1957

As one fashion writer put it, 1957 was the year in which Gabrielle “Coco” Chanel (at age 74) became “an adjective in her own time.” Sort of like “Googling,” Chanelisms had been creeping back into fashion ever since the lady emerged from retirement several years before, but in 1957 they were ubiquitous.

1957 Sack Dress

Short, non-fitted suit jackets often strung with brass buttons and pockets, almost always opened to show the blouse inside; sleeves peeled back to show a shirt’s cuffs; magnificent fakes such as yards of “pearls” and colored stones looped round the throat, or a jeweled Maltese cross winking on a lapel; Bretons perched on the back of the head; pull-overs that matched a jacket’s lining; jerseys, tweeds, brocades; her famous lace evening dresses — all were stamped with elegant nonchalance.

Chanel’s open-jacket policy made display pieces of blouses. No longer a suit’s silent partner, but often the focal point of a costume, the “blouse beautiful” came on the scene.

Even the man-tailored shirt showed signs of softening. Sweaters softened too, as did skirts — the latter via a sash or fringe or other dressmaker detailing.

Pleated skirts came in view, too, topped often by middies (another Chanel-ism) or an overblouse. Among the most ardent devotees of the Chanel look was the American college girl, a breed famous for its fashion nonchalance — a nonchalance proved by her eager embrace of the raccoon coat vintage 1925 (it had to be seedy or it would not do) and the newly revived Shetland sweater.

The biggest bombshell of 1957, however, burst just four months before the year ended when Paris, led by Christian Dior, ushered in the shift. It was, tragically, the last of his surprises. Dior died in October, and was mourned as one of the world’s greatest designers. Saint Laurent was appointed Dior designer.

A dress that bypassed the waist completely, it was actually the climax to a long-evolving “relaxed look” that was everywhere gaining favor. This caused huge publicity unequaled since 1947 when Dior introduced his “New Look.” Ribbons, buttons and bows achieved new importance with the disappearance of waistlines.

The best news about the new fashion for many men who bemoaned the disappearance of the female waistline was that it meant higher hemline. And that in turn meant the longer the leg, the lower the heel of the shoe, and women finally started climbing down from the stiletto heel, but still clung to the stiletto toe.

Their stockings often reflected the shade of the shoe. Hats were reduced to head size, with Bretons, berets, cloches, and slouch hats very popular. So were turbans, tipped back from the face. Gloves grew longer, past the wristbone on to opera length.

The vamp was back. Nonslinkers chose satins, brocade-stiffened fabrics that belled rather than fluttered. The cloche hat, hidden waistline and pleated skirt were prevalent in 1957 fashions.