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Christian Dior's Exhibition Review Essay
1. introduction.
In details 1.1 and the following one, the introduction will focus on explaining Christian Dior's world and his life as a designer, and how he created The House of Dior as his legacy. His ambition to succeed experienced numerous obstacles, but he managed to show the world that he is capable of providing new inventions in terms of designing garments after his collaboration with Robert Piguet, a famous couturier who introduced Dior to the art of creating garments. After learning the thorough steps of creating a dress, Dior then learned to escalate his potential by approaching Lucien Lelong, a businessman at that time, to understand more about the fashion industry. Dior's struggle was also supported by his family, and after the good and bad history that he had been through, he finally managed to succeed in all his efforts by opening The House of Dior after the end of World War II. The day that Dior had been waiting for finally came, and his hard work would then reveal a massive success by revolutionizing the fashion world in The House of Dior. Finally, in 1957, Dior was considered the most powerful fashion house in the world.
1.1 Background of Christian Dior
Christian Dior grew up in Granville, Normandy. His family had a rather successful fertilizer business, but instead of taking over the business, Christian persuaded his family to finance him in an art gallery located in Paris. This gallery was in a rather fashionable area, and during Christian's time there, he met many important and influential people and began to be interested in a completely different industry. With the onset of the Great Depression in 1929, the family lost everything they had, and the business went under. The Diors were forced to sell their house, land, and all of their belongings. This misfortune led to a tragic event in 1931 when Christian's mother died of a sudden heart attack. However, this prompted the family to stick together, and an opportunity came about for Christian to become an apprentice to a rather eccentric fashion mogul named Robert Piguet. This was the turning point of his life and career in the fashion industry. Piguet was a successful fashion designer with a great reputation. Christian Dior, who had served in the military service for mandatory conscription, was then unsure of what career path he wanted to take in life. However, his time at Piguet's fashion house helped him discover a talent that he never knew he had. His fashion sketches were impressive, and the attention to detail that he showed in his work was impeccable. In 1938, an opportunity arose for Dior to work with another reputable fashion designer named Lucien Lelong. This was a very important stage in life for Dior as it was here that he became involved in the production of wartime attire. Due to his great talents in fashion design, he interrupted what would have been a very successful career to carry out conscription into the military to prevent the Nazi forces occupying France from infiltrating his life and work. During the prime of the Nazi occupation of France, Dior persuaded his family to ensure that he was not conscripted to the north of France, and the family used this excuse to escape with some Jewish members of the Lelong family to the free zone of France. They were successful for many months in hiding and evading the Nazi forces. This was a hard time for Dior and his family, but it was crucial to his survival and allowed him to continue his work in fashion. In 1944, the war was reaching a close, and Dior received word from his father that the war was over. This news was a huge relief to Dior, and he immediately started plans to open a fashion house of his own using money that he had received from selling a few fashion sketches. In December of 1946, Christian Dior S.A. was opened at a location on Rue Lepic in Paris. This was the birth of the famous fashion house that still exists to this day. With a new future and lots of work to be done, and an important event in his life just 2 years prior, this was the start of Dior creating a legacy that changed the world of fashion forever.
1.2 Purpose of the Exhibition Review Essay
The shelf life of Christian Dior's memory and creative activities has been extended time and time again over the years. However, an exhibition to showcase thousands of Dior's creations and the history behind the founding and continuation of one of the world's most prestigious fashion houses has never come into existence, until now. Being fully aware of the extensive Dior archive, the V&A felt as though a more than suitable location to hold the first ever Christian Dior exhibition would be right here in the UK. The exhibition will delve into the true history of Dior and his fashion house pre and post Dior himself. "The V&A will draw on its vast fashion collection, the largest collection in the UK, to present an in-depth and wide-ranging study of Dior and his work." This promises to paint a vivid picture of the intertwining history of Dior and the House of Dior with the UK's fashion history. It also suggests an Americo/Britichentric view of the house of Dior through the 20th century which, whether intentional or not, would feel quite satisfying for many UK fashion lovers accustomed to French fashion's at times dismissive attitude. - Designer Vintage. The feeling of national pride in Dior's humble beginnings during the reign of WWII on the French fashion industry and his subsequent global influence could also potentially be captured by the increased internationalization of the UK today. Dior's legacy in the UK will doubtless not be overlooked, and for our generation so disconnected to the goings-on before our time, there may be a lot for us to learn about the origins of fashion and the role a dress can play in people's lives. A more general reason that has been suggested is simply the inspirational nature of Dior's fashions and the extremely elaborate yet clearly theorized design/imagery.
