The collection illustrates the life of the founder - the famous Christian Dior. The collection consists of re editions of three male fragrances: Eau Noire, Bois d'Argent and Ambre Nuit, and seven new ones: Mitzah, Vetiver, Granville, Leather Oud, New Look 1947, Cologne Royale and Milly-la-Foret.
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 Až v roce 1946 Christian Dior s pomocí textilního magnáta Marcela BOUSSAC založil v Paříži svůj módní dům. Za 12 let se mu podařilo rozšířit své podnikatelské aktivity do dalších 15 zemí a zaměstnat více než 2 000 lidí. Dior je především známý pro svůj „ New Look “, který uvedl v roce 1947. Ve svých 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. Christian Dior’un New Look Akımı Corolle Koleksiyonu İçerisindeki Bar Modelinin Göstergebilim Çözümlemesi GSED, 2020; Cilt: 26, Sayı: 45: 580-587 DOI: 10.32547/ataunigsed.753369 Sayfa | 580
We earn a commission for products purchased through some links in this article. Chart the history of Dior's iconic Bar suit from its debut in 1947 to present day Chart the history of Dior's iconic Bar suit from its debut in 1947 to present day 1 of 21 The Musée Christian Dior in Granville, Normandy, has launched a new exhibition, curated by fashion historian Florence Müller. 'Dior: The New Look Revolution' traces the history of the brand's fashion revolution from 1947, when Monsieur Dior presented his first Haute Couture collection, to present day. A book of the same title is also available to buy now, by Laurence Benaïm. Click through for a preview and a closer look at some of Dior's most iconic silhouettes. 'Dior: The New Look Revolution' will run from 6 June – 1 November at the Musée Christian Dior in Granville. 2 of 21 The Bar suit, spring/summer 1947 Haute Couture collection, Corolle line. © Patrick Demarchelier 3 of 21 The Bar suit shown at a lecture given by Christian Dior at the Sorbonne, courtesy of Christain Dior 4 of 21 Extract from the fabrication notes for the spring/summer 1947 Haute Couture collection.© Christian Dior 5 of 21 Soirée evening gown in navy taffeta with a veil of black point d’esprit tulle, spring/summer 1947 Haute Couture collection, Corolle line. © laziz hamani 6 of 21 Miss Dior perfume, 1947.© laziz hamani. 7 of 21 Black wool jacket and off-white wool skirt ensemble, spring/summer 2010 Haute Couture collection.© patrick demarchelier 8 of 21 Dior red cashmere Bar coat, autumn/winter 2012 Haute Couture collection. © laziz Hamani 9 of 21 A Stockman mannequin specially created for Christian Dior.© laziz Hamani 10 of 21 Pocket of a day dress in pale pink wool crepe, autumn/winter 2012 Haute Couture collection.© laziz Hamani 11 of 21 Toile for a day dress in pale pink wool crepe with a structured bustier inset, autumn/winter 2012 Haute Couture collection.© laziz Hamani 12 of 21 Princesse Bundi and Princesse Partabgarh ensembles, autumn/winter 1997 Haute Couture collection. © Patrick Demarchelier 13 of 21 A jacket toile from the autumn/winter 2012 Haute Couture collection. © laziz Hamani 14 of 21 Dior Red cashmere Bar coat, autumn/winter 2012 Haute Couture collection© laziz hamani 15 of 21 Illustration of the Bar suit by Christian Bérard, 1947.© ADAGP, Paris 2015 16 of 21 Diorama dress in black wool crepe, short-sleeved close-fitting bodice, cinched at the waist with a black leather belt, very full skirt trimmed with black braid as at the neck. Autumn/winter 1947 Haute Couture collection, Corolle line.© laziz hamani 17 of 21 Designs from the autumn/winter 2012 Haute Couture collection.© Patrick Demarchelier 18 of 21 Christian Dior’s sketches for the Bonheur and Corolle dresses, spring/summer 1947 Haute Couture collection, Corolle line. © Christian Dior 19 of 21 Cream wool coat worn with a black patent leather Bar belt, autumn/winter 2008 Haute Couture collection.© laziz hamani 20 of 21 Bar suit jacket in natural shantung silk, spring/summer 1947 Haute Couture collection.© laziz Hamani 21 of 21 All images and text courtesy of Christian Dior Couture 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
About the Look. This evening ensemble is a luxurious silk satin gown (Fig. 1) designed by Dior for his Fall/Winter 1948 collection. This fabric is highly lustrous candlelit satin that causes the pleats and folds to shine. The base bodice is a fairly simple design – a strapless bodice that folds over straight across the top. 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.

C’est l’histoire d’un bon mot qui, par la grâce d’un instant magique, réussit à lancer la légende Dior. Ce 12 février 1947, à 10h30, Christian Dior présente, à l’âge de 42 ans, sa première collection à la presse, dans les salons du 30, avenue Montaigne envahis des compositions florales du fleuriste Lachaume.

