In a year that marks the 50th anniversary of the groundbreaking “Battle of Versailles” fashion show, filmmaker Deborah Riley Draper revisits the monumental event that not only transformed American fashion but also shone a brilliant spotlight on Black beauty, creativity, and resilience. Her acclaimed documentary, Versailles ’73: American Runway Revolution, brought this extraordinary narrative to life, unraveling the story of how Black models and designers carved a space for themselves on the global stage. Draper, an artist who has long championed untold stories of Black excellence, draws a parallel between that seminal moment and today’s conversations around diversity, inclusion, and cultural representation in the fashion world.
Through Draper’s lens, the “Battle of Versailles” emerges not merely as a runway triumph but as a battleground for representation—a moment when African American artistry took center stage, forever shifting perceptions in a predominantly white industry. Her reflections underscore the influence of trailblazing figures like designer Stephen Burrows and models like Pat Cleveland and Bethann Hardison, whose elegance and strength captured international attention and paved the way for Black talent in fashion. Draper invites us to consider how far we’ve come, noting that while today’s industry has broadened its scope to embrace more voices, there is still much work to be done. Her insights reveal an urgent call for true representation and meaningful inclusion, from the runways to the boardrooms, ensuring that diversity remains more than a fleeting trend.
As Draper prepares to explore new projects, she continues her mission of illuminating Black cultural narratives, proving that every intersection—whether in art, fashion, or film—carries the enduring power of history and possibility.
The fashion “Battle of Versailles” marked a pivotal moment in fashion history, not only for American designers who showcased their work but also gave the spotlight to Black models. How did this event, in your view, redefine perceptions of Black beauty in the fashion world and beyond?
The fashion show at Versailles was a transformative moment in American and global fashion. American designers innovatively asserted themselves in the long-held tradition of French haute couture, causing a significant shift in the industry. This show was the first time in fashion history that an African American designer was on the same level as the big French fashion houses. The genius of Stephen Burrows, who received the 2024 CFDA Fashion Awards’ Geoffrey Beene Lifetime Achievement Award, shone through as he brought his and his grandmother’s lived experiences into his work, reflecting the Black lived experience through fit, color, and movement. Burrows showcased black creativity, beauty, and style in a way that had never been seen globally before, primarily as delivered with the pizzazz of some of the greatest Black models to ever walk a runway. The Black models brought their unique energy, a variety of hairstyles, and skin tones to the show, which was stunning and beautiful. This event helped propel American ready-to-wear fashion onto the global stage, capturing the attention of magazine editors. Shortly after the show, Grace Mirabella, who was in the audience, featured Beverly Johnson on the cover of a magazine for the first time in the US.
When you directed Versailles ’73: American Runway Revolution, what were the biggest revelations you uncovered about the cultural moment of 1973? Did you find any aspects of the story that had been largely untold or misunderstood by mainstream fashion narratives?
This story was largely dormant until I wrote and directed the documentary. Fashion insiders certainly discussed what happened, but the film helped the story gain greater and broader visibility. I found aspects of this story largely untold or misunderstood. The names of all the women of color who participated in the show were rarely mentioned. Names like Pat Cleveland, Alva Chinn, and Bethann Hardison were referenced, but nine other women of color equally made this moment a cultural watershed moment, including Jennifer Brice, Charlene Dash, Billie Blair, Barbara Jackson, Amina Warsuma, Ramona Saunders, and China Machado.
Additionally, some powerful women played a role in establishing this event, and some of the first event sponsorships were of this kind. These women were leveraging their power and influence to raise $60 million to save the Chateau de Versailles. The business savvy of Eleanor Lambert, who conceived this event, is often not recognized because of the high-profile designers who were there, but Eleanor Lambert and Marie-Helene de Rothschild really orchestrated this. There was also input and impact from Oscar de la Renta’s wife François, a big French magazine editor, and CZ Guest, the head of the American Host Committee.
I also think that the inclusion of music from Al Green and Barry White reinforced to European audiences the breadth and scope of the cultural contributions of Black creatives. Halston, Bill Blass, Oscar de la Renta, and Anne Klein were not global brands then. This was a game-changer for them.
The 50th anniversary of the event invites us to consider how far we’ve come in terms of representation in fashion. How do you think the event set the stage for today’s conversations about diversity and inclusion in the industry? Are there areas where you feel the fashion world still falls short?
Last year was the 50th anniversary of this incredible fashion showdown. The Americans were a remarkably cultural, sexual, racial, and gender-diverse group that understood the assignment. Today’s conversation needs to harken back to some of these seminal moments where the impact of inclusivity and diverse thinking was tantamount to success. We must pay homage to the centuries-long Black seamstresses and early African-American fashion pioneers who influenced those who are influencing us now, even though they don’t even know that. It’s vital to ensure that representation is evident in all aspects of the fashion industry, not just on the runway but also in leadership roles such as creative directors, CEOs, members of the Board of Directors, and every role. True inclusion involves acknowledging history and creating opportunities for the future.
