In 1926, Vogue likened Chanel’s little black dress to the Model T Ford. Both were reflective of an approach to design and living that focused on speed, efficiency and elegance. Clothes were designed to move. Chanel’s dress slid easily over the uncorseted body. ‘I wanted’, wrote Chanel, ‘to give women comfortable clothes that would flow with her body’. In black, it cited the new urban uniforms of shopgirls and professional men, investing it with sobriety and gravitas, yet it also remained chic, flattering, seductive and mysterious. Its staggered, vertical-beaded ribbons reflected Art Deco’s characteristic geometric stylisation.