1947 - 2020 New Look Never Aged
CONTENTS 2-3
Who Was Dior?
4-5
Dior, Then and Now
6-7
Maria Grazia Chiuri
8-9
Dior Resort
10-13
Maria Grazia Chiuri Mysticism
14-17
Denim at Dior
18-19
Pricing a Look
20-21
The Dior Experience
22-25
The Wider Team
26
Bibliography
WHO WAS DIOR? One of Fashion’s most iconic houses was born from the imagination of a young Parisian artist, with a desire to celebrate beautiful female forms through his extravagant crafting. Christian Dior had his beginning in 1905 in a seaside town on the coast of Normandy called Granville, before moving to Paris at a young age where his inclination for the arts would quickly emerge. After initially selling his sketches on the streets, he opened an Art Gallery with the help of his father, where he showcased works by artists such as Pablo Picasso. Though this dream was short-lived as the Great Depression took hold, forcing him to close his gallery and eventually report for Military Service in 1940.
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Left: Christian Dior Right Top: Dior sketching in his studio Right bottom: Dior fixing a garment on a model
Returning from service in 1942, Dior found work as an assistant to couturier Lucien Lelong, which saw him design dresses for the wives of Nazi Officers in an effort to preserve the industry while World War 2 raged on. Eventually, the house of Dior was founded on December 16, 1946 in Paris’ Avenue Montaigne. His first collection, dubbed “The New Look”, by Harper’s Bazaar, featured opulent silhouettes which exaggerated the natural female form.
Although the collection was criticized for its excessive fabrics and extravagance in struggling post-war France, it quickly made waves in the world of Fashion. Soon, celebrities Margot Fonteyn and Rita Hayworth were some of the many high profile names in Dior’s orders book. Though Dior’s career was short lived, his death in 1957 left the house in the control of 21-year-old Yves Saint Laurent, who has since been one of the many brilliant designers to carry on Dior’s legacy.
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THEN In Dior’s late 1940s infancy, the “New Look” was defined by its distinctive silhouette. It amplified traditional feminine garments with a tighter waist and exagerrated features that emphasized the natural female form. Top & Bottom Left: Models showcasing Dior’s early collections in the late 1940s
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The elaborate looks, with their abundance of fabrics and timeless elegance, came as a timely arrival to a post-war Europe. Dior’s gaments found their way to the wardrobes of a host of celebrities, including the British Royal Family.
NOW At the Zenith of their 73 year evolution as a fashion house, Dior’s recent years have seen a move away from traditional elegance to a distinctively more counter-cultural, informal aesthetic. Left: Fall 2020 ReadyTo-Wear Look 39 Middle: Dior Spring 2017 Ready-To-Wear Look 18 Right: Dior Spring 2020 Ready-To-Wear Look 37
Elements of streetwear, androgyny and experimental pairings that push the standards of couture fashion have come to define Creative Director Maria Grazia Chiuri’s legacy at Dior. Garments are no longer merely a beautiful look, but a statement about society at large.
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MARIA GRAZIA CHIURI
Maria Grazia Chiuri’s appointment to the creative helm of Dior in July 2016 was only the next step in a distinguished career that has seen her develop the iconic “Baguette” bag for Fendi before steering Valentino to a Billion dollar revenue in 2015. A graduate of Rome’s creative powerhouse Istituto Europeo Di Design, Chiuri had her entrance into high fashion when she joined Fendi in 1989 alongside fellow Istituto Europeo graduate and future creative partner Pierpaolo Piccioli. The two would prove a dynamic duo, being recruited personally by Valentino Garavani in 1999, where they gradauted to co-creative directors in 2008.
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Dior Creative Director Maria Grazia Chiuri
Chiuri’s status as the first woman to lead Dior was echoed in her debut Spring 2017 Ready-To-Wear collection, with designs that transcended simple aesthetically pleasing products, instead making bold statements about feminism and society at large.
Through her work at Dior, Chiuri has channelled thematic hallmarks of the house such as Tarot Cards, Mysticism and Floral elements, whilst realising her goal of “moving forward into the future” with components of feminism, streetwear and vintage fashion showing up in Dior shows.
Left: Dior Spring Ready To Wear 2018 Look 1 Right Top: Dior Spring 2017 Couture Look 32 Right Bottom: Valentino Spring 2016 Couture Look 34
Chiuri’s body of work displays her willingness to reach outside the box for ideas, with the picturesque settings and themes of Dior’s shows challenging the tightly-held traditions of couture fashion. Her debut couture Spring 2017 collection took spectators to a whimsical woodland complete with trees and bushes, whilst Dior’s 2018 Cruise collection saw looks inspired by traditional Native American and Mexican attire, well suited to it’s setting in the barren Arizona Desert. Ultimately, Chiuri is leading the charge in making couture fashion more accessible and inclusive for all.
