Maggy Rouff opened her couture house in Paris in 1929, a time when the prevailing fashion trends were characterized by the flapper dress and the garçonne style. However, Rouff’s creations could be interpreted as a departure from the dominant norms of the interbellum era. In contrast to the corset-defying gowns of Chanel or the knee-length robes de style by Lanvin, Rouff’s designs aligned more with the perceived ‘traditionally feminine’ style. This was later exemplified by Christian Dior, who introduced his defining and divisive Corolle line around the same time as the estimated date of the gown showcased in Hasselt.
Modern and contemporary perspectives often associate fashion and resistance within a feminist framework; however, it is important to acknowledge that resistance encompasses various forms, including resistance against novelty and modernity, alongside resistance against tradition.