not a color at all but rather the absence of any color (red, green, blue).虽然我用“色黑”，它在技术上不是一种颜色，而是在所有的）没有任何颜色（红，绿，蓝。 Nevertheless, to the human eye, black is not merely achromatic.然而，人眼，黑不只是无色。 In the palette of major painters and clothing designers, black became a "color" in its own right.在设计师的主要画家的调色板和服装，黑色变成了自己的权利“彩色”的。

Because of the great wealth derived from its American Empire, Spain dominated Europe in the 16th century politically and culturally.由于其美国帝国的巨大财富派生，西班牙占主导地位在16世纪欧洲政治和文化。 From 1550 to 1600, the severe fashions of the Spanish court under Philip II reigned supreme everywhere except in France. 1550至1600，根据西班牙菲利普二世的严峻法院时装的最高统治地位，除了在法国各地。 Black garments were worn for the most formal occasions.黑色服装是穿了最正式的场合。 To this solemn color, there adhered a certain austere and dignified beauty that was continually rediscovered over the following centuries.为了这个庄严的色彩，有一定的坚持严肃和有尊严的美丽，不断地被重新发现在接下来的几个世纪。

Painting played a major role in the rediscovery of black as the essential color of fashion, as the great French painters of the 19th century documented the changing role of black in women's fashion.画中发挥了重要作用的时尚色彩作为基本的再发现黑，因为妇女的时尚伟大的法国画家黑不断变化的作用的19世纪记载。 In the 1820s Eugene Delacroix explored the contradictions of black, using it as a background to create a melancholy mise en scène . His vision of painting as theatre influenced all the arts.德拉克洛瓦在1820年代的矛盾探索了黑色，用它作为一个背景来创建一个连接忧郁MISE的场景 。他的艺术视野的影响，所有的画作为剧场。

The poets Stéphane Mallarmé and Charles Baudelaire were fascinated by the way fashion and painting influenced each other.诗人斯特凡马拉美和波德莱尔被迷住了时装和绘画的方式相互影响。 Painting took high fashion as a prime subject matter.绘画把它当成是首要题材高级时装。 Major couturiers, for their part, were influenced by how the great French painters handled color and texture in their work.主要的时装设计师，为自己也受到伟大的法国画家如何处理在工作中的颜色和纹理。

The painter Edouard Manet's trademark was the particularity of his blacks.画家爱德华马奈的商标是他的黑人的特殊性。 His friends recognized that the use of black in his Spanish canvases was a proclamation of modernity, an artistic revanchism that rejected Baudelaire's espousal of colorism.他的朋友们认识到，用黑色画布他的西班牙是一个现代性的宣讲，以艺术的复仇主义否决波德莱尔的colorism拥护的。 Mallarmé felt the color black perfectly met the requirements of modern dress: "I do not believe it is possible to be otherwise than surprised by the delicious range provided by the blacks..."马拉美感受到了黑色晚礼服完全符合现代要求的：“我不相信这是可能有其他比黑人惊讶的范围内提供的美味...”

Black had long been associated with disaster, mourning, or sanctity.布莱克一直与灾难，悲恸，或神圣。 Because this color was embraced as the essential medium for visual reproduction (engravings, prints, and photographs), black's ancient fixed role was tempered to allow its use in ordinary life.因为这种颜色是作为视觉的繁殖能力的培养液（版画，版画，照片）拥抱，黑色的作用是古老的固定锻炼，允许其在日常生活中使用。 Baudelaire addressed the paradox of wearing a black frock coat for everyday use: "We are all attending one funeral or another."波德莱尔解决矛盾的使用日常穿着黑色外套上衣：“我们都参加的葬礼或其他。”

Borrowing from photography after 1850, painters used black to habituate the viewer to the effects of a meeting of light and texture.从1850年后借摄影，画家用黑色来习惯于观众的光与质地会议的影响。 Referring to this relationship, Manet noted Leonardo da Vinci's advice to a disciple to closely observe how faces changed at dusk.在谈到这一关系，马奈指出达芬奇的意见，一个弟子，密切观察面临黄昏改变。 Likewise, the texture of clothing takes on the role of skin in a painting and thus teaches the painter a lesson.同样，服装质地注意到关于在绘画皮肤的作用，从而教导画家一个教训。http://s4/middle/91384518hb24a7df97343&690

