Dior and the 1950s:

In the Name
of Elegance

A blend of refinement and nonchalance, the 1950s allure lingers in the collective imagination as a manifesto of elegance, an expression of renewal. This seminal era embodying the essence of Dior style has been a source of constant inspiration for the House’s Creative Directors. An exploration of modernity. by Lucie Alexandre.

“The collection of Spring 1950 saw the triumph of the vertical line, which put ‘woman’ at a premium among women. Busts were narrowly moulded, waists well nipped-in, and colours were clear like the daylight.”

– CHRISTIAN DIOR

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Paris, February 12^th, 1947. The doors of the private townhouse at 30 Avenue Montaigne opened to journalists and clients for the very first time. Behind the typically Parisian façade – which would soon become legendary – effervescence reigned: the House’s debut défilé was about to begin. After the sombre war years, the message of each creation was to make women more beautiful and happier. Among the pieces was one that dazzled the audience most of all: the Bar suit, recognizable for the extreme slenderness of its waist, its soft shoulders, the accentuated curves of its basques and its flared skirt. At the sight of this enchanting spectacle, Carmel Snow, the editor-in-chief of the American magazine Harper’s Bazaar, exclaimed: “It’s quite a revolution, dear Christian. Your dresses have such a New Look!” The silhouette determined much more than fashion: it reflected the figure of a woman who freed herself from social convention and went out, to palace hotels and into the world, with an independent, emancipated air. It embodied a woman who understood her power of seduction.

CATHERINE DIOR & HERVE DES CHARBONNERIES Portrait 001 RectoTHD 8bitsgris_CO

A time of celebration, the New Look revolution heralded a new era and symbolized the beginning of what is commonly known as the 1950s, defined by historians as the period between 1947 and 1957 – Christian Dior’s fabled decade. A pivotal moment that also represented an in-between. A transition conducive to (re)construction and building future foundations, during which the House’s identity, emblematic codes and iconic silhouettes were born and developed. The autumn-winter 1949-1950 line, dubbed “the mid-century collection” (Milieu du Siècle), is a perfect illustration of that rebirth. The accompanying press release seems to list, albeit not exhaustively, the trends of the day: “This collection is, above all, that of the MIDDLE OF THE CENTURY, whose style and lifestyle it must represent.” By turns, various descriptions highlight the newness and suppleness of curves. “The length and fullness of the skirts are essentially variable depending on the models and the mannequins. We have no preference for either a narrow nor ample line, but for a line that is above all becoming and versatile,” reads one of several examples. Dresses and two-piece ensembles had the lightness of a blouse, while shoulders featured a captivating shape yet remained soft. An exercise in structure guided by a strong sense of detail, with the sole aim of extolling simplicity.

DIOR HERITAGE COLLECTION, PARIS © CHRISTIAN DIOR

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The women’s wardrobe was reinvented, multiplied to suit every occasion and adorned with elegance. Fashion to live by, from the inevitable daywear to ball gowns, which demand of designers ever more originality. Women dreamed of petticoats, corsets and refined lingerie. Couture’s golden era had arrived, and Paris regained its primacy. The international press praised its role as the capital of fashion. In Monsieur Dior’s collections, reborn desire was orchestrated through names that spoke for themselves. They showcased a singular poetry, part of a new art of living in which the magic of the moment triumphed: there was an outfit for every possible circumstance. The idea was not so much to reveal the extent of one’s wardrobe as to cherish the present with grace. In order to satisfy these new modes, Monsieur Dior conceived “city coats”, “half-evening dresses”, “afternoon dresses”, “dance dresses”, “travel ensembles” and “lunch ensembles” as well as “evening dresses”. The Parisienne’s day was thus divided into several acts, from morning to evening, season after season.

The accessory became essential as the final touch to any silhouette. Just like clothes, these objects of desire adapted to various times of day. Gloves lengthened as sleeves shortened, while heels grew finer as evening approached. The outfit was considered as a whole, a graphic and structured ensemble of utter harmony. Hats, bags, scarves, shoes and belts all came together through tones and materials that dialogued to invigorate or rejuvenate the most timeless pieces, particularly the suit. A play of contrast and nuance was also key, an indispensable prerequisite for enlivening a look. Black contradicted white, and colours were used in the most audacious associations.

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The unique allure of the 1950s continued to inspire the founding couturier’s successors. This season, Maria Grazia Chiuri revisited the essence of Dior style, its undeniable and eternal modernity, in her Dior autumn-winter 2023-2024 ready-to-wear show. With floral prints and chiné motifs, the Creative Director incorporated numerous archival references, recasting a women’s wardrobe in a new light, through the prism of a more rebellious attitude with rock influences. Bags descended from the models of a decisive decade brimming with creativity fuse rigour of line and sophisticated finishes. Paired with delicate socks, comma heel pumps – originally designed by Roger Vivier for Dior – have ankle straps, while low boots are embellished with precious ornaments evoking t-straps. Long black leather gloves are punctuated with a clasp reminiscent of Dior Tribales earrings. As an ultimate surprise, an umbrella, a stylistic emblem of the 1950s, is clad in the Plan de Paris city map – reprising a scarf by Monsieur Dior – to complete the looks.

An odyssey through time, in the name of purity and elegance.

In the Nameof Elegance

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In the Name
of Elegance