Christian Dior

Total Page：16

File Type：pdf, Size：1020Kb

Fashion & Culture Client Branding Project Sandy (Kuan-Yu) Hsu Client : Christian Dior 4 This portrait was shown on VOGUE’s website, categorized in the biography section. Christian Dior, a very well known French designer from the 1920s. In the beginning of Christian Dior’s career, he had been through both World War I and World World II, the cause of the war led the world into Great Depression. Christian Dior went through three of the most significant era, and served his country. After his service he and Pierre Balmain both worked for Lucien Long as the primary designer. Designing dresses for the wives of the Nazi, and the French collaborators, with another designers such as Jeanne Lanvin and Nina Ricci. The height of Christian Dior’s fashion career was when he founded the house of Christian Dior, on December 16th 1946 at 30 Avenue Montaigne Paris. Christian Dior’s most significant design was the 1947 spring / summer collection. It was Christian Dior’s first design, and his most significant design. It was named as ‘New Look’, since this is the first revolutionary design after the war. Using both "Corolle" and “Huit”, Christian Dior created a different look with the combination of soft shoulder, full-skirts and wasp waists, for women starting to move their work place from home to the world outside. The bar suit above is the most significant design, Christian Dior wanted woman to show their feminine body while wearing his garments. Not only body suits, a lot of gowns and dresses Christian Dior designed put a lot of focuses on woman’s bust and hips. .

