Located at the junction of Brook Street and Davies Street in Mayfair, London, Claridge’s hotel has long been a prominent fixture in the fashion world. Since its initial opening in 1812, the hotel has cultivated a reputation as a hub for style, luxury, and high society. The current building, extensively rebuilt at the end of the 19th century, emerged as a symbol of Edwardian opulence, strategically situated near the leading dressmakers and milliners of Bond Street, Regent Street, and Hanover Square.

Claridge’s early reputation was shaped by high-profile guests, including Empress Eugénie, wife of Napoleon III, who stayed there in 1860 with a wardrobe crafted by Charles Frederick Worth, the pioneer of haute couture. The hotel’s restaurant, famed for its mirrored walls, allowed diners—particularly women—to discreetly view each other’s attire, while its introduction of afternoon tea provided a convenient respite for shoppers and fashion enthusiasts.

The 1920s marked a transformative era for Claridge’s as it embraced art deco styling under the architects Basil Ionides and Oswald Milne. The hotel became a focal point for cultural and fashion innovation, hosting extravagant events such as the 1928 Dream of Fair Women Ball, featuring costumes designed by photographer Cecil Beaton and modeled by socialite Maxine Freeman-Thomas. These spectacles drew the attention of the era’s elite, including decorator Elsie de Wolfe, known for her striking green hair that complemented her sequin gown.

During the interwar period, Claridge’s attracted legendary figures such as Marlene Dietrich and Wallis Simpson, consolidating its status amid the expanding fashion district. Couturiers like Elsa Schiaparelli frequently visited, further entrenching the hotel’s connection to high fashion.

World War II introduced austere conditions, although Claridge’s retained a degree of luxury. In 1940, María Cristina Patiño, acclaimed within the industry as one of the best-dressed women worldwide, stayed at the hotel with a notably modest wardrobe. Following the war, Claridge’s once again played host to key figures in style. Christian Dior stopped there in 1947 en route to America, defending his influential New Look, while in 1951, Katharine Hepburn was asked to adhere to a strict dress code requiring skirts in public areas, reflecting the hotel’s traditional standards. Audrey Hepburn’s 1953 return after winning her role in Roman Holiday was marked by a notable "welcome home" party at the hotel.

The Swinging Sixties brought significant shifts in fashion, although Claridge’s initially resisted some changes. Women were prohibited from wearing trousers in the restaurant until 1969, when a public campaign prompted the hotel to update its policies. The following year, Jacqueline Onassis was photographed leaving the hotel wearing trousers, sunglasses, and a trench coat, signaling a new era of relaxed elegance and modern style at Claridge’s.

Throughout its history, Claridge’s has maintained a close relationship with fashion and culture, reflecting broader social changes while preserving its standing as one of London’s most iconic luxury hotels.