This is part 3 of the limited series on the celebrated haute couture designer, Christian Dior presented his first haute couture collection, named “Corolle,” in February 1947 at 30 Avenue Montaigne, Paris. However, Carmel Snow, the editor-in-chief of Harper’s Bazaar at the time, called it “The New Look,” and that was the name that had a reason for naming it the way she did, as the collection’s looks were far from what anyone was other designers then, Dior had crafted his looks around two ultra-feminine silhouettes: Corolle, with its tight-fitting bodice, narrow waist, and full skirt, and Eight, with its narrow waist, neat curves, and accentuated it was the collection’s “Bar Suit” that stole the show, prompting the fashion world’s preference for Snow’s phrase, “The New Look.”Considered an icon of Dior and of fashion history in general, the outfit was seen as consisted of a cream-colored jacket with narrow shoulders, and a highly accentuated, corset-like waist. Below the waist, the garment flared out at the hips, matching perfectly with the full-shaped, pleated black midi at the jacket’s hips and layers of net near the skirt’s waistline further exaggerated the hourglass description seems simple enough, but it mesmerized the audience in 1947, and still does so today, more than fifty years recent documentary of Paris’s 2017 Musée des Arts Décoratifs exhibition, “Christian Dior, Couturier du rêve,” or “Christian Dior, Designer of Dreams,” provides more background on the iconic look.“It’s stunning,” curator Florence Müller said in the documentary as she looked at the Bar Suit. “The ‘Bar Suit’ is effectively the manifestation of ‘The New Look.’ [Dior] wanted to bring back an elegance that had been lost during the war and the Occupation […] with an undulating line, depicting the ‘flower woman.’”Though romantic, this notion of the “flower woman” was controversial because of how boldly it challenged the fashion norms of the time. Prior to Dior’s first collection, the Second World War and the Occupation of France had placed heavy strains on fashion. As a result, couture was struggling. Fashion houses were fashion “lost” femininity as the priority of clothing shifted towards utility, and away from aesthetics. With the rationing of fabrics and the difficulties that couture was facing, the result was masculine, geometric, military-like women’s clothing. It was “wartime fashion,” in which fabric had to be used conservatively, as practicality of clothing had become so, it was quite shocking, for Dior to come along so soon after the war and create something entirely different — a look that aimed to restore the curves and sensuality of the female form, to present a romantic “flower woman” who dressed for glamor rather than women accused the designs of infringing upon their independence, due to how uncomfortable they could be to wear. Not to mention, the high amounts of fabric that Dior used to create his pieces raised more than a few eyebrows.“It is very rare in fashion history to have such a definitive break,” said Müller. “A revolution brought into play in one collection. It’s so rare there are practically no other examples. He went against [wartime fashion], reinstating curves.”Despite the initial criticism, the “New Look” soon became a huge hit. Tired of the wartime restrictions on dressing and ready for something new, people flocked to buy his pieces. Well-known figures, such as Hollywood actresses and European royals, soon joined the growing clientele. And with Dior’s increasing success, Paris reclaimed its title as the capital of was clear that “Christian Dior” was now no longer just a name. It had become a symbol of anticipating the future, of breaking past boundaries, and of pursuing a new image — a “New Look.”Following the success of the 1947 “New Look,” Dior remained at the top of the fashion world until his death in 1957. Within those ten years, he continued to create pieces that restored femininity and romance, and that re-emphasized the idea of dressing to look beautiful. Behind the imaginative designs, though, was an inner principle that he followed closely.“I wanted to be an architect,” Christian Dior once said. “Being a designer, I have to follow the laws, the principles of architecture. Speaking about the architecture of a dress or gown is not senseless […] I wanted my dresses to be constructed, modelled upon the curves of the feminine body whose sweep they would stylize.”Like the architect that he wanted to become as a child, he built pieces as if he was sculpting around the female body, producing works of art through his designs. And of course, he used as much fabric as he results were looks of unrivalled beauty and innovation in how they structured the body — pieces like Venus, Junon, the Bar Suit, and so many more — that deserve museum artifact the start of the Musée documentary, we see a model posing in Dior’s original Bar Suit, along with a matching hat and heels, head turned to the side as a camera other models join the scene, each dressed in classic Dior designs — one in a pink dress with a large “Dior bow” on the back, another in a belted orange dresscoat. The camera clicks we see the finished photograph — the Bar Suit model posed at the center in clear focus, with the other models encircling her, all against a backdrop of the museum’s nave. The effect is dramatic, architectural, and yet distinctly feminine — everything that Dior of the photograph are then printed into flyers and plastered all over Paris, inviting all to experience the magic of yet, it is not just the pieces themselves, but also the surrounding décor, that add a personal feel to this exhibition as, indisputably, Dior’s world. At one point in the documentary, artists hand-craft trails of paper flowers, later arranged all over the ceiling of a room to create “The Dior Gardens.”Serving as decorative scenery to a display of floral dresses, they are a tribute to Dior’s love of nature — another intimate detail about the French designer.“I think that Christian Dior loved the city,” said Müller. “He was a Parisian, of course, but he was someone who needed nature to unwind. There are actually photos of him sitting in his garden in the middle of sketching designs, which he would then bring back to the ateliers in Paris […] When he was designing, he needed to just clear his mind and feel nature around him to create his collection.”In another scene, staff members examine and arrange paintings onto a number of the exhibition room walls. Like the paper flowers, the murals are an ode to Dior’s lifelong appreciation for paintings, which is unsurprising given his pre-designer career as an art gallery they serve to complement the garments, showing that fashion and art are not competitors, but rather, partners to one another — an idea central to the House of with all of these pieces and details at play, the exhibition truly shows that there is more to Dior than just his name. Rather, there is an artist who started it all, and this is a chance to see the world through his week we look at how the museum’s restoration lab got to work meticulously preparing the exhibition’s showpieces.
