Kristijan Dior s najskupljom
haljinom u svojoj kolekciji Mozart (levo), na reviji u hotelu Savoj u Londonu Christian Dior with the most expensive gown in his entire collection “Mozart” (left), during a fashion
show at the Savoy Hotel, London
T he rst collection of Christian Dior, shown in 1947, dif- fered so much from everything that had ever been seen until then that the main question in the fashion world was what kind of line he would launch the next year. Sil- houettes with narrow waistlines, accentuated breasts and wide midi skirts, known as the“New Look”, seemed completely unreal after the agony of the war years, rationing and designs on which a collar was considered an arrogant luxury, while silk was used only for parachutes. Dior mercilessly used 20 metres of material for a costume and 40 metres for luxury evening dresses. His ve minutes had arrived and he didn’t want to waste them. At the behest of his family, he studied to become a diplomat, although he’d wanted to become an architect. He struggled to persuade them to help him open an art gallery, in which works were exhibited by Pablo Picasso, Jean Cocteau and Max Jacob. That was 1928. A long road was still ahead to reach his own fash- ion house. He worked as a designer, prior to the war for Robert Piguet, and afterwards for Lucien Lelong, then – with the support of textile manufacturer Marcel Boussac – he founded the Dior fashion house in 1946. He presented his rst collection the follow- ing year,“Corolle and En 8”, which would remain remembered as the“New Look”.“I’ve created a ower woman,”announced Dior. He settled in a house with a garden in Montaigne Street, which he arranged in a style between an atelier studio and a liv- ing space. He was led by his desire to create a space that di ered from the luxurious tailor’s salons located in the famous Champs - Élysées avenue. He controlled the production of his designs from start to nish and didn’t abandon his vision. He adapted the sil- houette with the design, dictated the choice of accessories and the occasion for which the dress was intended. Those who wore his designs were left no space for personal expression, and thus no risk that they would visually ruin the creation. Regardless of his greatness, we could dub him a fashion dictator. At the same time, the existence of his total design concept brought him popularity. The public recognised in Dior a label that guarantees elegance. He approached fashion like an architect by creating dresses London’s Victoria & Albert Museum is hosting the retrospective exhibition “Christian Dior: Designer of Dreams”, which gives reference to the creativity of this famous fashion house since it was founded in 1947. On display are the gowns of the famous Christian, canvas test samples, sketches, as well as designs of the artistic directors who succeeded him
Rože Vivije kreirao je cipele za Diora i pomogao mu da zaokruži total look Roger Vivier created shoes for Dior and helped him round off his total look
MODNI OPUS KRISTIJANA DIORA SADRŽAN JE U KOLEKCIJAMA Corolle and 8 (1947), poznata kao New Look Collection ; Zig-Zag and Envol (1948); Trompe-l’œil and Mi - lieu de Siècle (1949); Verticale and Oblique (1951); Ovale ou Naturelle and Longue (1951); Sinueuse and Profilée (1952); Tulipe and Vivan - te (1953); Muguet and H (1954), A and Y (1955); Flèche and Aimant (1956); Libre and Fuseau (1957).
THE FASHION OPUS OF CHRISTIAN DIOR IS CONTAINED IN THE COLLECTIONS: “Corolle and 8” (1947), known as the “New Look collection”; “Zig-Zag and Envol”, (1948); “Trompe-l’œil en Mi- lieu de Siècle” (1949); “Verticale and Oblique” (1951); “Ovale ou Naturelle and Longue” (1951); “Sinueuse and Pro lée” (1952); “Tulipe and Vivante” (1953); “Muguet and H” (1954), “A and Y” (1955); “Flèche and Aimant” (1956); and “Libre and Fuseau” (1957).
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