Manet used clothing (theatrical and bullfight costumes) imported from Spain to understand how to paint black.马奈旧衣物（戏剧和斗牛服饰）从西班牙进口了解如何画黑色。 He found that black fabrics absorbed and reflected light in an unpredictable way, depending on how the surface refracts artificial light.他发现，黑色面料吸收和反映在变幻莫测的灯光，这取决于表面折射人工光源。 Although light is continually swallowed by achromatic black, it nevertheless attracts and holds the eye of the viewer, whether of clothing or of painting.虽然光线是由无色黑色不断吞食，但仍吸引和保存了观众的眼睛，无论是衣服或画。

Manet was able to mitigate the melancholy of photography's omnipresent black by providing a graduated, textured intensity that makes the colors vibrate.马奈能够减轻摄影的忧郁无所不在提供了一个毕业，质感强，使振动的颜色黑。 Baudelaire's judgment was on the mark: Manet's work gave a face to fashion.波德莱尔的判断是基于标记：马奈的工作给予了面对面的方式。 The color black became linked with mystery and elegance.与黑色的颜色变得神秘和优雅。

In 1881 the American painter John Singer Sargent met Madame Gautreau in Paris society. 1881年美国画家约翰Singer Sargent会见了巴黎社会夫人Gautreau英寸 He became fascinated with her languid beauty and her mode of dress, which seemed ahead of her time.他迷上了她懒洋洋的美丽和她的穿着方式，似乎她前面的时间。 She agreed to sit for a portrait (below), which he titled "Madame X" (Metropolitan Museum of Art).她同意肖像坐（下），这是他题为“夫人X”号（大都会艺术博物馆）。 The painting, perhaps Sargent's best work, was accepted for the Salon of 1884.这幅画，也许Sargent的最好的作品，是1884年接受了沙龙。 To his shock and consternation, the painting became an instant scandal, viewed as salacious because of the sexual suggestiveness of her pose and the revealing nature of the black dress. So often in the history of fashion it has been how a garment is wornthatmatters most.令他震惊和恐慌，他的画成为瞬间的丑闻，暗示性的色情认为，由于她的姿势和揭示自然的黑色礼服时尚的历史。

Likewise, the modern LBD partakes of the chameleon character that black confers.同样，现代政治领导人的变色龙性格的黑色赋予参与大。 The versatile LBD can be can be dressed up or down.多功能的发光二极管可以可以穿着上涨或下跌。 A simple black cocktail dress can be turned into an evening dress with diamond accessories, stilettos, and long gloves; or, when combined with a black suit jacket, demure accessories, and simple pumps, the same dress can be worn for a daytime business meeting.一个简单的黑色鸡尾酒裙可以变成一长手套晚礼服与钻石饰物，高跟鞋，和，或者，当泵结合黑色西装外套，端庄的配件，简单，同样的衣服可以穿了白天的商务会议。

In 1900 black and mauve were the defining colors of high fashion. 1900年黑色和紫色都是高级时装的定义颜色。 White briefly reappeared as the dominant color in women's clothing.简要地再现白色的服装主色调的女性。 Then in 1909 the taste for bold, clashing colors returned when the Ballets Russes brought Orientalism to the West.然后在1909年大胆提出的味道，颜色Russes发生冲突时，将返回芭蕾 东方到西方。 Black regained dominance in early 1920s. 20世纪20年代初恢复了黑色的主导地位。 By the late 1920s, the color black—associated with dignity, mystery, and elegance—had regained dominance in women's fashion.到了20年代末，颜色黑与尊严，神秘，高雅，时尚的主导地位已恢复妇女。

Finally, Coco Chanel's little black dress (1926) became the archetype of black as the color of high fashion.最后，可可香奈儿的黑色小礼服（1926年）成为时尚原型高的黑色作为颜色。 Give the color black much of the credit for the timeless quality of the LBD. Unlike other colors that have their place in the sun for a few years, black is never dated or out of fashion.黑颜色的发光二极管提供大部分的信贷质量为永恒的。不像其他的色彩，有太阳了数年，在自己的位置，黑色是永远不会过时或过时的。 Black is the color of the moment today as it was in 1560.黑色是今天的时刻，因为它的颜色是在1560年。