Christian Dior, French fashion designer whose creations dominated world fashion in the decade following World War II. Dior was born into a wealthy family and trained for the French foreign service, but in the midst of the financial crisis of the 1930s he went to work illustrating fashions for the.
For faster navigation, this Iframe is preloading the Wikiwand page for New Look Diora. Connected to: {{:: Z Wikipedii, wolnej encyklopedii New Look by Christian Dior – pierwsza kolekcja mody stworzona przez Christiana Diora w 1947 roku. Kolekcja została zaprezentowana 12 lutego 1947 roku w budynku przy Avenue Montaigne 30[1] w Paryżu, we Francji. Składała się z dwóch linii – „Corolle” oraz „Huit”[2]. Linia „Corolle” (fr. korona) była inspirowana kielichami kwiatów, a „Huit” (fr. osiem) była bardziej powściągliwa[1]. „New Look” nie jest to pierwotna nazwa, choć bardzo często tak właśnie określa się pierwszą kolekcję stworzoną przez Christiana Diora. Natomiast nazwa ta pochodzi z recenzji Carmel Show, ówczesnej redaktor naczelnej modowego magazynu „Harper’s Bazaar”[3], która podczas pokazu wykrzyknęła „It’s a New Look”[4]. W nowej sylwetce kreowanej przez Diora ważne było wycięcie w talii. By je osiągnąć, niezbędna była odpowiednia bielizna i pasy do pończoch[5]. Dior jako pierwszy postulował kształt klepsydry w figurze kobiecego ciała. Propozycje ubrań od Diora charakteryzowały się materiałem mocno zebranym w talii, zaakcentowanym biustem, rozkloszowanym dołem i długością 39,5 cm od ziemi[6]. Z pierwszej kolekcji pochodzi kostium „Bar”, który złożony był z szerokiej spódnicy oraz żakietu wykończonego baskinką, opinającego sylwetkę i podkreślającego biodra[7]. Żakiet „Bar” wykonany z kremowego, białawego szantungu i długa, czarna plisowana spódnica to symbol „New Look”[8]. Kostium „Bar” był emblematem całej kolekcji. W kolekcji pojawiły się również sukienki z muślinu, tafty lub wełnianej krepy. Było wiele baskinek, falban, obecne były toczki, rękawiczki, woalki i kapelusze z szerokim rondem noszone na bakier[1] oraz pantofle, osadzone na cienkiej szpilce[6]. Przypisy ↑ a b c Dior uszczęśliwia kobiety, [dostęp 2019-03-27] (pol.). ↑ Christian Dior - fakty, o których możesz nie wiedzieć - Vumag, [dostęp 2019-03-27] [zarchiwizowane z adresu 2019-03-27] (pol.). ↑ „New look” Christiana Diora, kolekcja z 1947 roku, | [dostęp 2019-03-27] [zarchiwizowane z adresu 2019-03-27] (pol.). ↑ Pierwsza kolekcja Diora ma już 70. lat - Vumag, [dostęp 2019-03-27] [zarchiwizowane z adresu 2019-03-27] (pol.). ↑ Podstawy projektowania odzieży: podręcznik dla szkół odzieżowych - Ewa Fałkowska-Rękawek - Google Książki, [dostęp 2019-03-27]. ↑ a b New Look, czyli jak Christian Dior stworzył kobietę - Buzz - [dostęp 2019-03-27]. ↑ 3. Kostium „Bar” - 10 rzeczy, które zawdzięczamy Christianowi Diorowi - WP Kobieta, [dostęp 2019-03-27] (pol.). ↑ Wielka wystawa Christian Dior: Designer of Dreams w Muzeum Wiktorii i Alberta w Londynie w 2019 roku, [dostęp 2019-03-27] (pol.). {{bottomLinkPreText}} {{bottomLinkText}} This page is based on a Wikipedia article written by contributors (read/edit). Text is available under the CC BY-SA license; additional terms may apply. Images, videos and audio are available under their respective licenses. {{ of {{ Date: {{ || 'Unknown'}} Date: {{( | date:'mediumDate') || 'Unknown'}} Credit: Uploaded by: {{ on {{ | date:'mediumDate'}} License: {{ || || || 'Unknown'}} License: {{ || || || 'Unknown'}} View file on Wikipedia Thanks for reporting this video! ✕ This article was just edited, click to reload Please click Add in the dialog above Please click Allow in the top-left corner, then click Install Now in the dialog Please click Open in the download dialog, then click Install Please click the "Downloads" icon in the Safari toolbar, open the first download in the list, then click Install {{::$ {{:: {{:: - {{:: Follow Us Don't forget to rate us
The New Look Tells Christian Dior’s Story of Art as Survival. By Hannah Jackson. Runway. Domenico De Sole, Fashion’s Turn-Of-The-Century Trailblazer, on 30 Years of Leadership.