2. Overview of the Exhibition
The exhibition starts with a room dedicated to the display of iconic Dior gowns. This "Dior Ballroom" houses a number of dresses constructed by Christian Dior himself, as well as several of John Galliano's designs. This is a highlight for the museum, as it was difficult for them to secure Galliano's designs from Dior. A number of the gowns are placed in glass cases and can be viewed 360 degrees. Video projections of fashion shows and live mannequins enhance the experience. Wall text next to each gown describes the design and its place in the history of Dior. This first room is effective in covering what the museum intends with the exhibition. It educates the viewer on the history and impact of the Dior brand, setting up the rest of the exhibition to detail the different aspects of the company during the various time periods. A number of the gowns are quite stunning. They also vary in terms of construction and materials, highlighting the craftsmanship that goes into the designing of a piece. After the ballroom, the exhibit continues into a number of rooms that are divided into the various attributes that make the brand what it was considered by the time. The elements of fashion, advertising, and global expansion are all detailed in various rooms, covered with the suitable artistic visual aids. The displays are diverse and are certainly effective in detailing the various achievements of the company. There is also a room that has been reconstructed to resemble the office of Christian Dior and the design studio. This was interesting to someone with knowledge of studio art, but may not have been as appealing to the average visitor. The exhibition concludes with a small display of J'adore Dior perfume, as well as the company's globalization and the branding of luxury goods in the 21st century. This is effective in bridging the historical context of the exhibition to the modern day.
2.1 Display of Christian Dior's Iconic Designs
The purpose of the exhibition is to display Christian Dior's iconic designs. However, Andrew goes on to argue that "Dior is popularly known for 'The New Look,' however, the span of his designs was so much more wide and varied" (Andrew, 2007), referring to the fact that there is a lack of knowledge regarding Christian Dior's designs and the New Look overshadows all of his work. "The New Look" was named by Harper's Bazaar editor-in-chief Carmel Snow after she saw the first collection and is a great demonstration of Dior's distinct style and his genius workmanship. The dresses expressed a modern interpretation of French traditional style and Dior's desire to allow women to regain their pre-war femininity. Despite that, Dior's designs and influence were not only significant but also long-lasting as they still play a role in contemporary fashion. They can vary from couture evening gowns to costume jewelry. This exhibition serves to inform the public about Dior's broad range of designs and the impact it has on the fashion world. It wants to empower people with knowledge of how much Christian Dior has influenced fashion and how it still influences the contemporary fashion of today, not only by stating but showing the viewer through a chronological sequence of fashion ensembles.
2.2 Exploration of Dior's Influence on Fashion
Suffice it to say, the utmost effect of Christian Dior's fashions is a presence in the world of haute couture that has affected designers for generations and generations. It is a concept that was evident in the earliest displays of Dior's New Look, and has carried through into his successors and their interpretations of the fashions post Dior. The Dior style reflects the nostalgia of the Belle Epoque with silhouettes and lines that are in contest of a modern feminine attitude. His successors, namely Yves Saint Laurent, Marc Bohan, Gianfranco Ferre, John Galliano and now, Raf Simons have all had unique design aesthetics, however, all still subtly mirrored the essence of Dior's vision in their own interpretations. It is arguably only in the true style and essence of couture as an institution that Galliano, in his flamboyancy, and Simons in his thoroughly modern aesthetic, have strayed far from the notion of Dior's original designs. The evolution of fashion through the 20th century into the 21st century now demands a concept of 'post modern' whereby fashion is no longer cyclical with a defined end and beginning, but a constant reinvention and response to the past. It is therefore that this exhibition is critical in understanding the Dior story, and is unique in spirit that it gives life and inspiration to future generations of designers. The 60 year success and lineage is a standout story in fashion and is one that has global reverberations across Dior's numerous clients and a public that's view of Dior is often through the portrayal of celebrity. The success of Dior's fashions in paparazzi and magazine images has encouraged a public perception of Dior as high fashion and in turn inspired many notable figures and celebrities to consider Dior as a symbol of elegance and style.
2.3 Analysis of the Exhibition Layout and Presentation
Visitors to the Victoria and Albert Museum were treated to an advanced viewing of the 500-page, 70-year history that is the brand of Christian Dior. The Christian Dior "Designer of Dreams" exhibition showcased the various elements of the brand, including designs by Christian Dior himself, as well as designs by those who succeeded him to carry on the legacy of Dior. The curation of the exhibition was done in such a way that was designed to guide the visitor in a linear fashion, beginning with the origin of the brand, Christian Dior himself, and continuing onto the various other global designers that had a hand in pushing the brand into new and interesting territories. The layout of the exhibition and the manner in which it flowed provided key insight into the brand of Dior, which is minimally explained on placards throughout the exhibits. A way to gather all this information would be online or through printed materials published by guests of the exhibition. Upon entering the exhibition, you are greeted with what a Dior ambassador would perceive as the beginning of the brand. A circular room showcases about 30 iconic designs by Christian Dior himself. Each is adorned with a short story of the dress and where it was worn, all areas that could be considered a shrine to Christian Dior. This room holds the keys for what the Dior brand was and still is, as these dresses once dictated the course of fashion post-war eras. This room is a great example of using icons, models, and visual aids to tell the history. Here, information about these dresses can be found accurately in the book work of John Peacock, "20th Century Fashion," but having access to so many examples and real models for live comparison to the next leg of the exhibition is a very valuable resource. Other brands that are supplied similar information might not have the same visual impact with only lesser quality photo prints from fashion shows as their visual aid.