Although always popular, the LBD has again come to the fore.虽然总是受欢迎的，在政治领导人再次脱颖而出。 In December 2006, the best-known version of the LBD, the Givenchy worn by Audrey Hepburn in Breakfast at Tiffany's , was sold at auction for over $800,000. It will be worth your while to attend in person an exhibition of classic LBDs. 2006年12月，该版本的政治领导人最有名的，穿的纪梵希赫本在蒂凡尼的早餐的 ，被拍卖售出超过80万美元。它将同时值得你对人出席了LBDs展览的经典。 One of the best recent shows, "The Little Black Dress," was presented at Northern Illinois University with 30 examples from the collection of Barbara Cole Peters, a noted collector and scholar of 20th century vintage clothing.最近的一个最好的节目，“小黑裙”，提出了在北伊利诺伊大学30日从复古衣物的例子集合芭芭拉科尔彼得斯，著名收藏家和学者世纪20。

The LBD has been a staple for celebrities in the post-WWII period.该发光二极管一直是在后二战时期的名人主食。 Think of Julia Roberts in her vintage Valentino on the red carpet.她认为在老式华伦天奴红地毯上的朱丽娅罗伯茨。 Legendary model Kate Moss has relied most of all on the LBD—backstage; on the red carpet; or for a night on the town. Vintage Textile has sold a sexy LBD to Angelina Jolie.传奇模特凯特莫斯一直依靠最后台都在发光二极管-;在红地毯上，或为一个小镇的夜晚朱莉。老式纺织已经销售到安吉莉娜性感发光二极管。 Coco Chanel's "little black dress" of the 1920s is still the epitome of simple elegance.可可香奈儿的“小黑裙”的20世纪20年代仍是高雅的简单。

每个女人都穿着它看起来很棒，每一个女人都有她自己的。 It is the default date ensemble when it is one of those "I have nothing to wear" days.这是默认的日期合奏时，其中的一个：“我没有衣服穿”的日子。 In fact, it is so popular, so necessary, and so much an institution in women's fashion that we had to ask: "Where did the "little black dress" come from?"事实上，它是如此受欢迎，所以必要的，与其说是女性的时尚，我们不得不问机构：“在哪里”小黑裙“从何而来？”

 

To properly understand the fashion environment necessary to produce such a simplistically fabulous necessity for any wardrobe, we must visit the 1920's.要正确理解时尚的环境才能产生这样一个简单的衣柜神话般的必要性，1920年我们必须访问的。 As women shed their long, layered dresses, cut their hair and enjoyed the fast-paced party life, society slowly became more accepting of women baring slightly more of her shoulders, back, and legs.由于妇女的长流，分层礼服，修剪头发，享受快节奏的党内生活，社会慢慢变得更加霸菱稍微她的肩膀，背部和腿部更多的妇女接受。 The coveted silhouette of the era was generally very slender and youthful.时代梦寐以求的轮廓非常普遍身材苗条，年轻。

 

It was during the 20's that the legendary fashion designer Gabrielle "Coco" Chanel first stitched her name into the history of women's clothing design.它在20是的，传说中的时装设计师加布里埃尔“可可”夏奈尔第一缝制成妇女的服装设计历史她的名字。 In fact, Chanel's designs are often considered to be the epitome of the 20's style because her work was so fresh, modern, and updated.事实上，Chanel的设计往往被认为是对20年代风格的缩影，因为她的工作是那么新鲜，现代，和更新。

Chanel encouraged and inspired the style we typically envision when we think of flappers.香奈儿鼓舞和启发，我们通常想像的风格，当我们的时髦女郎的看法。 She was fond of working with neutral colors and soft easy-to-wear jersey fabrics that were simple in shape and cut.她是中性的颜色和柔软易于穿球衣的面料是在形状和切割喜欢简单的工作。 Chanel was able to infuse comfort and sophistication into fashion, and this combination was considered revolutionary.香奈儿能融入时尚的舒适性和复杂性，以及这种组合被认为是革命性的。 It was during her early work, that Chanel designed and introduced the first little black dress to the world.正是在她的早期作品，即Chanel设计并推出了第一个黑色小礼服走向世界。