CHRISTIAN DIOR - New Look Collection Download these stickers from the Sticker Shop on the Home tab in the LINE stickers may only be available for certain lengths of time, devices, regions, or other special conditions. See other items
Apple TV+ unveils first look images for Todd A. Kessler's historical drama The New Look, centered on Christian Dior's rise to fame and featuring fashion icons Coco Chanel and Pierre Balmain.; The
Inspired by Christian Dior's dazzling and daring début runway show called "New Look" that shook up the world of fashion, today the iconic Rouge Dior and Dior Forever Couture Perfect Cushion, along with a selection of La Collection Privée Christian Dior fragrances, are graced with the emblematic Dior couture HOUNDSTOOTH MOTIFThe revered houndstooth motif is a genuine sign of recognition at Dior. A timeless code of style, it has been embraced by the House from the beginning, a mark of Christian Dior's affinity for all things English. Enthroned, idolized, houndstooth stands now more than ever as an inspiring symbol of Dior. DIOR FOREVER CUSHION IN HAUTE COUTUREGraced with the iconic houndstooth motif, Dior Forever Couture Perfect Cushion is inspired by the very essence of Dior couture. As travel-friendly as ever, the refillable high-perfection foundation with 24h* wear gives even more meaning to couture makeup. Dior Forever Couture Perfect Cushion - New Look Limited EditionFoundation - 24h Wear - Hydrating - Luminous Matte and Glow FinishesROUGE DIOR ICONIC HAUTE COUTURE OBJECTThe emblematic houndstooth couture motif adorns the tube and stick of Rouge Dior. Infused with floral lip care and long-wearing, the iconic lipstick and colored lip balms come in 7 couture finishes, ranging from satin to Dior - New Look Limited EditionLipstick and Colored Lip Balm - Floral Lip Care - Couture Color - Refillable - Engraved Houndstooth MotifEXCLUSIVE LIMITED EDITION: 8 SHADES AND 1 LIP BALMTHE ICONIC 5 COULEURS PALETTE WITH THE HOUNDSTOOTH MOTIFFor its iconic 5-color eye makeup palette, Dior has created a limited edition inspired by the "New Look". Tutu, the palette of pinks, browns and a pearly lavender shade, decked out for the occasion with a houndstooth motif in echo to the couture creations of the House of Couleurs Couture - New Look Limited EditionEye Palette - 5 Eyeshadows - Engraved Houndstooth PatternLA COLLECTION PRIVÉE IN HAUTE COUTUREInvited to adorn the bottles and cases of La Collection Privée Christian Dior, the revered Dior houndstooth motif transforms the fragrances into genuine couture EXCLUSIVE DISCOVERY OF THE LEADING FRAGRANCESHOW TODISCOVER THE COMPLETE NEW LOOK ROUTINE01PERFECT YOUR COMPLEXION * Instrumental test on 10 subjects.
Christian Dior. Christian Ernest Dior ( French: [kʁistjɑ̃ djɔʁ]; 21 January 1905 – 24 October 1957) was a French fashion designer, best known as the founder of one of the world's top fashion houses, Christian Dior SE. His fashion houses are known all around the world, having gained prominence "on five continents in only a decade." [2
Dior’s iconic bar jacket photographed by Patrick Demarchelier in the ‘Dior Couture’ book. The year was 1947 when Christian Dior unveiled his first collection in Paris, and it was immediately dubbed the “new look” by Harper’s Bazaar US, cementing the designer’s place in fashion history. This look was characterized by layers of fabric and of course the iconic bar jacket which would endure for many years. Following up the post-war years of austere style, Dior ushered in a Belle Epoque sense of luxury with layers of fabric that sometimes used over twenty yards of material. In the same way, Dior uses the feel of luxury in a bottle of Christian Dior perfume through a combination of notes that harmonize to classic perfection, culminating in a sleek and timeless spray bottle design–the bar jacket hits all the same notes for wearers of the piece. Dior’s Bar jacket is characterized by molded curves, a cinched waist, elevated bust and padded hips. Christian Dior named it the Bar jacket since the piece was intended for the afternoon cocktail hour at hotels. What made Dior’s “new look” so captivating? The full skirts and focus on the female form was welcomed by many women in Europe and the United States after the war years where materials were limited and rationed. Moreover, Dior helped Paris regain its premiere fashion capital status after its fall during WWII. Dior Bar Jacket in Photos Through the years, the Bar jacket has been re-created by Dior creative directors John Galliano and Raf Simons (and not to mention countless other designers inspired by Dior’s “new look”). Galliano often featured the piece in his couture showings while Raf Simons made the bar jacket a staple of his debut, fall 2012 haute couture collection. The jacket has remained popular with women ever since its inception because though trends in what is considered “en vogue” for the ideal women’s body type, the bar jacket flattered any woman’s figure – something women searching for the perfect jacket for virtually any occasion knew they could count on. Iconic fashion pieces like this come along only once in a while – think “little black dress.” Pieces like this also become our main wardrobe staples, like the perfect watch, your signature scent, and your go-to clutch when you’re heading out the door. To say fashion as art may seem like an oversimplification, but when design and structure are nailed the way they were with creating the bar jacket, it’s an absolute truth. John Galliano designed a red version of the bar jacket for Dior’s fall 2009 couture show. Raf Simons’ sleek and modern version of the Dior bar jacket for Dior’s fall 2012 haute couture show. Raf Simons’ sleek and modern version of the Dior bar jacket for Dior’s fall 2012 haute couture show. Raf Simons’ updated version of the Dior bar jacket for ‘Dior: New Couture’ by Patrick Demarchelier. The Dior bar jacket featured in the brand’s spring 2009 couture runway show.
Maria Grazia Chiuri talks about working with Chanakya Atelier on Dior’s fall 2023 show in India. For a long-lasting makeup look, try Dior Forever Christian Dior himself showed an Indian
New LookWbrew pozorom to nie tylko nazwa znanej sieciówki, ale też przełomowego stylu, jaki tuż po II wojnie światowej wymyślił sam Christian Dior. Zaprezentowana przez słynnego francuskiego projektanta kolekcja z 1947 roku wyznaczyła trendy na całą dekadę i obejmowała takie charakterystyczne elementy, jak obszerne spódnice szyte z koła sięgające do połowy łydki czy dopasowane do sylwetki żakiety z wyraźnie zaznaczoną talią. Co ciekawe, New Look od początku wzbudzał sporo kontrowersji. Podczas gdy bywalczynie salonów zachwycały się nową, bardzo kobiecą modą, która całkowicie podbiła ich serca, krytycy uważali, że w dobie niedostatku Dior wykorzystał zbyt dużą ilość drogiego materiału, przez co kolekcja mogła być odebrana za niestosowną. Nie przeszkodziło jej to jednak stać się synonimem mody lat 50. i przejść do historii jako jedna z najpopularniejszych kolekcji, jakie kiedykolwiek stworzył dom mody Dior. Nazwę New Look wymyśliła ówczesna redaktor naczelna czasopisma „Harper's Bazaar” i trzeba przyznać, że oddaje ona wszystko, co znamienne dla tej linii marki – świeżość, nowoczesność i zupełnie nowy wygląd, który kobiety absolutnie pokochały. New Look niejako stał się wzorem klasycznej elegancji, która dla wielu z nas pozostaje inspiracją po dzień dzisiejszy.