3. Critical Evaluation of the Exhibition
The curation of Christian Dior: Designer of Dreams at the Victoria and Albert Museum offered a thorough journey through the history and development of the legendary fashion house. Curator Oriole Cullen shares, it was "important to try to invite the visitor to understand what's been part of Dior's success". By categorising the exhibition into separate rooms designated for each Dior creative director, the viewer traces the aesthetic of the house through the different leaderships. This curation system was integral in establishing a clear and comprehensive understanding of Christian Dior in a way that has not been done before. The opening "The Tale of the Rose" transports the viewer to 1947 Dior, and the completion of the New Look. The narrow corridors and hidden spaces on the first floor of the museum were well utilised, displaying a variety of visual mediums and artefacts. Most notable are the contents of the "Dior in Britain" section which housed original miniature couture pieces tailored specifically for the English market. Their display on thirteen inch figurines celebrated the detail and precision of the craftsmanship. Other successful spaces include the rooms dedicated to "Art of the Garden" and the diamond encrusted bodice garments found in "Le Gran Bal". These inclusions of designed garden spaces, ambient lighting and specific sounds created an engaging multisensory experience that attempted to replicate the spirit of the piece.
3.1 Examination of the Curatorial Choices
The exhibition put the entire Dior brand history on display, starting from the founding of the brand to Raf Simons's reign as creative director. This exhibition successfully mirrored the house's spirit: female, elegant, and luxurious. Romantically illuminated in the museum's outdoor garden with artificial snow, each numbered cottage displayed an array of stunning ball gowns and lavish evening wear. These couture ensembles, only to be worn by women of the highest class, are what have given Dior the status of a timeless and legendary brand throughout the years. The garden led onto the indoor section of the exhibition, which held all of the Dior heritage, and it was here where I got the chills. As a fashion enthusiast, viewing these original garments was nothing short of breathtaking. Being able to thoroughly examine the craftsmanship of Dior's work – the impeccable sewing, luxurious fabrics, structured silhouettes, and intricate detail – was an honor. These garments were the essence of high fashion, something that is unfortunately rarely seen in our generation with the exception of red carpet events and the likes. Many generations of fashion consumers would be somewhat ignorant to the amount of work and skill required to create a high fashion garment. This exhibition served as an educational platform to illustrate what couture and high fashion truly is, and why the price tag is so high.
3.2 Assessment of the Interpretation and Contextualization
The primary goal of the water in the Christian Dior exhibition, "I dream of Dior," is to provide background and context to the couturier's long career. This is immediately evident in the entry display, which is divided into two sections. The first is a small selection from the "Enfants gatés" line of 1956, represented by a top and culotte in pale grey wool trimmed with mink, which was allegedly due to advocate and evolution in the fashion house. This is intended to set up comparisons between original pieces and their modern counterparts throughout the exhibition, a point the curator worries may not be immediately obvious. The rest of the entry display showcases the original circa 1955 packaging of Christian Dior perfume, a line introduction which has since been completely scrapped. This is a significant section for Dior and perfumery in general, as the house is currently in the process of deleting the Miss Dior Chérie line and separating the luxury market Parfums Dior from Dior Parfum with two entirely different product lines. By showing perfume from Christian Dior's original reign in the house, the curator hopes to show the significance of the Dior Parfum line to the entire house of Dior as being the only remnant of the original. This could have been done by instead showing present-day packaging of Diorissimo in the same case that holds these pieces, eliminating confusion as they would be the exact same comparison.
3.3 Discussion of the Overall Impact and Reception
The impact of this exhibition can be gauged by the continuous stream of visitors that waited in queues to see the exhibition. They included followers of fashion and admirers of the garden, together with visitors who had little knowledge of fashion, but who were attracted by the Dior name as a significant cultural reference point in brand marketing and style in the 20th century. The exhibition was frequented by a range of ages and diverse nationalities, together with many first time visitors to France, keen to make the experience culturally significant in understanding their visit to Paris and French culture. The exhibition provided an insightful opportunity to engage such an audience within the theoretical and cultural frameworks that shaped the Dior brand aesthetic and consumer culture. Primary to the visitor experience of the exhibition is how Dior is best known, through sophisticated, elegant view of the world as an escape from the harsher facets of life. Entering Musee des Arts decoratifs, visitors emerge from the modernist construct of the train station to a grand cathedral-like hall, this transition was compared to colour film emerging from black and white, or Dorothy entering the land of Oz.
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