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Jennifer Lawrence posing for Dior’s 2018 Resort collection
DIOR RESORT
WHAT IS RESORT?
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A Resort Collection, also known as a “cruise” collection originated as a collection of garments suiting consumers for holiday months, particularly the spring, with airy fabrics and garments ample for sun relaxation. However over time they’ve come to include winter holiday garments also, typically released between Thanksgiving and Christmas in the US, however garments are typically flexible and can be worn year round, making the collections Valuable to fashion houses.
2018 CRUISE LEFT:
Look 39 in Dior’s 2018 Resort Collection is an ample aesthetic for Salt Lake City in Utah. The Leather jacket and skirt is a good pairing in the unpredicatble climate, whilst the purple colour scheme channels Utah’s native wildflowers.
RIGHT:
Look 57 would be right at home in Rio De Janiero, Brazil. The embroidered pattern and frills have elements seen in Brazil’s traditional carnival dress, and the fabric suits to the tropical heat of Rio.
LEFT:
Look 27 screams Denver, Colorado, with the wool skirt ample for the colder climate. The skirts designs reflect the area’s heritage which is rich with Native American History and culture.
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TAROT
Tarot Cards have been a part of Dior since the house’s inception in 1947. Christian Dior was reportedly highly superstitious, insisting on always having his cards read before showing a collection. According to Maria Grazia Chiuri “Tarot Cards were something that fascinated Monsieur Dior, a material object evoking a spiritual world.” Chiuri’s designs at the helm of Dior have frequently displayed subtle and obvious Tarot iconography, inspired particulary by
Motherpeace’s feminist Tarot deck, which featured prominently in the 2018 Cruise collection, as well as the marketing campaign. Paying further homage to Monsieur Dior, Chiuri’s debut Autumn/Winter Haute Couture show in 2017 debuted an embroidered green “Tarot coat”, it’s surface emblazened with detailed patches featuring Tarot cards and symbolism. 2017 likewise saw Dior debut a series of Tarot card inspired clutch bags (above) and Tarot card themed pop-up stores (below).
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SILHOUETTE
Picture: Chiara Ferragni wearing a Dior Gown during her 2018 Wedding Weekend
In some ways, you could pick out a Dior Dress by only seeing the outline. The legacy of the New Look is in its timelessness, as Dior have reinvented the shape of their early collections for as long as they’ve existed, and always managed to stay in style. While the shape has changed in some ways over time, the tight-waist and bellowing skirt is a longstanding trademark of a Dior collection, and Maria Grazia Chiuri has used The New Look as an empty canvas to showcase different themes and ideas, taking Dior in a new direction whilst simultaneously staying on track.
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Left: Dior Spring 2017 Ready-To-Wear Look 63 Middle: Dior Spring 2017 Ready-To-Wear Look 59 Right: Dior Cruise 2018 Look 79
Tarot cards are a frequnt theme popping up in Grazia Chiuri’s work, though contrary to the original prestigious style of Dior, the imagery is presented as juvenile sketches at times, with transparent fabric emphasising the freedom and youth of the collections. Tarot Imagery is often embroidered into the garments with meticulous detail, with the satin surfaces allowing bright purples and yellows to glisten. Spirituality is explored with a wide range of colours and spontaenous, whimsical pattern arrangements.
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DENIM AT DIOR SPRING 2000
READY TO WEAR JOHN GALLIANO At the turn of the century Creative Director John Galliano was tasked with developing a polarising collection that would see Dior start the new millenium with a bang. Galliano’s work with Dior often chanelled French aristocracy and theatricality, but for Dior’s Spring 2000 Ready-to-wear collection he instead looked to embrace the cultural populism that high-fashion had traditionally looked down upon.
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Left Page: Look 11 Left Top: Look 13 Left Bottom: Final Look Far Right: Look 10
Galliano was particularly inspired by the outspoken divas of Hip-Hop and Rnb that had soared into pop culture in the late 90’s.Mary J. Blige, Lil Kim, Foxy Brown and Ms Lauryn Hill were the stylistic inspirations for a collection that saw high-fashion embrace black culture for the first time.