In the afterglow of the New Look’s success, he literally bottled his success and sold it: Miss Dior perfume went on sale for Christmas in 1947. Miss Dior limited edition, Baccarat blue crystal
New Look Christiana Diora – wystawa kolekcji Adama Leja New Look Christian Dior – te słowa występują ze sobą nierozłącznie! Przy okazji wystawy “Christian Dior i ikony paryskiej mody z kolekcji Adama Leja” w Centralnym Muzeum Włókiennictwa w Łodzi przybliżę Wam sylwetkę projektanta i jego rewolucję w świecie powojennej mody. Czy faktycznie zmienił bieg wydarzeń, czy może to zasługa PR-owca, z którym od początku współpracował (przypominam – to 1947 rok!)? Zanim jednak przejdę do krótkiej historii projektanta, zapraszam na kilka słów o ekspozycji. Christian Dior i ikony paryskiej mody z kolekcji Adama Leja Pierwsza rzecz, która zwróciła moją uwagę, to niemal perfekcyjne przygotowanie wystawy. Wszystko tam do siebie pasowało. Tło, eleganckie manekiny, podpisy do których łatwo sięgnąć, proste i bogate w treści wprowadzenie. Nawet manekiny miały numerki, takie, jakie nosiły ówcześnie modelki na pokazach mody. Oświetlenie i dekoracje współgrały z kolekcją i pięknie wypełniały przestrzeń. Życzyłabym sobie, by polskie wystawy modowe wzorowały się na tej łódzkiej pod względem ekspozycji i szacunku do prezentowanych przedmiotów! Jedyny minus – ale nie wiem czy to kwestia tego, że po prostu się skończyły, czy nie były wyprodukowane – katalogi. A raczej ich brak. Zawsze chętnie zabieram ze sobą czy to pocztówki, czy katalogi albo choć broszury dotyczące wystaw, które odwiedzam. Jestem typem zbieracza, ale to przydaje się praktycznie – do napisania artykułów czy podzielenia się szerszym kontekstem w mediach społecznościowych. Idea New Look to w zachodniej modzie symbol początku odradzania się jej po trudach wojny. W czasach, kiedy Chanel (mimo wszystko) promowała skromne i nad wyraz uniwersalne kostiumy, które kobiety mogły zakładać do pracy, kiedy ich mężowie walczyli na froncie i kontynuowała ten styl także po 1945 r., kiedy Polacy przerabiali wszystko co zostało w ich szafach czy zdobyczach z paczek zza granicy, Christian Dior pokazał siłę mody. W szarej rzeczywistości 1947 r. zaproponował nową linię kobiecej sylwetki – podkreśloną figurę klepsydry w bardzo wysokiej jakości materiałach. Materiałach, które nadal były reglamentowane. Naprzeciw uniformizacji nadał ton modzie. I choć mówimy o haute couture, czyli czymś luksusowym, nieosiągalnym dla przeciętnego mieszkańca powojennego Paryża, Londynu czy Berlina – musiał wiedzieć (nie jest to zbyt odkrywcze), że przecież odradzają się: nowe elity polityczne kino i przemysł rozrywkowy nowe klasy (?) społeczne i częściowo arystokracja a zatem znajdą się klienci na jego produkty. Wystawa Na wystawie zobaczyć można było namiastkę, składającej się z ponad 5 tys. obiektów, kolekcji Adama Leja. Oprócz przedmiotów i projektów Christiana Diora pojawiły się na niej również elementy związane z paryskim światem haute couture. Zobaczyć z bliska, a nie za szybą czy barierkami (przynajmniej w Polsce) stroje i akcesoria największych domów mody ze stolicy Francji, takich marek jak Elsa Schiaparelli, Nina Ricci, Pierre Balmain, Pierre Cardin, Jeanne Lanvin, Roger Vivier, Jean Patou, Coco Chanel, Hubert de Givenchy, André Courrèges, Paco Rabanne, Yves Saint Laurent, Thierry Mugler, Jean Louis Scherrer czy Ted Lapidus, to coś wyjątkowego. Kuratorka: Marta Kowalewska Producentka: Daria Jelińska Aranżacja przestrzeni: Maja Pawlikowska Projekt graficzny: POLKADOT Współpraca fotograficzna: Michał Radwański Konsultant: Paul Bouvier Więcej na temat wystawy na stronie www Muzeum>> Christian Dior – kim był i co zrobił dla światowej mody? Wpływ Christiana Diora, a w szczególności jego New Looku, na historię współczesnej mody jest ogromny. Nie do przecenienia! Na potrzeby artykułu przygotowałam infografikę z esencją marki – super ciekawostkami! Zachęcam do zerknięcia i pobrania 😉 [Btw // lubię tworzyć infografiki, ale praca nad nimi jest tak czasochłonna, że niestety nie zdarza się to dość często, dlatego liczę na to, że Wam się podoba takie urozmaicenie przemycania informacji.] Prawie dyplomata i niespełniony właściciel galerii sztuki zaczął karierę w 1935 r. od rysowania dla tygodnika “Figaro Illustre” i różnych domów mody. Podjął nawet stałą współpracę jako stylista u Roberta Pigueta, a później wziął go pod swoje skrzydła Lucien Lelong – przedsiębiorca z branży tekstylnej, kierownik przedwojennej Izby Rzemieślniczej Elitarnej Mody i Izby Syndykatu Mody Paryskiej. Kiedy w 1946 r. zaproponowano mu kolejną współpracę, zdecydował o powstaniu własnej marki. Christian Dior chciał nie tylko zachować francuskie tradycje tkanin i szycia, ale też udowodnić, że Paryż nadal jest stolicą światowej mody. Pierwszą kolekcję – “Linia kwiatu” zaprezentował przy 30 Avenue Montaigne 12 lutego 1947 r. Co ciekawe, jego New Look miał tak samo wielu zwolenników, ilu przeciwników. W USA gospodynie domowe przywitały go nieprzyjemnymi banerami sprzeciwiającymi się antyfeministycznej i krępującej kobiece ciało wizji mody projektanta. Dior zmarł w 1957 roku, a stery jego domu mody przejął Yves Saint Laurent. Następnie rządzili nim Marc Bohan, Gianfranco Ferre, John Galliano (w 1996 roku, jako pierwszy Anglik kierujący francuskim domem modem), Raf Simons, Maria Grazia Chiuri. Choć każdy z nich chciał nadać marce swój sznyt, to wielu innych twórców inspiruje się stylem Diora, co widać również na łódzkiej wystawie. Centralne Muzeum Włókiennictwa w Łodzi Wystawę “Christian Dior i ikony paryskiej mody z kolekcji Adama Leja” udało mi się