Photo Credits Dior
On the edge of the cliffs of Granville, in Normandy nestles the childhood villa of Monsieur Dior, a pink and grey building overlooking the channel facing the Anglo-Norman islands, which houses all summer long an exhibition devoted to the New Look. A formula launched on the fly in 1947 by the Harper’s Bazaar journalist Carmen Snow, an iconic figure who marked the history of fashion. The exhibition recounts with interest the stylistic bases of the Dior house from 1947 to 2015, a genuine celebration of femininity through the creations by Christian Dior and his successors, based on documents and original designs from the era…
Christian Dior Museum – Granville
From the 6th of June until the 1st of November 2015
This is unique in the history of fashion, there isn’t another moment that is quite as strong or a couturier that has started, and succeeded to establish himself with his first collection. The adherence of the new-look is absolutely immediate it’s not just the press who were seduced, it’s really women in general who in any way possible try to reproduce this new-look with their own means.
In these memoires Christian Dior said that he could have never thought, or never imagined that this would have such an impact but at the same time when you look at the organisation of the house, how he designed the house, how he developed his collection, you can’t help thinking that it was orchestrated. Especially the role that he intended to play with the press, he creates a kind of effect, today we would call it a buzz effect. The new-look is really the return to high luxury and to couture, and which refers a lot to the 19th Century, especially the bust, the sculpted waist, the rounded hips, and the elongated skirts made from just one cut and which allowed to forget the terrible times of the war. It’s the founding act of the new look from the house and the bar suit as well, it’s the emblem of this Dior style which champions femininity in a culture perspective, the art of French living that Christian Dior wanted to resuscitate from the end of 1947.
Laurence Benaïm: Today we find in this exhibition a thread, a thread of a story, and that the designers are there and we find it through the designs by John Galliano, Raf Simons, the designers are there to be used as a discourse for a true story that has lasted since 1947 and I like this lesson as a demonstration of humility.
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