The collection put denim in a new context. Since the invention of jeans in 1873, denim had come to be synonymous with two things, the blue collar working man, and the United States of America. Galliano pushed the status-quo of high fashion, with provocative dresses, knee-high boots and contorted skirts all crafted from the rigid fabric, as well as subverting this idea with denim-printed silk dresses and tops.
Embracing the 21st century was a critical factor in expanding Dior’s customer base to completely new areas. The collection found appeal with not only younger audiences, but solidified Dior’s status in Hip-Hop as a yard stick of luxury. As Dior CEO Sidney Toledano put it back in 2001, “I’m not sure Mr. Arnault will like this, but Dior was a bourgeois house, My problem was a company with a couture and licensing culture. I had to introduce a retail culture.”
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DIOR HOMME SPRING 2018 DENIM In what would be one of his final collections as Creative Director of Dior Homme, Kris Van Assche aimed to “reinterpret denim through the lens of the Dior Homme Suit” with his Spring 2018 denim collection. Double denim pairings were juxtaposed with dress shirts and ties, juxtaposing formal attire with rugged, torn denim whilst staying distinctly masculine. Van Assche chanelled denim’s cultural earmarks of punk fashion and workwear with bleached wash and raw indigo treatments, tearings and frayed edges. 3 Looks from Dior Homme’s Spring 2018 Denim Collection
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Left: Look 7 Right: Look 1
SPRING 2018 READY TO WEAR Whilst Dior’s “New Look”showcased and exaggerated the female form, 71 years later Maria Grazia Chiuri used silhouette to celebrate feminity in a different way. The Spring 2018 Ready-ToWear collection, whilst not dominated by denim, uses the uncompromising fabric as an allegory for the robust strength of the women dispalying it. Instead of tight waists and opulent, excessive shapes Chiuri moved towards a distingusihably looser, more masculine silhouette, which placed the themes of feminism on the centre stage of the show. The collection drew aesthetically from the 1970s, an era that saw the movement-pioneering 1971 Essay by Linda Nochlin, “Why Have There Been No Great Women Artists?”, which was boldly displayed on the shirt of the collection’s first look.The shapes and fabric of choice distinguish the women from mere objects on a pedestal, to bold individuals. Ultimately, the 1970s was a transitional era for second-wave feminism. Women were entering the workplace and fast gaining more control over their careers and lives, allowing them to embody the regal strength and integrity that denim encapsulates in our minds. It’s the perfect backdrop.
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Dior’s collections, like high fashion at large, often aim to evoke a sense of escapism. For a brand with such prestige, customers aren’t just forking over their money for practicality or aesthetic value. Dior sells ideas, not just clothes. The status that a Dior product bestows upon the wearer means that they buy the ability to become someone else with their Dior product. They aspire to live the lifestyle associated with their fashion. To be more than just their ordinary self.
SPRING 2020 READY TO WEAR
LOOK 37
$14,970 AUD
PRICING A LOOK
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DIORNATURAL BELT in Beige Jute Canvas $1385 AUD
DIOR LIP GLOW
in 011 Rose Gold $52 AUD
BRACELET DOUBLE DIOR JARDIN in Gold Finish Metal and Green Jasper Beads $970 AUD
DIORAURA DIOR BOOK TOTE in Multicolor Stripe Embroidery $4120 AUD
DIORAURA JUMPSUIT
in Multicolor Tie & Dior Cotton
$5320 AUD
DIOREXPRESS THONG SANDAL in Cream Braided Embroidered Cotton $825 AUD
DIOR JARDIN PATCHWORK HAT in Beige Raffia
$1730 AUD
BAGUE DIOR CORAIL Gold Finish Metal and White Glass Bead $570 AUD
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Picture: Dior’s 2020 Cruise Collection show in Marrakech, Morocco CREATIVE DIRECTION & WOOING CUSTOMERS
THE DIOR EXPERIENCE
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Dior’s 2020 Cruise Collection show in Marrakech, Morocco was yet another creative masterstroke from Maria Grazia Chiuri and the Wider team at Dior. Marrakech has its place in Dior’s history, with founder Christian Dior basing one of his designs on the city in the 1950s, and the show was another entry in Grazia Chiuri’s legacy that chanelled the heritage of the house whilst breaking new ground in High-fashion. The collection came from Chiuri’s desire to responsibly and positively blend Dior’s legacy with African patterns and materials, in a way that understands and embraces native culture without exploitation. It’s this cultural embrace that set the stage for a visual spectacle of a show. Building appeal is a team effort on Dior’s behalf, with all areas coming together to build the “dream factor”, and reach not only the direct customers present, but to the aspirational and vicarious consumers at home.