First introduced in 1926, black was previously considered to be a color reserved for funerals and periods of mourning.首先介绍了1926年，黑以前认为是葬礼和哀悼期间保留一种颜色。 Truly simple and sexy, Chanel's design was a sleeveless sheath cut just above the knee.真正简单而性感，Chanel的设计是一种无袖鞘只是膝盖以上的削减。 She could have never predicted the immediate and lasting love women would have with her simple, chic black dress.她可能从来没有预言的直接和持久的爱女人是不会和她简单，别致的黑色礼服。

As Chanel was quoted, "Luxury must be comfortable, otherwise it is not luxury."正如香奈儿引述，“奢华必须舒适，否则就不是奢侈品。” Whether a woman's little black dress cost $50 or $2,000 her intention is the same: to look effortlessly classic and appropriately sexy in just seconds.无论是女人的小黑裙成本50元或2,000元，她的意图是一样的：看经典，毫不费力地在几秒钟内适当的性感。 While most of us cannot afford to buy Chanel's breathtakingly beautiful pieces, we can certainly wear our trusty black dresses with the modern, sophisticated attitude she possessed.虽然我们大多数人买不起Chanel的惊人美丽的作品，我们当然可以穿现代的，成熟的态度，我们信赖她拥有黑色礼服。

1926香奈儿穿小黑裙的素描画

而香奈儿却穿上了黑裙子。对于当时的时尚界而言，这是最大的冲击。穿黑裙子的女人是没有社交的，没有追求美丽的资格，应该终日沉浸在悲痛中。穿小黑裙的香奈儿就沉浸在悲痛中，比斯嘉丽的悲痛更近一步的，更真实的悲痛。但她冷傲得不可一世的外表，让所有的人窃窃私语。她为什么穿上了小黑裙？没有人可以让她穿上小黑裙！因为她独自一人，奇怪的特立独行的人，总是做出可以让整个时尚界，甚至全世界“震惊”的事情。她身着小黑裙，嘴角在抽搐，骄傲的一抬眼，说：“每一个女人衣柜里都应该有一条小黑裙。”也许是的。典雅的小黑裙可以让女性的美展现得这样的简洁，没有任何的累赘。美丽可以被装扮得如此精致，没有修饰的装扮才会呈现最自然最舒适的美。黑色，让这个特立独行的女人看起来有一些苍白，但更显温柔。从此，小黑裙就成为了女人的宠爱，黑色也被运用到了各种类型的服装和配饰中。但是，对香奈儿，这是对于爱情是不需要任何的认可的，只要有真的感情不需要任何的认同。

然而，小黑裙并不仅仅是对女性的美的一次探握的发掘，也是对女性的一次解放。不一定只有等到悲伤的时候才会拥有一条黑色的裙子，小黑裙也并不是代表着晦气，而是追求美是没有束缚的。因此，后来女性也穿上了裤子，也有更多的改变。无论怎样，女性都不在犹豫而去追求美丽，追求自己的性格，让自己成为女王。

为纪念小黑裙问世80周年，英国组织了一次调查问卷活动，评选最佳小黑裙。奥黛丽.赫本在1961年的影片《蒂凡尼的早餐》中所穿的小黑裙被评为史上最令人难忘的小黑裙

1926年，当香奈儿女士推出她著名的黑色小礼服时，便赋予了女性一种全新的自由，来展现传统既定规范外的另一种女性美。 “女人一心想着所有的色彩，而常会忽略了无色彩。我认为黑色与白色一样，凝聚了所有色彩的精髓。它们代表着绝对的美感。展现出完美的和谐。在宴会?

 

黑色其实是诠释优雅的词汇

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香奈儿全球彩妆创意总监：彼得菲利浦斯（Peter Philips），从这个「无色彩」所能创造的可能性中获得灵感，在全新的香奈儿黑色魅力系列（NOIRS OBSCURS DE CHANEL）中，重新演绎了经典黑色，探索黑的各种色阶，以及它无尽的色彩变化可能性。彼得．菲利浦斯选择了深沉与饱和的色调，组合出大胆与生动的色彩系列。这个系列是受到了1995年推出即获得热烈反响的香奈儿黑色指甲油的启发，就此应运而生的。前卫的彩妆造型，如同嘉柏丽尔香奈儿设计的黑色小礼服，既强调女性的优雅，又不失自我的风格。