Copy Link

Recommended publications

Jeanne Lanvin
JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came.
[Show full text]
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identiﬁ ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
[Show full text]
The 18Th Century Back in Fashion
the palace of veRsailles presents the 18th century back in fashion guide to the exhibition and the grand trianon 8 july – 9 OCTOBer organised with the Grand trianon floor plan the 18th century back in fashion couturiers and fashion designers at the grand trianon The Grand Trianon and the Musée Galliera, the fashion museum of the City of Paris, present in a poetic confrontation costumes from the 18th century and masterpieces of haute couture and fashion design from the 20th and 21st centuries. The 18th century with its floating dresses, its voluminous skirts, flounces and furbelows, its silhouettes of minor marquis in three-piece suits and its immense hairstyles have never ceased to inspire the world of haute couture. The Enlightenment, the age of French Europe according to the famous saying, continues to fascinate. The political and cultural prestige of France was at its highest, when wit, lightness and elegance metamorphosed into a veritable art of fine living. Since 1800, the fashion world has continued to refer back to the 18th century for both women’s and men’s clothing as well as for its textiles and accessories. Like mirrors reflecting each other, the garments exhibited, from haute couture to ready-to-wear, propose Self-guided architecture tour a modern reading of that extravagant century. Each designer adapts the period to his/her sensibility. Some a self-guided architectural tour takes you through the grand quote the 18th century shapes almost literally, while trianon’s most notable places at the same time as the "18th century others deconstruct them, expand their dimensions and back in fashion" exhibition.
[Show full text]
Haute Couture
NEXT EXHIBITION AT THE CITY HALL PARIS HAUTE COUTURE FREE EXHIBITION AT THE CITY HALL FROM 2 MARCH TO 6 JULY 2013 With the support of Swarovski OPEN EVERY DAY EXCEPT SUNDAYS AND BANK HOLIDAYS, FROM 10 AM TO 7 PM PRESS RELEASE PARIS HAUTE COUTURE Paris City Hall celebrates haute couture from 2 March to 6 July 2013, with an exhi- bition in the Saint-Jean room, in collaboration with the Galliera Museum and the exceptional support of Swarovski. For the first time ever in Paris, fashion capital of the world, an exhibition is bringing together a hundred haute couture dresses and outfits by designers such as Worth, Doucet, Poiret, Lanvin, Vionnet, Patou, Chanel, Molyneux, Rochas, Maggy Rouff, Jacques Heim, Nina Ricci, Schiaparelli, Jacques Fath, Balenciaga, Grès, Balmain, Carven, Christian Dior, Givenchy, Cardin, Yves Saint Laurent, Courrèges, Jean Paul Gaultier, Lacroix, Alaïa… Organised in collaboration with the Galliera Museum – under the artistic direction of Oliver Saillard – the Paris haute couture exhibition invites you to admire these exceptional garments, chosen from the most beautiful pieces in the museum’s collections. A unique opportunity to discover a number of masterpieces, many of which have never been seen before. This group also includes a set of drawings and photographs, enabling the visitor to step behind the scenes of these world-famous fashion houses and observe the creative processes. Haute couture was born in Paris in the mid-19th century and since then, generations of designers have transformed this supposedly frivolous discipline into high art, drawing on the skill of thousands of little hands, like those of the embroiderers and plumassiers (feather workers), whose work in the shadows has kept alive the traditions that help maintain Paris’ influence on fashion all over the world.
[Show full text]
Haute Couture
ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Audrey Hepburn, Coco Chanel, Gloria Swanson… & PASSION DE COLLECTIONS du comédien Pierre Stephen VENTE Dimanche 22 septembre 2013 ELEPHANT PANAME, 10, rue Volney, 75002 Paris ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Haute couture (Christian Dior, Balenciaga, Chanel…) L’univers de Coco Chanel Ensemble de 4 sculptures dadaïstes pouvant se rattacher au parfum Numéro 5, paravent de Misia Sert, mobilier de la chambre à coucher de Coco Chanel, vers 1920, du film Coco Chanel et Igor Stravinsky…) L’univers d’Audrey Hepburn Gouaches de Cecil Beaton pour My Fair Lady, déshabillé d’Audrey Hepburn, photographies… Bijoux, accessoires Collection de peignes, bijoux de Catherine Zeta-Jones dans Sheherazade, poudrier 1935 de Salvador Dali pour Schiaparelli, malles Vuitton…. Archives d’une brodeuse d’exception haute-couture : Madame Andrée Brossin de Méré Dessins d’Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Paco Rabanne ; nombreuses archives photographiques notamment avec Christian Dior…, nombreux échantillons. Archives textiles haute-couture de la Maison Perrier press-books de 1948 à 1964, photographies des créations avec les tissus Perrier de 1947 à 1960 (Dior, Chanel, Lanvin, Balenciaga…). Objets de curiosité (documents XVIIIe sur la mode, pastel XVIIIe d’une élégante, cloisonnés et porcelaines de Chine), mobilier (table vers 1925 dans le goût de Poiret, rocking-chair du film Emmanuelle), photographies (William Klein, Paul Steinitz), jouets (collection de trains, de chevaux…). vvvvvvvvvvvvvvv PASSION DE COLLECTIONS Archives du comédien Pierre Stephen (1890-1980). Press-books, photographies cinéma du muet au parlant, érotiques vers 1900, lanternes de projection, perruques de Sacha Guitry, canotier de Maurice Chevalier, bijoux et strass de cinéma, théâtre et music-hall, correspondance (Marcel L’Herbier), actions de cinéma… Tableaux et gouaches (Eisenstein, Annenkov, Edel, Guitry, Gerbault, Soukoloff, Wittop, Delamare, Betout, Saradin…).
[Show full text]
The Three Glorious Decades a New Kind of Perfumery Is Born
The Three Glorious Decades A new kind of perfumery is born February 12, 1947, Christian Dior’s light of fashion, with the pace being first collection premieres to set by Chanel, Jeanne Lanvin, Nina resounding applause in the Grey Ricci, Marcel Rochas as well as rising Salon in Paris. The “New Look” was stars like Pierre Cardin and Hubert born. de Givenchy. While Piguet, Rochas, Compositions made from the new Balmain, Carven, Ricci, Fath, synthetic substances and the natural products of the late 19th and early 20th century established modern perfumery. The perfumes of the day, for example, are Chypre by Coty, Shalimar and Vol de Nuit by Guerlain, Tabac blond by Caron, “No. 5” by Chanel and Tabu by Dana. Balenciaga and Dior characterized From the end of the Second World the late 1940s, Grés and Givenchy War to the mid 1970s, France was are creating the perfumes of the the origin of direction-setting fra- new decade. grance compositions The scents of the 1950s are like taking a walk through a garden full In 1945, the songs of liberty can be of lily of the valley. Typical of these heard in the voice of Charles Trenet The Fifties: fragrances are: Vent Vert by Pierre and the American sound of Glenn The scent of lily of the valley is “in” Balmain, Muguet du bonheur by Miller’s orchestra. And even though The Soviets end the American Caron, Premier muguet by Bourjois France regains her creative standing, nuclear monopoly by detonating and the enchanting Diorissimo by the 1940s see Europe on the wane their first atomic bomb, and fears of Dior.
