Fall 2023 Collection. Celebrating the powerful ties between Dior and India, Maria Grazia Chiuri's Fall 2023 collection is unveiled in a series of mesmerizing looks that exalt the savoir-faire and splendors of this wonderful destination. See every look, fresh from the runways in Paris. For its Fall 2023 Haute Couture showing, Dior presented a collection of Greek goddess-inspired looks rendered in a neutral tones, each accented 22 February 2019 . 4:01 PM. 3 min read. 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 New Look Diora. 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]. Look 11 6 products. Look 12 8 products. Look 13 4 products. Look 14 6 products. Look 15 4 products. Look 16 7 products. Look 17 4 products. Look 18 9 products. Look 19 5 products. vsFR. 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 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. 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

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