Welcome to La Galerie Dior!
The application allows you to enrich your visit and discover exclusive content.
Welcome to La Galerie Dior!
The application allows you to enrich your visit and discover exclusive content.
03
The Dior Allure
On 12 February 1947 in Paris, the legendary Bar suit, instantly recognisable for the structural finesse of its slender nipped waist, its soft shoulders, its accentuated hips and its full, pleated skirt, came to symbolise the New Look, defined essentially by its lines.
“I think of my work as ephemeral architecture, dedicated to the beauty of the female body.”
Christian Dior began working on the collection two months before it was presented. He had a habit of retiring to the countryside, where he would produce up to 800 sketches constituting the first physical shape of his idea. As much as the structure of the garment itself, they also traced a process, an ambiance, a movement: “For a dress to be successful, you need to know how it will move in the movement of life,” he insisted. Back in his studio in Paris, 220 sketches which best represented the ideas and themes of the collection were selected by Christian Dior. These would become a reference point for the ateliers as they created the toiles, three-dimensional transpositions of the sketches before the choice of fabric.
It was throughout this key step that the main silhouettes for each season took shape to embody their new line. Under names such as En 8, Corolle, Ailée, Verticale, Sinueuse, A, Y, Aimant, or Fuseau, these lines were very precisely described in the press release written for the launch of the collection.
Next Room
04.1
30 Avenue Montaigne
03
The Dior Allure
On 12 February 1947 in Paris, the legendary Bar suit, instantly recognisable for the structural finesse of its slender nipped waist, its soft shoulders, its accentuated hips and its full, pleated skirt, came to symbolise the New Look, defined essentially by its lines.
“I think of my work as ephemeral architecture, dedicated to the beauty of the female body.”
Christian Dior began working on the collection two months before it was presented. He had a habit of retiring to the countryside, where he would produce up to 800 sketches constituting the first physical shape of his idea. As much as the structure of the garment itself, they also traced a process, an ambiance, a movement: “For a dress to be successful, you need to know how it will move in the movement of life,” he insisted. Back in his studio in Paris, 220 sketches which best represented the ideas and themes of the collection were selected by Christian Dior. These would become a reference point for the ateliers as they created the toiles, three-dimensional transpositions of the sketches before the choice of fabric.
It was throughout this key step that the main silhouettes for each season took shape to embody their new line. Under names such as En 8, Corolle, Ailée, Verticale, Sinueuse, A, Y, Aimant, or Fuseau, these lines were very precisely described in the press release written for the launch of the collection.