[Show full text]
The Impact of World War II on Women's Fashion in the United States and Britain
UNLV Theses, Dissertations, Professional Papers, and Capstones 12-2011 The impact of World War II on women's fashion in the United States and Britain Meghann Mason University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Cultural History Commons, European History Commons, Fashion Design Commons, Industrial and Product Design Commons, and the United States History Commons Repository Citation Mason, Meghann, "The impact of World War II on women's fashion in the United States and Britain" (2011). UNLV Theses, Dissertations, Professional Papers, and Capstones. 1390. http://dx.doi.org/10.34917/3290388 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE IMPACT OF WORLD WAR II ON WOMEN’S FASHION IN THE UNITED STATES AND BRITAIN By Meghann Mason A thesis submitted in partial fulfillment Of the requirements
[Show full text]
Lanvin's Designs
here is no city that takes fashion more seriously than Paris. It is the home of haute couture Tand the city of the Sun King, Louis XIV, whose dazzling court catapulted French fashion into the global spotlight and gave birth to the luxury goods business. In July, when the sun gives the Champs Elysées a warm honeyed glow, new fashion fantasies are born at Paris’s exclusive haute couture shows. These shows with their magical creations demonstrate the very frontiers of craftsmanship, where the talent of the métiers d’art (master artisans) are put to the ultimate test in translating a designer’s vision of beauty into a wearable garment. Like Paris itself, haute couture is about dreams and romance, but many debate its relevance in the modern world. One man lanvin’s who would dispute this is Olivier Saillard, director of the Palais Galliera, the city’s renowned museum of fashion currently designs holding a retrospective of couturier Jeanne Lanvin (1867-1946), to 23 August. on Before Coco Chanel, Lanvin was the force in fashion, having launched her couture house – the oldest in Paris – in 1889. She blazed a trail as an entrepreneur, creating the world’s first luxury lifestyle brand as she moved from designing hats to children’s clothes, women’s wear, lingerie and interior décor. She opened shops in Biarritz, Barcelona and Buenos Aires, and invented the idea of four fashion seasons. In 1927, on her daughter Marguerite’s e 30th birthday, she celebrated by The Lanvin launching the legendary perfume exhibition with ari vintage photos of How couturier Jeanne Lanvin Arpège with its famous mother- the great designer P helped establishS Paris as and-daughter logo that became the i visual identity of the brand.
[Show full text]
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................
[Show full text]
In Her Own Words: Works by Exceptional Women
london Peter Harrington ININ HERHER OWN WORDS WORKS BY EXCEPTIONAL WOMEN ur first catalogue focussed on women spans the Others have been overlooked despite brilliant contributions Ocenturies from Sappho to Maya Angelou, showcasing the to their fields. Early works by Joan Robinson (122 and 123) and work of exceptional women in many different fields. Rosa Luxemburg (96) are well-known to economists, but less These were women who pushed legal, intellectual, and well-known are those by Helen Makower (97) and S. F. Porter physical boundaries. Millicent Fawcett Garrett signed our (118). Rosalind Franklin and Jocelyn Bell were both denied copy of Women’s Victory in July 1928, the same month the Equal Nobel prizes, despite playing crucial roles in the discovery of the Franchise Act gave British women electoral equality with men structure of DNA and radio pulsars respectively (70 and 22). In (item 66). Maria Gaetana Agnesi’s Analytical Institutions is the the suffrage movement, the works of Christabel (109) and Sylvia first advanced mathematics book by a woman (1). Trailblazers Pankhurst (110) sit alongside work by their exiled sister, Adela such as Fanny Parks, “characterized by remarkable physical (108), comparatively overlooked, yet no less fierce a Pankhurst stamina” (112), Amelia Edwards, who carried out the first for it. general archaeological survey of Egypt’s ruins (60), and Lady Within the catalogue, works on paper appear alongside items Hester Stanhope, “Queen of the Desert” (144), cleared the way in different media. Amelia Earhart’s Fun of It, inscribed (59), for later intrepid travellers such as Gertrude Bell (21) and Freya complements the pearl carried on the maiden voyage of the Stark (145).
[Show full text]
Balenciaga, Analogías Y Diferencias Con Lanvin, Givenchy Y Saint Laurent
Balenciaga Analogías y diferencias con Lanvin, Givenchy e Yves Saint Laurent. Virginia Medina León Índice de contenidos Índice de contenidos ..................................................................................... 2 1. Cristóbal Balenciaga ............................................................................... 3 1.1. Introducción a Cristóbal Balenciaga ................................................ 3 2. Cristóbal Balenciaga: Analogías y Diferencias con Jeanne Lanvin, Hubert de Givenchy e Yves Saint-Laurent. ................................................ 8 2.1. Jeanne Lanvin ................................................................................... 8 2.1.1. Analogías entre Cristóbal Balenciaga y Jeanne Lanvin ............ 9 2.1.2. Diferencias entre Cristóbal Balenciaga y Jeanne Lanvin ....... 11 2.1.3. Imágenes ................................................................................... 12 2.2. Givenchy ......................................................................................... 17 2.2.1. Analogías entre Cristóbal Balenciaga y Hubert de Givenchy 18 2.2.2. Diferencias entre Cristóbal Balenciaga y Hubert de Givenchy 20 2.2.3. Imágenes ................................................................................... 21 2.3. Yves Saint-Laurent ........................................................................ 25 2.3.1. Analogías entre Cristóbal Balenciaga e Yves Saint-Laurent . 26 2.3.2. Diferencias entre Cristóbal Balenciaga e Yves Saint-Laurent 28 2.3.3. Imágenes ..................................................................................
[Show full text]
Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic
[Show full text]