In these difficult and uncertain times, it is nice to focus on the lovely things in life. The Dior: Designer of Dreams exhibition has to be the most impressive exhibition I’ve ever seen, and I don’t know that it will ever be topped. (A Norman Hartnell exhibition could possibly sway it, but I don’t know what else.) There is a reason that Dior is still a reigning design house today, and has been so for over 70 years now! So, for a bit of an escape from the stress of everything, I’m sharing five of my favourite Dior pieces that I didn’t include in any of my exhibition posts. Hopefully the glamour and beauty helps you escape from the horrible that is 2020, and that you enjoy these Dior: Designer of Dreams highlights!
Scala Dress
Sadly I can’t find much information on this dress, and my picture of the info tag is not the clearest. However, I still wanted to include it, because it is gorgeous, quite frankly. According to the exhibition book, his
work at Dior was extravagand and exuberant, and he was a natural fit to breathe new life and excitement into the world of Parisian haute couture. He crafted dramatic, structured silhouettes using the finest fabrics and rich embellishments. His strong lines frequently referenced the nipped-in waists and the large skirted ballgowns of Dior’s “New Look.” (Christian Dior, 142.)
You can see all of this perfectly in this gown. At first glance, it seems a standard evening gown. However, the sweeping skirt, the two different laces, the beading on the bodice all highlight his skill and style. Unfortunately, being next to the out-there John Galliano designs, it gets slightly lost. It truly is gorgeous and spectacular in its own right, though, and deserves attention!
Gourah Ensemble
Although it is rather tucked in the back, the Gourah ensemble was one of my favourite pieces in the Historicism room. The pale pink satin dress and matching coat were a part of Dior’s A/W 1952 collection, when the New Look was in full popularity. You might wonder why exactly this is part of the Historicism room- it looks to be a fairly modern ensemble, even now in 2020. However, the flowing and voluminous draping of the coat perfectly mimicked the sack-back style dress seen in the French court during the reign of Louis XV. (It is gorgeous, but I think I would definitely scratch that satin in a heartbeat.)
As you might imagine, I loved the Historicism room. They weren’t necessarily my favourite dresses/looks in the entire exhibition, but I loved that they made the importance of history explicit. All designers have to find their inspiration somewhere, and many- more than you think- turn to the past for theirs.
The Atelier
The Atelier is still fascinating to me, over a year on. They are at the heart of any fashion house, but you rarely see them. Christian Dior said in 1954, “Everything created by human hands expresses something – above all the personality of the creator. The same thing is true with a dress. But since so many people are working on it, the real job is to get all the hands that cut, sew, try on and embroider to express all I have felt.” The toiles are all beautiful on their own, in simple cotton without an embellishment. I think that if you can make it look like this with nothing to help, you are clearly a talented seamstress. (Dior and I, the documentary of Raf Simons’ time at Dior features the seamstresses quite heavily.)
Jumpologie Dress
The Jumpologie dress was part of Yves Saint Laurent’s S/S 1960 collection, the “Silhouette of Tomorrow” collection. YSL took over at the helm of Dior when he was only 21 in 1957. Although he had trained under Dior, he was an incredibly different design from Dior. His youthful designs captivated clients, and kept Dior at the front of the youth movement. The shorter hemline and waists with the trapeze silhouette is emblematic of his time at Dior. This particular collection was meant to show the future, and included dresses over pants. While it was modern in 1960, I think that it would still be in style today in 2020. Sidenote: this exhibition used millinery perfectly, and this is a great example. Why are we not all still wearing hats??
Fête Joyeuse and Pink Ensemble
These two looks were incredible, and the only unfortunate part was that they were on the second level and slightly harder to see. (And no, it isn’t because I am short…) The Fête Joyeuse was part of the S/S 1955 collection, and Emma Tennant, the future novelist, wore it at her coming-out ball. This newer silhouette focused on narrower shoulders and a slightly looser skirt (it’s not quite as sharp as the New Look of the late 1940s). And this was donated to the V&A by Lady Glenconnor, Princess Margaret’s Lady-in-Waiting.
This pink silk ensemble was also in the S/S 1955 collection. It is actually a part of the Fashion Museum in Bath’s collection- they lent several different pieces to this particular exhibition. Even though it is further away, you can still see the defined waist. While I do enjoy the New Look, I think that this relaxed “A Silhouette” is a more versatile look. Dior’s strength was in his ability to create both day and evening looks, and these two dresses illustrate it.
Looking for more Dior?
Dior, Designer of Dreams, Part I- The New Look, The Dior Line, Dior in Britain
Dior, Designer of Dreams, Part II– Historicism, Travels, The Garden
Dior, Designer of Dreams, Part III – Designers for Dior, The Atelier
Dior, Designer of Dreams, Part IV– The Ballroom
And if you are looking for more fashion history books, my good friend Claire from Hisdoryan has some fantastic suggestions: https://hisdoryan.co.uk/best-fashion-history-books!
What are your favourite Dior: Designer of Dreams highlights?
Cheers,
The Historian
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