zobaczyć dopiero w ostatnich dniach jej trwania, choć wyjazd planowałam niemal od jej premiery. Mam nadzieję, że następne wystawy będę odwiedzać z prędkością światła i informować Was o wrażeniach, żebyście sami mogli się na nie wybrać! Jeśli interesuje Was sama instytucja, która regularnie gości ekspozycje związane z modą – o Centralnym Muzeum Włókiennictwa w Łodzi pisałam też we wpisie z 2016 r. (tam poczytacie o historii tego miejsca)! Niebawem temat tego miasta pojawi się jeszcze raz – tym razem w postaci recenzji (? choć to chyba za mało) książki “Aleja Włókniarek” Marty Madejskiej. Planuję też kolejny wyjazd do Łodzi, tym razem na wystawę “Jerzy Antkowiak – Moda Polska”. Będzie ją można oglądać do 17 marca 2019 r.! źródła: Centralne Muzeum Włókiennictwa Irma Kozina, “Historia mody. Od krynoliny do mini” Design Museum, “Fifty dresses that changed the world” Fashion The Ultimate Book of Costume and Style zdjęcia: ja te, na których mnie widzicie: Marta Gutsche Studio Christian Dior i ikony paryskiej mody Adama Leja w Centralnym Muzeum Włókiennictwa w Łodzi
The Second World War interrupted it. And the crowds bayed for blood when he revealed his New Look. Chloe Govan reveals Christian Dior’s roller-coaster ride to success. “As long as Hitler controls Paris,” declared one American journalist, “Paris will never control fashion.”. Taking these words to heart, Christian Dior, then in his 30s
Choć umarł w roku 1957, Christian Dior, jest jednym z najbardziej znanych na świecie projektantów mody. Rozpoczął swoją przygodę ze światem mody sprzedając szkice kapeluszy Paryżanom w 1935 roku. Wolał rysować suknie, jednak nie podobały się one tak bardzo jak nakrycia głowy. Trzy lata później udało mu się zdobyć pracę u Roberta Pigueta, lecz z powodu wybuchu wojny Dior zmuszony był pójść na front. Kiedy powrócił do Paryża zaczął pracę w domu mody Luciena Lelonga. Tam szkolił swój fach. Praca dla kogoś nie była jednak spełnieniem jego marzeń. Postanowił otworzyć swój własny dom mody. Dom mody Dior Pierwsza kolekcja Christiana Diora wykonana na własną rękę pojawiła się tuż po wojnie, w 1946 roku. Ludzie oczekiwali nowości i odrodzenia. I tak powstała kolekcja nazwana New Look , która przyniosła twórcy renomę i sławę. Przeznaczona była dla eleganckich kobiet, które chciały poczuć się i wyglądać jak damy. W linii królowały subtelnie podkreślone ramiona, ciasno opięte talie i pełne, ciężkie spódnice. Paryżanki pokochały ją bezgranicznie. Szybka kariera, nagła śmierć Tak rozpoczęła się wielka kariera projektanta. Marka Dior stała się symbolem luksusu. Przez kolejne 11 lat Christian Dior wytyczał modowe trendy w całej Europie. Z czasem jego projekty stały się sławne nawet w Stanach Zjednoczonych. Każda z linii miała motyw przewodni, mógł to być klasyczny garnitur lub też spódniczka baletnicy. Projektant wypuścił także na rynek własne perfumy : „Miss Dior”, „Diorama” oraz „Diorissimo”. Jego niespodziewana śmierć w 1957 roku zakończyła pasmo jego osiągnięć, choć nie jego imperium. Marka Dior promowana była początkowo przez jego asystenta, Yves Saint Laurenta, później imperium mody zarządzali Mare Bohan, Gianfranco Ferre oraz John Gallino. Dziś Christian Dior jest inspiracją dla wielu początkujących projektantów.
1 / 7. Illustration by Dagmar Freuchen Gale. Vogue April 1, 1947. “Christian Dior, new house with new vigor, new ideas, here makes a variation of his market-woman skirt—stiffened, standout
To say that the New Look of 1947 is integral to Dior would be an understatement. The feminine silhouette changed the game, and put the house of Christian Dior well and truly on the fashion map. For Dior Beauty’s first limited edition beauty collection this year, it turned to that pioneering couture spirit. Enter the New Look collection: a range of La Collection Privee fragrances and makeup items clad in houndstooth toile fabric. Credit: Dior Three full-sized (125ml) fragrances are included in the New Look collection, their glass bottles decorated with a houndstooth pattern. There’s also a travel perfume case (40ml) that can be outfitted with refills of other scents from the La Collection Privee line. Houndstooth is a design signature at Dior, an English menswear motif that the designer appropriated and applied to haute couture dresses. It’s also an enduring design element on the bottles of Miss Dior perfumes, engraved on the underside like a secret. In this New Look collection, houndstooth decorates beauty creations like fragrances and makeup. In Dior Beauty’s New Look collection, a toile fabric with the houndstooth pattern wraps the presentation boxes, and appears on the glass bottles of Gris Dior, Jasmin des Anges and Lucky. There’s also a travel spray that gets the same treatment, making for a very chic portable perfume item. Credit: Dior The six shades of Rouge Dior in this collection are some of the most wearable from the brand, in a range of velvet, satin, metallic and matte finishes. (Here are “10 Red Lipstick Ideas From Jeanette Aw, Blackpink’s Lisa, Hyuna And Other Celebs”) On makeup: the Dior Forever Couture Perfect Cushion and six shades of Rouge Dior lipsticks come dressed in houndstooth. Another fun bit of houndstooth detail: the embossed bullets of the lipsticks, which are a nice visual touch. Below, a look at the full range of Dior Beauty’s New Look collection, available now on the brand’s e-shop. If you’re shopping in person: the makeup collection is available at all Dior Beauty boutiques and counters, while the fragrances are exclusively available at the La Collection Privee Christian Dior boutique in Ion Orchard.
