The World of Dior

Last week I attended the National Gallery of Victoria's exhibition - The House of Dior - Seventy Years of Haute Couture. The exhibition was full of mind boggling eye candy and was extensive. We were there for almost 2 1/2 hours.

Hats off to the curators of this exhibition. They avoided the obvious "Let's put up these dresses in chronological order - from Christan Dior to present". As you enter, you are met by the famous Bar suit, or rather, a reproduction of this iconic outfit.

Tricky to photograph behind glass

Apparently, they forgot to take a photo in 1947 when this outfit became a hit, so they took it several years later. Notice that the model is wearing 1950s shoes rather that 1940s shoes.

These early Christian Dior pieces from the late 40s and 1950s are the stars of the show for me. Just so beautifully tailored -

Mirza, afternoon dress, 1951

And the evening gowns are spectacular.

Mexico - silk evening gown - 1953

Throughout the display, these classic Christian Dior gown are juxtaposed with modern Dior gowns, effectively showing how over the years the House of Dior has continued the original themes and influences which inspired Christian Dior, while still introducing modern elements and remaining relevant to the modern fashionista.

On the left, Journey of the Soul, "Bar jacket" and skirt, from the 2017 collection by the current Dior designer, Maria Grazia Chiuri, pays homage to Christian Dior's legacy, accompanied by a classic Christian Dior 50s gown on the right.

And here, a Christian Dior evening dress shares the podium with a Galliano fantasy.

The large salon with central staircase and mezzanine was a fabulous setting in which to showcase the House of Dior, then and now. Here, Christian Dior's '50s gowns mingled with works by later Dior designers. Thinking in music terms, they could have called the collection "Improvisation upon a theme by Christian Dior". Dior's key codes of influence echo down the decades since his reign - from The New Look to now - the line, the flower, and the eighteenth century. The emphasis on line is obvious in the early tailored pieces and the New Look with the shoulder, wasp waist and full skirt, but Dior continued to experiment with line throughout his brief career.

"The flower" blooms throughout the exhibition - old and new.

 

Maria Grazia Chiuri's gown of raffia, embroidered with silk flowers. Chiuri's current season, catwalk projected larger than life on the end wall, was a Midsummer Night's Dream of flowers and fairies.
And the eighteenth century? Galliano celebrates this with his typical theatricality .

Galliano's take on the 18th century motif

Christian Dior died suddenly in 1957 after ten years at the helm of the House of Dior. He was followed by Yves St Laurent, who ruled for four years, taking the House of Dior into the '60s. St Laurent's styles became perhaps a little too bohemian for the the House, and he was replaced by Marc Bohan, who led the House of Dior for 29 years, until 1989. In more recent years, Dior designers have been Gianfranco Ferre, John Galliano, Raf Simons and currently Maria Grazia Chiuri.

Yves St Laurent designs

According to the blurb on the display "In 1958 St Laurent introduced youthfulness and contemporaneity".

St Laurent's beaded Cascade dress, and sisters

From 1960 to 1989 Marc Bohan's rule was characterised by "sleek sophistication". I was not inspired by many of his gowns, but I did love the buttons on the back of this one.

Gianfranco Ferre followed, with what the NGV describes as his "lavish and sculptural design sensibility".

But for me, the stand out modern designer is John Galliano, with his fashion as art approach. Okay, some of his designs would not be wearable, but they are amazing. The NGV states that Galliano "revived theatricality and exquisite craftsmanship". He is certainly responsible for  the majority of the jaw droppers.

Galliano - Morticia Addams meets Carmen Miranda

I was standing there scratching my head and saying "Now, where have I seen this dress before?" when a passerby reminded me that of course it was famously worn to the Oscars in 1997 by Nicole Kidman.
Galliano reinvented Christian Dior's wasp waist look via Japan in his Origami collection. Pure Art.

Galliano - Samurai Girls (My name for it!)

We thought this was the end, but wait! There's more! A gallery of Dior shoes and hats beckoned to us.

And the final gallery - a showcase of some famous and inspirational evening gowns, including Miranda Kerr's wedding gown.

Miranda Kerr's wedding gown - Maria Grazia Chiuri

I was fascinated by this gown, probably because I have visited Masai villages in Tanzania and admired their beadwork. The bodice is made entirely of beads, in the Masai style.

Galliano - Kamata, 1997

Raf Simons succeeded Galliano in 2012. This Simons dress is made of tassels which are constructed by threading dried drops of paint onto threads!!

Raf Simons - Look 44

The current designer for Dior, Maria Grazia Chiuri, has created a bevy of beauties and has certainly taken on Dior's floral theme in her current collection. The NGV says Chiuri's designs are characterised by her "languid and feminine delicacy".

Chiuri - Silk flowers on raffia

There was also a fascinating glimpse into the Atelier of the House of Dior, showing behind the scenes videos of the construction of this last gown of Chiuri's, painstakingly crafted from tiny silk and raffia flowers. There is also an interesting exhibition about Dior's gowns on display in Australia at David Jones in Sydney in 1948, the first time his collection travelled abroad.