The runway battle of Versailles in ’73 not only catapulted Black models into the spotlight but also established American designers as global fashion forces. In your research, how did the international fashion community view American fashion before this moment? What specific qualities of American fashion do you think Versailles cemented on the world stage?
Before the Versailles ’73 fashion show, American fashion was known to copy French fashions. European fashion elite consider America just denim and Hollywood gowns. Winning the hearts in the room at the global level poised the American fashion industry to set the course for becoming the most prominent player. That night, they laid the groundwork for American designers to lead European fashion houses. New and different branded partnerships emerged, such as McCalls issuing Stephen Burrows patterns and Norton Simon purchasing Halston, who would collaborate with J C. Penny’s- then a first of its kind. Donna Karen, who was Anne Klein’s assistant in 1973, would become a huge name and a global fashion force. Walter Cronkite reported the Versailles ’73 story on the six o’clock news. Fashion became mainstream.
The phrase “Black is Beautiful” was a powerful theme that emerged from the event. How do you think the industry is continuing to embrace Black talent—whether designers, models, or creatives—today compared to 50 years ago? Do you see the same level of trailblazing moments, or are we in need of another Versailles-like revolution?
“Say it loud, I’m black, and I’m proud” and “Black is beautiful” were empowering rallying cries during the 60s and 70s. These mantras uplifted and validated our culture, ensuring the Black community understood its value. I love what Brandice Daniels and Harlem Fashion Row have done for the industry, showcasing talents and expanding who, what, where, and how Black creatives are nurtured and cultivated. Her work is transformative. There is also massive applause and appreciation for these contemporary designers of color all over the Diaspora pushing boundaries and breaking through. We need to fully embrace Black creatives and founders in fashion with capital and the level of funding necessary to emerge as big fashion houses or household names.
Social media has made it easier for black designers today to reach their audiences without having to depend solely on magazines, editors, or the newspaper, and I think there are more opportunities that are being created from the focused opportunities to elevate black designers, not in America, but the Diaspora across the globe.
You’ve documented many significant stories of Black culture through your films. How important is it to ensure that the representation of Black beauty and talent in fashion remains authentic and not just a fleeting trend? What role do filmmakers like yourself play in preserving these legacies?
Seeing all aspects of the African American experience on screen expands the aperture of the American narrative and increases everyone’s awareness and understanding. The progress and future of marginalized voices and communities are inextricably linked to sharing their stories and the transfer of knowledge.
Versailles ’73 is often described as more than just a runway show—it was a battleground for cultural representation. How do you feel the political and social climate of the 1970s helped shape the significance of this event? Do you see any parallels between the challenges faced then and the current landscape of fashion and race relations?
Every African American generation for the past 400+ years in America has had to fight for visibility, for opportunity, and to establish itself, politically and socially, as equal; that has not changed. The challenge remains the same regarding representation. Representation as a notion needs to expand to cover every aspect and every role of an idea, a business, and an industry. And cultural appropriation is not representation. The battle for visibility is the battle for the visibility of black contributions, achievements, and history. When young black children do not have access to what was before them to the heroes in the legends that paved the way, they miss the opportunity to see the representation, innovation, and creativity before them. That is an inspiration.
As the 50th anniversary of the fashion “Battle of Versailles” approaches, what lessons should the fashion industry take away from the legacy of the event? How can the industry continue to push boundaries and uplift underrepresented voices, especially Black creatives, as we move into the future.
The biggest lesson from the Battle of Versailles on November 28, 1973 event is that we have to push forward. We have to make room for new thinking, for new players, for new people, for new ideas. We must make space, safe and inclusive space, for underrepresented or marginalized creatives because what hey bring to the table will always be a game changer. Diversity was great for business at that moment in 1973. Diversity will always be great for business; diversity of ideas and diverse thinking leads to tremendous revenue, which has been proven. Othering makes no sense. Marginalizing makes no sense because we are othering and marginalizing geniuses. And when we do that, society doesn’t get to benefit from that genius. That’s the lesson!
As a filmmaker who has brought so many pivotal Black stories to life, how did the story of Versailles ’73 resonate with you on a personal level? Did it influence your perspective on the power of fashion as a form of cultural storytelling?
I love Paris. So many African Americans went to Paris to find freedom and express themselves. I shot a film in the storied Château de Versailles. Josephine Baker, a cultural icon and fashion trailblazer, performed there in 1973 as a part of this event. Fashion shows up not just on the runway. My film is my art and my fashion. The entire experience, and my being the first to tell it in film, speaks to possibility. I don’t limit my imagination or my ideas.
As we close, are there any upcoming projects or initiatives you are working on to further explore the intersection of fashion and Black culture in today’s context?
I am developing a documentary on a seminal African American artist. His art depicted Black life, and his work would impact fashion, dance, Broadway, music, film, and television. There isn’t anything you can explore that does not intersect with Black culture. Period.
