Favourite frocks

John Galliano, Autumn/Winter 1995/96, satin dress. Photo / Supplied

Emotion reflected in tranquillity was the definition of poetry from that great romantic writer William Wordsworth", writes Suzie Menkes, fashion editor of the International Herald Tribune, in the introduction of the book. Anyone who has bought a dress with wild passion and seen that emotion continue to flow gently each time it is worn, will understand the warmth with which so many fashion enthusiasts have contributed to this exceptional book.

"For designers, a creation can seem like a child: it becomes a living object that grows and changes over the years - as with the dress that Isabel Toledo first made in 1991 and that continues to seem relevant today. Stefano Gabbana and Domenico Dolce think back to the first time they brought together the sacred and the profane - their image of a woman in a curving guepiere corset, her sensuality purified by the innocence of a rosary. For John Galliano, the arch romantic, a dress is always designed to give women a dream, as roses embrace the shoulder and tumble over slithering silk.

"Behind every favourite dress there is one defining word: emotion. It might come from a bridal gown that caught in its taffeta folds the magic of an unforgettable day. Or it could be a more banal memory of the luck an outfit brought to an interview for a new job. Or it might be just a particular wardrobe piece that always brings a sense of comfort and confidence. For most people who are not connected to the fashion business, the strongest link is between the dress and a particular person or event.

"But for me, the most potent memory goes back so far that I know the date - 1972 - only because it is written beside David Hockney's signature on a drawing of Celia Birtwell, the wife of the late Ossie Clark.

"The picture hangs on my bedroom wall. And although it is in shades of grey lead pencil, I can see in my mind's eye the colours of the clustering bouquets of meadow flowers on the wispy white chiffon ground. I can feel the full sleeve billowing over my arm, but caught in at the wrist so that I could show off the gold watch that was a present for my 21st birthday. A part of my life is in that dress, which was surprisingly versatile, in that after I wore it to my engagement party, it then got me through three pregnancies, as I loosened the half-sash that tied in a bow at the back.

"I remember so clearly that fashion moment, when Ossie's long, sinuous silhouettes ushered in a new fashion era after the angular, geometric 60s. I am sure that if I contacted Celia Birtwell - who is still the imaginative fabric designer she was then - she would tell me about the inspiration of the flowers. And she would recall how still she stood as she was sketched by David Hockney - the artist being part of the 'Mr and Mrs Clark' circle.

"The drawing went on the programme cover for Ossie's fashion show at the Royal Court Theatre, Chelsea, where the Beatles and their girlfriends sat front row. I took it reverentially home and framed it back then.

"Now, every time Naomi Campbell sees me, she asks me when I will sell her the "Ossie dress". Sell it? I couldn't bear to give it away, even if it is just slumbering inside tissue paper in a long box in the upper reaches of my wardrobe.

"It isn't, after all, any tired, old dress. It is as much an object of desire now as when I bought it in Ossie's little shop off London's King's Rd. It has a beating heart inside it. Or perhaps the heart is mine."

Calvin Klein
Autumn/winter 1999, paper radzimire.

"The idea behind this paper radzimere slip dress is that it is folded and layered to sculpt the body. It gives the evening dress modern clarity. It is elegant, self-assured and sexy."

John Galliano
Autumn/winter 1995/96, silk chiffon.

"It was an evening in March that transformed itself into the Winter Wonderland. The roofs of Paris were covered in snow ... It was a show where it all came together - the beauty, the magic, the perfect moment. Then a young model emerged, her name was Olga, it was her first season in Paris. She was so fragile and delicate, but embodied a strange inner strength and beauty. Her dress was a shift of mousseline, bias cut, with delicate roses on the shoulder. Olga was as light as air, as pale as the snow around her, celestial in her beauty but in complete control of her own destiny. I am an incurable romantic and I feel that my duty is to give women a dream. I have dedicated my whole working life to the creation of clothing that I hope will enhance their beauty and bring moments of joy to their lives. I would like to be able to help women bring forth their personality and individuality like in that perfect moment in 'Winter Wonderland'."

Luella Bartley
Luella, spring/summer 2001, cotton with car paint.

"The dress was the first outfit from my Fluoro Collection. I actually hated this dress for a really long time after the show - pure overkill. But then a few months ago I saw it again for the first time in ages and loved it. It represents for me a period when designing the collection meant a continuous state of overexcitement, not only did we graffiti the dress, but my whole studio and every telephone, notebook, table we could find. Consequently, we all had to live very closely with that collection for a long time afterwards and fluoro pink car spray ain't the easiest thing to live with after the first month of novelty. It was only the third collection I had done, but the buzz was wild.

Kate Moss decided to do the show at the last minute and suddenly we had all the makings of our first cult item, mad colour, the print done on a friend's computer in about half an hour, the design inspired by a pillowcase, with a pleat that sent the whole thing squiffy, and lopsided, put it on Kate who can make a pillowcase look like the sexiest, coolest thing on Earth, and we had managed the silliest hype. What fun."

Matthew Williamson
Spring/summer 2002 collection, silk georgette dress

"It was really difficult to choose my ultimate favourite dress, because I always have a favourite from each collection. I had to really think about the reasons why I like a particular piece. One of my favourite dresses is the first dress I ever made. It was a fuchsia pink and turquoise bias-cut dress which Kate Moss modelled for me at my first ever show. I have fond memories of this dress as it symbolised the beginning of my career. But I wanted to pick a piece, which really embodies the work that I do. I chose this nude silk georgette dress from my spring/summer collection as it really seems to capture my signature style. I am passionate about details, and with this dress I wanted to create something which was intricately detailed and feminine, something which the wearer would want to treasure, I love the fact that this dress is totally glamorous, sparkly and eye-catching, yet it's easy shape somehow makes it more wearable and laid-back. Once I had the shape right, I drew every single bead and embroidery thread myself onto the paper pattern. I sat with the beaders in India for two days and helped them create the design until it was perfect. I wanted the embroidery threads to jump out from the fleshy colour of the georgette. Everyone wondered why I chose to embroider butterflies and in truth there is no real reason other than they looked pretty. This dress has been one of my most popular pieces to date so it is nice to know those butterflies have found happy owners."

Diane Von Furstenberg
Spring/summer 2002, silk jersey, vintage link print from the 1970s.

"The wrap dress in the link print, a dress created many years ago, a print created many years ago, is back in style for a whole new generation. The wrap dress is a favourite dress, a dress that does not need buttons, a dress that embraces the shape of the body and sculpts it, allowing it to move. The fabric, silk jersey, is soft enough to feel like a second skin and dry enough to hold perfectly. The print is geometric and bold, but the movement of it is fluid and flattering. It is a very unassuming dress, it does not look like much on a hanger, but on the body it becomes magic it takes the personality of the woman it dresses, it envelopes the body in a very becoming way. It is a dress that makes women confident, and confidence is the first step to beauty, many wonderful things happen when you wear a wrap dress. So, feel like a woman and wear it with joy ..."

This is an edited extract from My Favourite Dress ($110) by Gity Monsef, Samantha Erin Safer and Robert de Niet, published by ACC Publishing Group, and distributed in New Zealand by Bookreps. Available in all good book stores mid-February.