The 80s style. Today, this era inspires designers specialising in clothing for public events and cocktail parties the most. And this means that we have every right to wear a bustier combined with taffeta or velvet and flamboyant rampant sleeves. Add to this some mini transparent black tights, open-toe shoes with thin straps and a couple of large clips.

Mugler Parachute Taffeta Jacket

A blazer dress. This is indeed a trendy alternative for those who are not too much with traditional dresses. An elongated jacket worn over a naked body is an ideal option for New Year’s Eve. A large bow in a vintage style can effectively complement the look (it can be worn around the neck as a choker).

Proenza Schouler Draped Plaid Blazer

Add bright shoes. So black doesn’t look too boring. This technique works extremely well with velvet and silk dresses, when the texture becomes an additional forte. Pick up some heels and put on, if desired, dark tights to match.

Galvan Christiane Slip Dress

Maxi boots. Who said that boots can not be considered as evening shoes? Often, designers and stylists play on a combination of an evening dress with some high boots or cowboy boots to the knee. Those go together with midi-length dresses perfectly.

Guidi Over Knee Zip Boots

Pearls. Сlassical look are worth being rethought today. Bet on a basic mini-dress without unnecessary details in style of the 90s (knitwear or thin straps) and complement the look with several layers of faux pearl necklace. Catherine Deneuve would have lived it for sure!

Neil Barrett Lace Detail Dress

Black has always been a color rich in symbolism. In the early 16th century, black represented wealth among Spanish Aristocrats and Dutch merchants as it was incredibly expensive to produce the black color from “imported oak apples.” In the early 18th century, black represented romance and artistry. As Ann Demeulemeester said of it, “Black is poetic. How do you imagine a poet? In a bright yellow jacket? Probably not.” In the early 19th century, black was adopted by the Romantics such as Byron, Shelley, and Keats, due to its melancholic aura. As the Victorian era began, black transitions from a color of art to one of grief and mourning – widows were expected to wear black for at least four years – and also for service livery, as the uniform for maids.

In 1926 Gabrielle “Coco” Chanel published a picture of a short, simple black dress in American Vogue. It was calf-length, straight and decorated only by a few diagonal lines. Vogue called it “Chanel’s Ford”. Like the Model T, the little black dress was simple and accessible for women of all social classes. Vogue also said that the LBD would become “a sort of uniform for all women of taste”. This, as well as other designs by the house of Chanel helped disassociate black from mourning, and reinvent it as the uniform of the high-class, wealthy, and chic. As Coco herself proclaimed, “I imposed black; it’s still going strong today, for black wipes out everything else around.”

The little black dress continued to be popular through the Great Depression, predominantly through its economy and elegance, albeit with the line lengthened somewhat. Hollywood’s influence on fashion helped the little black dress’s popularity, but for more practical reasons: as Technicolor films became more common, filmmakers relied on little black dresses because other colors looked distorted on screen and botched the coloring process. During World War II, the style continued in part due to widespread rationing of textiles, and in part as a common uniform (accessorized for businesswear) for civilian women entering the workforce.