Dior is unveiling the CD 1947 capsule, showcasing the exciting dialogue between Kim Jones and the legacy of Monsieur Dior. Emblematic of the line, a new “ Christian Dior ” signature and the key date “ 1947 ” – the year of Dior’s first défilé – are featured on irresistible creations.
Every product on this page was chosen by a Harper's BAZAAR editor. We may earn commission on some of the items you choose to buy. The New Look In February 1947, Christian Dior showed a collection that shook the foundations of fashion. Gone were the practical silhouettes of the WWII-era designs; in their place, the utterly feminine shapes of rounded shoulders, wasp waists, and full skirts emerged Media Platforms Design Team In February 1947, Christian Dior showed a collection that shook the foundations of fashion. Gone were the practical silhouettes of spartan WWII-era designs; in their place, the utterly feminine hourglass shape emerged, complete with rounded shoulders, corset-like bodices, wasp waists, and lavish full skirts. In celebration of what would have been Monsieur Dior's 109th birthday, we spotlight the celebrities embracing the legacy of the New Look today. 1 of 10 Leelee Sobieski Christian Dior Couture Fall 2012 2 of 10 Jennifer Lawrence Christian Dior Resort 2014 3 of 10 Natalie Portman Christian Dior Spring 2014 4 of 10 Allison Williams Christian Dior Spring 2013 5 of 10 Charlize Theron Christian Dior Haute Couture 6 of 10 Nicole Kidman Christian Dior Spring 2013 Couture 7 of 10 Marion Cotillard Christian Dior Spring 2013 Couture 8 of 10 Michelle Williams Christian Dior Spring 2013 9 of 10 Natalie Portman Christian Dior Haute Couture 10 of 10 Natalia Vodianova Christian Dior Spring 2013 This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at
Aussie Ben Mendelsohn stars as Christian Dior in a new US drama series The New Look from Todd A. Kessler (Damages).. Inspired by true events and filmed exclusively in Paris, the series centres on fashion designers Christian Dior, Coco Chanel and their contemporaries as they navigated the horrors of World War II and launched modern fashion.
FULL ARTICLE By Annelise Moses, Second Year History Annelise Moses discusses the groundbreaking impact of Christian Dior's 'New Look' collection, and how it paved a change for feminism in fashion In light of the new 'Christian Dior: Designer of Dreams’ exhibition that opened at the beginning of February this year at London’s V&A Museum, it would be interesting to cast our minds back to the iconic, French designer’s most ground-breaking collection. On 12th February 1947, not even two years after World War 2 had ended, Christian Dior unveiled his Corolle collection - later dubbed the “New Look” following then editor-in-chief of Harper’s Bazaar, Carmel Snow’s, exclamatory remarks upon the reveal. The “New Look” can be seen as both a reaction to the austerity of the war years, but also as ushering in a decade of fetishised femininity. During the war, fashion trends were about practicality; dresses got shorter due to fabric rationing, the bikini made its debut and clothes adopted a more masculine edge. The Corolle collection was everything that these austere fashion trends were not; using excessive and luxurious fabrics, the Bar suit - the main feature of the new collection - sought to emphasise the unique aspects of the female body. The “New Look” is well known for its cinched-in waists, ankle-length skirts and rounded-shoulders that “accentuated the waist, the volume of the hips, I emphasised the bust”, in the words of Christian Dior himself. In the fashion world, and indeed much of the wider Western world, this celebration of the female body was well-received. The 1950s were an era in which women returned to their traditional role as homemaker and housekeeper, and the post-war economic recovery facilitated an increasingly affluent and consumerist society. Dior’s “New Look” exemplified this very moment in history. However, as progressive forces increasingly gained a voice in Western societies, arguing against the conformity and consensus of their predecessors to unjust state institutions, Dior’s “New Look” suffered criticism. The late 1950s and 1960s saw the birth of second-wave feminism, said to have been prompted by the publication of Simone de Beauvoir’s The Second Sex in 1949. Second-wave feminism drew attention to the societal beliefs of the woman that restricted her role to certain places and spaces, largely the home and the family, and by consequence resulted in several legal and de facto inequalities between man and woman. The “New Look” received critique from the emerging movement for women’s liberation in the United States, with women picketing fashion shows with placards brandishing the slogan “Burn Mr Dior”; for such women, the tight waists and emphasised busts of the “New Look” were a demonstration of the objectification of women that they deplored. Whatever the controversy, the Dior “New Look” has had a long-standing impact on the fashion trends we witness today. The key features of the Corolle collection have been reinvented, reimagined and modernised, and can be seen in the fashion trends of many societies. Even as of the recent SS19 fashion weeks, the knife-tight pleats that were a prominent feature of the Bar suit’s ankle-length skirts can be witnessed on the catwalks of Roland Mouret and Givenchy. Other key items in the collection have remained pervasive in the world of fashion; this season has seen wide belts and suits gaining popular appeal, simulating the tight waists of the “New Look”. So perhaps in a time where feminism is in its third phase, the celebration of the female body by the “New Look” has regained its popular appeal that it first received in the 1950s. This exhibition has been curated at the V&A by Oriole Cullen, after being transferred from Paris’s Musee des Arts Decoratifs. It is a must see for all interested in fashion, history or those merely looking for an aesthetically-pleasing day out in London. The exhibition is running from February 2nd to July 14th. Featured Image: Flaunter Com / Unsplash 'Have an opinion on how gender is navigated in the world of fashion? Let us know' Facebook // Epigram // Twitter AUTHOR RELATED POSTS PREVIOUS Russian Doll is a stark reminder for us to confront our emotional demons and talk about how we feel NEXT Beautiful Boy is the greatest all-round Oscar snub this year, with Chalamet, Carell and the script especially deserving of recognition