Creative Directors decide on the choice of Location, with Marrakech’s El Badi Palace, translating to “The Incomparable” setting a beautiful stage to showcase the collection to the world. The Makeup artist and Stylists play a critical role in the vicarious marketing, with not only the models but the high-profile visitors and celebrities, many of whom are flown in on Private planes and treated to accommodation for their troubles. Shailene Woodley, Lupita N’yongo and Jessica Alba were some of the names present at the 2020 show, all playing a key part in the promotion of the event and the prestige of the brand.
Dior’s photography team capture the beautiful setting, collection and star-studded after-party which is broadcasted to the world via social media and television. The visual is massive, since the wide majority of customers rarely get the chance to experience shows first-hand, but instead participate in High Fashion through small aspirational purchases, aspiring to live the lifestyle that is sold through the events promotion. The creative team at Dior’s cohesive ability to harvest the “dream factor” is shown in the visual spectacle, that’s not only shareable due to it’s aesthetic beauty, but it’s cultural significance in today’s conversation of cultural appropriation. It serves to attract the attention of not only the direct clientele, but the wider consumer also.
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THE WIDER TEAM
KIM JONES
KIM JONES CREATIVE DIRECTOR DIOR HOMME The man who brought Louis Vuitton’s Menswear bracket into the digital age in brilliant fashion has spent time at over a dozen labels in his young career so far. He was recruited to Dior in 2018 after a stint at LV that saw him revitalise their Men’s lines for a younger customer base and oversee a groundbreaking streetwear collaboration with Supreme. Jones is characterised by his meticulous attention to detail and artist-centred collections. In his words “I’m curating what a modern Dior would be looking at”.
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FLORENCE CHEHET HEAD OF SOFT DRESSMAKING Dressmaker Florence Chehet has been with Dior for over 17 years. She oversees a team of 35 employees, handcrafting all soft-dress orders for Dior’s Haute Couture shows, as well as the fleet of private clientele. Chehet’s penchant for impeccable craftmanship ensures that her team is upholding the wishes of Christian Dior for dresses to be “as perfect on the inside as they are on the outside”. Garments are almost all sewn by hand, with some taking 2-3 months to fully complete.
PETER PHILIPS CREATIVE DIRECTOR DIOR MAKEUP A product of Belgium, Philips has cultivated a decorated career of boundary-pushing makeup displays, taking up the reins as Creative Director of Dior’s makeup division from his position at Chanel. Peter Philips originally began as a fashion design student at Belgium’s Academie Royale des Beaux-Arts alongside future collaborators Raf Simons and Willy Vanderperre, but realised soon he was more fascinated with faces than clothes.
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STEPHEN JONES MILLINERY Recognised as one of the most important Milliners of the 20th and 21st century, Stephen Jones has spent over 2 decades collaborating with Dior, transalting the ideas of John Galliano, Raf Simons and now Maria Grazia Chiuri into beautiful head pieces intended to tell stories. Jones’ client list over his career has included the likes of Princess Diana and Kylie Minogue, as well as making his stamp in Hollywood on films such as Jurassic Park and 101 Dalmations. Describing his work, he said “Nobody needs more reality, but everyone needs a little bit of fantasy”.
YOON AHN DESIGNER JEWELLERY HOMME Korean-American Jewelry designer Yoon Ahn’s unique upbringing brings a different perspective to the table at Dior Homme. Hailing from Seattle, she launched her Tokyo-based label AMBUSH in 2005, where alongside her husband, Verbal of the Teriyaki Boyz she began crafting wild jewellery that channelled Hip Hop icons like Slick Rick, attracting the attention of Kanye West and Pharell Williams. Ahn was recruited to Dior Homme by Kim Jones in 2018.
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CORDELIA DE CASTELLANE CREATIVE DIRECTOR DIOR MAISON, BABY DIOR De Castellane has certainly come a long way from her beginnings as a 16-year-old intern to designers Emanuel Ungaro and Giambattista Valli. The Parisian designer joined Dior in 2012 after being at the helm of her own Children’s label for 10 years. Her position as the first Creative Director of Dior Maison has seen her play a crucial role in taking Dior’s homewares area into new terrain. The Maison range expanded to Miami, Florida in 2019, so De Castellane will oversee further planned expansions to Houston, Washington D.C., New York City, Beverly Hills and Vancouver in coming years.
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Background: Dior’s Flagship Store in Avenue Montaigne, Paris, France.
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By Oliver Milgate