'Dior Couture,' with Stunning

bitebookreviews ior Couture,’ with stunning pho- tography by Patrick Demarcheli- ‘Der, is a gorgeous must-have book chronicling the glory days of the Parisian fashion house established by Christian Dior shortly after the end of the Second World War. Dior, one of the legendary couturiers of all time, is famous for revo- lutionizing the world of haute-couture with the launch in 1947 of his first col- lection of hour-glass silhouettes, chris- tened the ‘New Look.’ Although he would die ten years later at the age of 52, Dior was a pow- erful muse to his successors, Yves Saint Laurent, Marc Bohan, Gianfranco Fer- ré, and John Galliano. “The delicate stitches of Christian Dior’s couture are reminiscent of a spider’s web, mir- roring nature, and these photographs capture the silhouettes like flower buds about to bloom,” American art- ist, Jeff Koons writes in the book’s foreword. Demarchelier — a veteran fashion photographer who has shot editorials for the likes of Vogue, Harper’s Bazaar and Elle, along with campaigns for Dior, Yves Saint Lau- rent, and Chanel — captures more than 100 gowns, suits and coats from the entire span of Chris- tian Dior haute couture through to recent creations by Galliano. Beautiful locations — like a Bei- jing movie studio, New York’s Times Square, and Paris’ Opéra Garnier — serve as the back- drop for these exquisite pieces, worn by models including Gem- ma Ward, Karlie Kloss, Agyness Deyn and Natalia Vodianova. Ingrid Sischy, International Editor for Vanity Fair’s Eu- ropean editions and former Interview Magazine Editor, wrote the introduction to the 240-page book. She describes watching Demarchelier at work. “I could tell he was having a ball.” How could it be otherwise? Demarchelier explains, “When you photograph ugly clothes, you try to lose the clothes in the picture. With Dior Haute Couture, I don’t want to hide the clothes. I want to show the clothes.” Dior Couture by Patrick Demarchelier The opening photograph, originally shot for American Vogue, shows members of the dresses, one in a deep-red floral print and As Dior attempts to recover from the Dior ateliers in front of the fashion house a simple black cocktail dress from 1959. Gi- scandal of sacking Galliano and begins a new at 30 Avenue Montaigne. A portrait of men anfranco Ferré’s spell at the house, however, chapter in its history, Dior Couture, pub- and women in lab coats with tape meas- between 1989 and 1996 is a notable omis- lished by Rizzoli, serves as a superb testa- ures around their necks demonstrates the sion from the book. ment to the label that rewrote the fashion technical side of dressmaking. The famous Demarchelier’s use of lighting and his rule book. bar suit with its neat peplum, and a hat-ob- understanding of how clothes should look scured model wearing a Mirza dress in chic on the body sets his work apart, though he polka dots from 1951, are among examples is keen to credit the artistry of the garments. To get your copies of these two amaz- of Christian Dior’s early work. Yves Saint “When you’re a fashion photographer, you ing books, visit the Rizzoli New York Laurent, who succeeded Dior at his death, must inspire a dream,” he says. “With Dior website at www.rizzoliusa.com or your in 1957, is represented with two striking Haute Couture, the dream is already there.” nearest bookstore. Images courtesy of Rizzoli New York Images courtesy of Rizzoli New.

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