The hat is by Maud Roser, white pique, banded with navy-blue chiffon.
Fashion as entertainment has expanded from the runway to the big screen and now the smaller one.
After the austerity of the war years, they also represented a return to a decorative femininity.
“Christian Dior, new house with new vigor, new ideas, here makes a variation of his market-woman skirt—stiffened, standout, pleated at a low mark. The hat is by Maud Roser, white pique, banded with navy-blue chiffon.”
Voguedescribed the Bar suit thus: Pale tussore jacket hip-padded like a tea cosy; pleated jersey skirt.
Symbolically, the New Look represented a return to traditional, and decorative, ideas of femininity.
Everyone hoped that Christian Dior could breathe life and some fire into this picture.
Voguedescribed the Bar suit thus: “Pale tussore jacket hip-padded like a tea cosy; pleated jersey skirt.”
We were given a polished performance such as we had never seen in a couture house before.
We were witness to a revolution in fashion and to a revolution in showing fashion as well.
25 yards fan pleated.
“25 yards fan pleated. Dior’s dinner taffeta; your own shoulders; padded hips”
An Australian reporter, writing for SydneysDaily Telegraph,described the two lines introduced for spring 1947.
Carmel exclaimed, referring to the fact that many American buyers had already headed home.
And then or perhaps later, she said the words, Its quite a revolution, dear Christian.
Édouard Manet,Nana,1877.
Your dresses have such a new look.
Even taxi drivers asked me, Is this the new look?
so quickly did the expression become part of our everyday vocabulary.
“Writing of the fall 1946 collectionsVoguenoted the whittled waist, writing: “You’ll have to count on a corset this year. You’ll have to learn how to lace yourself in—a lesson that even your mother has forgotten.”
Edouard Manet,Nana,1877.
Youll have to learn how to lace yourself ina lesson that even your mother has forgotten.
The nostalgic corseted silhouette provided the road map for the first post-World War II collections.
Christian Dior, who dropped hemlines, circa 1947.
Christian Dior, who dropped hemlines, circa 1947.
Tighter-at-the-waist wider skirts with more yardagesometimes forty feet of fabric in a skirtlonger than anyones.
If there were roses, they were bigger; a tulle dress was three times bigger than anyone elses.
The Little-Below-the-Knee-Club leg it in protest of longer skirts.
The show was bigger, and there were more girls.
I think of my work as ephemeral architecture, dedicated to the beauty of the female body.
The Little-Below-the-Knee-Club leg it in protest of longer skirts.
Diors debut was news in itself, his success became a symbol of French coutures relevancy and revival.
Thats what we all talked about thenthe postwar world, which seemed to arrive by fits and starts.
The war had been poverty, misery, fear, terror, and death.