The British Fashion Scene Mid-20th Century. The 1950s moved Britain from the austerity of the 1940s to the prosperity of the 1960s. Fashion history would never be the same again after the 1950s when teenagers became an emerging fashion voice. A new consumer-driven society was born. The fashionable age of being between thirty and forty at the
“As long as Hitler controls Paris,” declared one American journalist, “Paris will never control fashion.” Taking these words to heart, Christian Dior, then in his 30s, set about waging a war of his own, and as the tanks and fighter jets of the 1940s loomed around him, the designer formed his own résistance against aesthetic Dior’s tailoring showed off the female figure. Photo: Alamy, courtesy of Christian Dior MuseumTwo years after the Germans surrendered the French capital, he launched what would become one of the most successful couture fashion brands in the was born in 1905 in the sleepy yet chic seaside town of Granville, Normandy. By the age of five, his affluent family had moved to Paris, hoping he would grow up to become a diplomat. Yet years later, after reluctantly studying for a degree in political science, the stifled creative ‘Dior, Designer of Dreams’ exhibition at the V&A Museum. Photo: Adrien DirandDior’s parents were incandescent with shame when he opened his own art gallery – the first step on a multi-million franc career ladder – believing that it would permanently tarnish the family name. Unapologetic homophobes, the Diors were embarrassed by his association with “effeminate” pursuits – indeed, they had banned him from studying architecture at university for this very reason. The fact that soon-to-be world-renowned artists such as Salvador Dalí and Joan Miró were exhibiting at the gallery, or that Pablo Picasso’s studio was right next door, meant little to his horrified parents. To them, his choice of career represented a world of casual hedonism and illicit homosexuality. Curiously, for a family that had made its name in the less-than-glamorous fertiliser industry, they seemed to believe it was art that would blight their reputation. They agreed to finance their errant son on the strict condition that the Dior name be kept Dior with model Sylvie, circa 1948. Courtesy of Christian Dior MuseumBut young Christian would have far more to contend with and overcome than his controlling parents’ purse-strings; namely the choke-hold of the Great Depression and the Second World War. He was forced to sacrifice his gallery and the short stint of employment that followed with fashion designer Robert Piguet was cut short when he was called upon to serve in the CONTROVERSYThe war over, in 1947 the world started to sit up and take notice of Dior’s debut solo launch – the now-legendary New Look. The collection was all about creating a curvaceous silhouette – prominent shoulder pads, moulded busts and voluminous, bouffant skirts, all anchored by a shapely cinched waist. Formerly elegant French women, emaciated in the aftermath of the war and still feeling the after-effects of food rationing, were desperate to regain their curves. It seemed the exaggerated femininity of Dior’s collection had come along at just the right time – although not everyone ‘Dior, Designer of Dreams’ exhibition at the V&A Museum, the Garden Section. Photo: Adrien DirandSome were enraged by the sheer amount of fabric used in his circle skirts – considered a shameful waste by those who’d previously scrimped and saved during wartime austerity. Others simply found the designs horrifyingly impractical. From lung-squeezing corsets to skirts so weighty that the women who sported them could barely fit through doorways, they were regarded by many as the “absolute antithesis of feminism”.And why, a quizzical Coco Chanel asked, would anyone take style advice from a man “who doesn’t know women [but merely] dreams of being one”?The ‘Dior, Designer of Dreams’ exhibition at the V&A Museum, Designers for Dior section. Photo: Adrien DirandBut while fellow designers simply sneered or raised their perfectly arched eyebrows in amusement, the public’s reaction was much more dramatic – and chaos quickly descended, both on and off the catwalk. In Montmartre, just a few days after the collection’s launch, sales assistants physically assaulted the models, attempting to tear their designer dresses from their bodies and rip them to around the world stormed fashion shows brandishing placards that read, “Burn Dior!” and, “Mr Dior, we abhor dresses to the floor!”. It seemed even his own industry had turned against him. Elle published a feature highlighting the cost of Dior’s dresses and pointing out what could be bought for the same price – such as 789,000kg of meat. Other magazines commented that post-war women would rather eat than buy frivolous fashion. Regardless, Dior’s supporters were just as passionate as his detractors. They considered his designs a celebration of ‘Dior, Designer of Dreams’ exhibition at the V&A Museum. Photo: Adrien DirandROYAL APPROVALFor Dior’s fans, the New Look represented a return to extravagance and luxury in an era of ration cards and meagre clothing coupons. In wartime, many women had been driving tractors and working the fields as land girls, or running busy households alone with a toddler under each arm, so the chance to dress glamorously was rare, if not non-existent. Dior’s clothing was far from just a style – it formed part of a political were the days of austerity and self-denial and no longer would women be afraid to reach into their hand-me-down purses. Now the only thing that was restrictive was the waistline – and that was exactly how Dior and his customers wanted Margaret in the Dior gown she wore on her 21st birthday. Photo: Popperfoto/ Getty ImagesIn the midst of all the controversy, Dior won the support of Princess Margaret, who wore one of his designs for her 21st birthday party. She was photographed in the extraordinarily bouffant gown, earning him abundant positive publicity. While the likes of Marie Antoinette before her supposedly declared “Let them eat cake!”, Margaret was now flaunting the designer’s reckless use of fabric with the implicit cry of “Let them wear couture!”