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 This is where the New Look, which referred to the romantic, hyper-feminine fin de siècle silhouettes Christian Dior remembered his mother wearing, was born. This structured, fabric-heavy Back Exhibitions The crafts The story of Dior The books 12 February 1947, an international success This is the story of a quip, which thanks to a magical moment, forged a legend. On 12 February 1947 at Christian Dior, aged 42, presented his first collection at 30 Avenue Montaigne, which was strewn with flowers by Lachaume. The Editor-in-Chief of Harper's Bazaar, Carmel Snow, strongly believed in the couturier's talent, which she had already noted in 1937 with the Café Anglais model that he designed for Robert Piguet. At the end of the fashion show, having seen those unique silhouettes, those lengths, those volumes, those tiny waists and devilishly sexy busts, she exclaimed, "It's quite a revolution, dear Christian! Your dresses have such a new look!" A correspondent from Reuters seized upon the slogan and quickly wrote it on a note that he threw from the balcony to a courier posted on Avenue Montaigne. The news reached the United States even before the rest of France, where the press had been on strike for a month. The American journalist, who cabled the brilliant slogan to her editor, did not know how right she was. The newness of which she spoke caused shock waves on both sides of the Atlantic. Just two years after the war, Dior, with this collection in his own image, definitively turned the page of restriction, gloom, rationing, gravity and uniforms. With the utmost seriousness, he wanted to give women back their taste for light-heartedness, the art of seduction: he had known since his childhood that they always kept it hidden somewhere within them, even in the most dramatic of circumstances. He learnt this in Granville during the Second World War, by observing women looking at the Parisian magazines that it was so difficult to get hold of: surprised and excited by the fashionable dresses, they raced to have them made as soon as they closed the magazine. The Bar jacket, an icon of the New Look With his revolutionary New Look, Christian Dior wrote a new chapter in the history of fashion. Furthermore, in order to write it, he literally constructed it with his own hands. The would-be architect had to hammer away at a Stockman mannequin that was too tough and unyielding to bear the preparatory canvases of his visionary wardrobe, says his friend Suzanne Luling: "And so, with big, nervous blows of the hammer, he gave the mannequin the same form of the ideal woman for the fashion that he was to launch." His aim was clear; his hand did not tremble. "I wanted my dresses to be 'constructed', moulded on the curves of the female body whose contours they would stylise. I accentuated the waist, the volume of the hips, I emphasised the bust. In order to give my designs more hold, I had nearly all the fabrics lined with percale or taffeta, renewing a tradition that had long been abandoned." Thus, on 12 February 1947 at the announcer introduced "numéro un, number one". The first outfit was worn by Marie-Thérèse and opened the show during which the astounded audience saw 90 different creations file past, belonging to two principal lines: En Huit and Corolle. Bettina Ballard, Fashion Editor at Vogue, had returned to New York a few months earlier after 15 years spent covering French fashion from Paris, believing European fashion was heading for a dead end. But she was a good sport and even she had to bow to the innovative genius of Dior: "We have witnessed a revolution in fashion at the same time as a revolution in the way of showing fashion." The Bar jacket immortalised in the famous photo by Willy Maywald, was a signature piece from this collection with its cream shantung morning coat with rounded tails that closely followed the curves of the bust and its large black pleated skirt that flared out, giving the gait an elegant swing that had never been seen before. It was all cleverly completed by a little black pillar-box hat perched cheekily on the head, gloves and fine slender shoes in complete contrast to the square-toed shoes with wedged heels worn by those who had come to watch the fashion show. One by one, like plucking petals from a daisy, it was possible to pick out the major pieces of this manifesto-collection that demonstrated the style and state of mind of a rigorous and joyful man. There was the Passe-Partout suit in navy-blue wool crepe with its crew-neck jacket, pockets on the chest and the tails and pencil skirt that outlined the irreproachable En Huit line. The Corolle afternoon dress in black wool fastened with five large buttons on the bust and skirt with aptly-named miraculous pleats. The Jungle sheath dress with a panther motif, the Soirée dress with two layers of superimposed pleats in navy blue taffeta... In short, from Rita Hayworth to the average woman on the street that couture did not normally touch, but who learnt during the post-war period to work miracles with her sewing machine, everyone now wanted to adopt this new look that Christian Dior himself was later to describe as "the return to an ideal of civilised happiness." Not long after the fashion show, Elle magazine printed a photo of Marlene Dietrich's calves, the "most beautiful legs in the world", advising its readers to take a good look because they were never likely to be seen again – the star had just ordered 10 New Look dresses whose hems would now cover her up! Dior became "the most famous Frenchman in the world", according to the headline of the L'Aurore newspaper. A photo showed two women tearing apart the New Look outfit of a third woman in the middle of the street, shocked by the lengths of fabric and ‘indecent’ sensuality. It was to misunderstand the motivation of Dior who, in designing "flower women with soft shoulders, blossoming bosoms, waists as slender as creepers and skirts as wide as corollas" only wanted to make them happy. Which he succeeded in doing. Over six decades after its creation, the New Look revolution and its spirit continue to inspire Dior. The New Look is a perpetual evolution. DELETE THIS ADDRESS ? DELETE THIS ADDRESS ? Remove This Product ? You must be logged in to add this product to your wishlist NOTIFY ME . 442 166 2 479 219 43 423 194

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