I think the curators of this exhibition must have really enjoyed putting it all together, and also relished the opportunity to showcase the NGV's wonderful collection of shoes to complement the gowns. I certainly enjoyed looking at the shoes as well as the dresses. They did a wonderful job of telling the story of Dior - chronology, personalities, themes and crafting.
I have to take back my only quibble. Apparently, I can't blame the curators for this after all, but the milliner who worked with Galliano, Stephen Jones. An "evocative" cellophane bag on the model's head a la hat?? Really?

Galliano - Look 27, 2010-11

On until November 7th - Don't miss it, and Do try to go early and mid week to avoid the crowds.

Snapshot - 1935

I was so excited yesterday when a package of vintage knitting books I had ordered from the US arrived in the mail. They were all wonderful and I will share them with you soon. But there was one book that for me just stood out from the rest.

Design by Elsa Schiaparelli

This book was published in 1935. And yes, that is a design by Elsa Schiaparelli on the front. It uses simple stitches, just plain knitting and purl, to make the textured stripes. It's the way the separate panels and pieces are put together that make it striking. And the contrast collar and belt. If you look really closely you may just be able to make out a pair of dress clips at the corners of the neckline,

On page 3 is a design by Chanel, a two piece dress with a blouse featuring her signature stripes, Note the gauntlet gloves.

Design by Chanel - Paris

Schiaparelli and Chanel, fierce rivals who couldn't stand each other, were at the height of their careers in 1935, How wonderful that women could buy a book including their patterns and as the title says "Picture Yourself" in these handknits. Chanel had pioneered the concept of knitwear as a fashion garment back in the post war period. Until then knitwear had been mostly used for practical items such as  underwear, hosiery and baby garments. Chanel's fashion philosophy emancipated woman from the hated corset and freed her for more active pursuits. Chanel was a keen sportswoman and she often wore more comfortable and practical men's clothes. She was the first designer to use stretch knits such as jersey in her designs.

One of the most fabulous things about this book is the Lily Dache hats which feature in all of the photographs. These women just look so willowy and elegant. Like the famous bias cut dresses of the '30s, these knitted dresses didn't hide any sins. I suppose a girdle helped control stray minor bulges.

And speaking of the bias cut dress, on Page 4 is this design by Vionnet, famous for the gloriously figure hugging bias cut dress in the '30s.

Design by Vionnet - Paris

The lapels and collar on this dress are amazing, with the contrast bow illusion underpinning the neck, And I love the button detail on the front and on the sleeves. But most of all, I love the Lily Dache hat!

On page 7 we have the Agnes Drecoll dress with the contrast scarf neckline. The BELT! and the BUTTON! Once again, a fabulous hat and gauntlet gloves.

Design by Agnes Drecoll - Paris

Page 8 features the first of two designs by Edward Molyneux. The highlight of this dress is the crocheted buttons, in main and contrast colours. This dress is a chunkier style of knit.

Design by Molyneux - Paris

Molyneux has a second design;

Design by Molyneux - Paris

A checked skirt suit with a blouse. Note the fluted lampshade behind. Here is the blouse:

Design by Molyneux - Paris

How gorgeous is that? Love the lace up neckline.

Design by Maggy Rouf - Paris

Maggy Rouf is a designer I've heard of but know little about.  Here is her contribution, a chunky two piece in ribbing. At first glance the top appears to be a jacket, but this is an illusion. It's a jumper with a long band stitched on the front to make it look like an elegant jacket. So much of '30s designs seems to be about illusion. The HAT! and the BAG!

The last designer to feature is Dilkusha, of whom I have never heard. I didn't feel so bad about that when a quick Google search brought up no hits at all. I assume she's a woman as the name has a feminine ending. Anyway, she contributed this rather sweet number:

Design by Dilkusha - Paris

The collar extends into a ruffle along the front band.

There are quite a few other designs where the designer does not rate a mention, but they're great, so I'll share them with you.

Note the knitted gloves and the cigarette.

Gorgeous, love the neck drapey bit.

I love this "Two-piece vestee suit", once again an example of 1930s illusion. The vest is a false one, the pieces are sewn onto the jacket front as an extension. No getting hot and taking your jacket off in this outfit.

Tweed coat. Note the carved bakelite buttons. HAT!!

 Jiffy knit dress: Did I say HAT!?

Lacy Dress: Note the pocket book, or pochette. (Shhh...HAT!)

Look at the darling scallop shell pockets, the front band extension that buttons and the tie neck.

Nothing to say, except HAT!

Charming and unusual dress with dolman sleeves and twisted belt. (Not saying the H word, but not because I don't want to).

Swagger coat. Separate optional scarf and fabulous buttons.

Crocheted striped dress with interesting neckline and amazing back:

And lastly, because I can't leave anyone out:

The raglan twin set, with twins. Note the props, because this is what you would wear on the golf course. This time the H word is HAIR.

I really don't mind that the cover is loose and in two pieces, and also a tad crumpled. Because I can make any of these designs if I want to. I'm not really likely to want to, but I love knowing that I could.