. That year, no fashion photo could match it in the controversy Dior continued to create designs that emphasised the differences in body shape between women and men. Hips were padded in the same way that a modern-day brand might pad a bra. The exaggerated hip-waist ratio that he forged helped sustain a feminine appearance, even for women wearing suits. Posters soon appeared emblazoned with witty repartee such as “Do my hips look big in this?” as a nod to the Dior Margaret presents Dior with a scroll entitling him to Honorary Life Membership of the British Red Cross. Photo: Popperfoto/ Getty ImagesMOVING WITH THE TIMESThe fashion house was soon bringing in millions of francs a year and its glamorous gowns were responsible for more than half the country’s haute-couture exports, as well as half of France’s total exports to the USA. It had also diversified, adding furs, perfumes and stockings to its latter were especially significant for post-war liberation. Those seeking the New Look had previously had to make do with staining their legs brown and painting a line down the back to mimic the effect of seamed stockings. Thanks to Dior, these painstaking efforts could be abandoned in favour of the real Dior’s house and museum in Granville, where he spent his early years. Photo: ShutterstockHowever, a decade after the launch of the New Look, tragedy struck – Dior died of a heart attack aged just 52. Rumours circulated that it had been prompted by choking on a fish bone, by strenuous sex or had happened after a game of cards. To this day, the truth is unknown. What is indisputable is that the fashion world went into mourning, with thousands attending his funeral. Among them was his friend Pierre Bergé, who said: “It was a national event. It was as if France had ceased to live.”With the death of Dior came the demise of the styles that had made him famous. Some had been practical enough for everyday living, such as the elegant Bar Suit, comprising a jacket with a contrasting corseted waist and peplum hem and a sensible yet chic long A-line ‘Dior, Designer of Dreams’ exhibition at the V&A Museum, Dior in Britain section. Photo: Adrien DirandHowever, the more extreme designs had been downright passion killers. The most extravagant included boned evening dresses that apparently “flared out as much as two feet in all directions”, forcing party-going couples to dance at arms’ length. It was difficult to sit down and impossible to order a drink from a crowded bemused buyer joked that while these outfits were well-suited to royalty or silver-screen stars on photoshoots, they were “totally useless for any woman who wants to do anything!”.Clearly, the brand had to modernise. Women no longer needed lavish clothes that they struggled to move in as a means of bragging about their post-austerity wealth and freedom. Now they wanted liberation of a different kind – and demanded that it come in the shape of the lightweight, less restrictive ‘Dior, Designer of Dreams’ exhibition at the V&A Museum, Atelier section. Photo: Adrien DirandBy the 1960s, the protesters were back on the streets but this time it wasn’t because the Maison Dior was too extravagant – it was because the long skirts were too conservative. In the UK, for example, a group called the British Society for the Protection of Mini Skirts organised marches outside fashion shows – and the house of Dior duly granted their wishes for younger, edgier outfits. While the fashionistas of the 1940s believed that, paradoxically, their clothing had given them freedom by confining them, the women of the 1960s sought a rather more sexual to this day, Dior’s original message of female liberation is fiercely upheld, albeit in new ways: current creative director Maria Grazia Chiuri champions T-shirts emblazoned with the slogan “We should all be feminists”. So despite controversial beginnings, it seems certain that Christian Dior’s legacy will live forever. His parents would have been proud…From France Today magazine
SPRING-SUMMER 2023 HAUTE COUTURE. This Dior spring-summer 2023 collection is guided by Josephine Baker, the African-American singer and dancer who arrived from the United States in the mid 1920s to the cosmopolitan city of Paris, which was a dream destination for artists, writers and fashion designers. Watch all the Dior Haute Couture Shows.
Dior New Look W 1947 roku w Paryżu, Christian Dior (1905-1957) tworzy genialną kolekcję natychmiast okrzykniętą „New Look”. Proponuje zupełnie nową kobiecą sylwetkę o zarysie klepsydry. Mały żakiecik z talią osy, baskinką, idealnie dopasowany z wyeksponowaną linią biustu. Dior spowodował powrót gorsetów, ale w wersji „minii” – pasa wokół talii. Do idealnie dopasowanego żakietu dobrana była spódnica z klosza tuż za kolano, na wielu warstwach halek. Dior New Look dodatki A jako dodatki: rękawiczki, malutki kapelusik i torebka-pudełko trzymana w dłoni. Dopełnieniem wizerunku był makijaż: oczy mocno podkreślone czarną kreską i czerwone usta. A na nogach oczywiście szpilki zaprojektowane specjalnie przez Roger Vivier. Eksplozja kobiecości po okrutnych czasach wojny Po okrutnych latach wojny ta eksplozja kobiecości, powrót przepychu, szelest halek i jedwabiu rozkloszowanych spódnic, pończochy i szpilki wydawały się czymś niezwykłym. Kolekcja Diora była z pewnością ucieleśnieniem marzeń każdej kobiety. Sukces Diora Dior błyskawicznie odniósł sukces i zapoczątkował modę na całą dekadę lat 50. Kobiety musiały czuć się rozkosznie dekadencko, oglądając zarówno tę kolekcję, jak i nosząc ubrania nią inspirowane – szczególnie po latach racjonowania wszystkiego – w tym również tkanin. Czy Dior był popularny w Polsce Ludowej? O tym można poczytać w kolejnym artykule: Dior w Polsce Ludowej Materiały dodatkowe
Medium Dior Book Tote. $3,350.00. Large Dior Book Tote. $3,500.00. The Dior Book Tote with the Dior Oblique Motif. This iconic accessory, made using an exclusive technique of three-dimensional embroidery, is adorned with the Dior Oblique motif. Discover. Dior Book Tote Mini Phone Bag. $2,450.00.
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