MISS DIOR:
the whirlwind
of life

The House’s first fragrance, Miss Dior has never ceased to be born anew, reflecting the audacity and grace of eternal youth. A conversation with Francis Kurkdjian, Perfume Creation Director, who here signs a fascinating reinvention. By Marie Audran.

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© Lachlan Bailey

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© Elodie Farge

MARIE AUDRAN: Miss Dior, the House’s iconic fragrance, embodies the essential link that weaves perfume and couture, and then ready-to-wear, together in a namesake line brimming with a sparkling ardour. Was it that common “Dior” thread that guided you?

FRANCIS KURKDJIAN: Absolutely. Miss Dior is, as its name suggests, the emblem of eternal youth that ties perfume to fashion, in three key dates: 1947 – its birth, just post-war, accompanied the vibrant new energy; 1967 – Marc Bohan’s introduction of the first Dior ready-to-wear line… christened Miss Dior, a reflection of spontaneous femininity; and 2024, with my contemporary reinterpretation of the original fragrance. It is “forever the House’s youthful perfume”, noted Christian Dior’s sister Catherine, who inspired it1.

MA: In fact, you wanted to (re)explore its founding myth…

FK: Yes, there was a great deal of research done alongside the Patrimoine department to retrace that precious narrative: from the chypre note of the first Miss Dior (a woody floral), I kept the olfactory architecture, a bit as if we were keeping the structured silhouette of the Bar suit, and I reorchestrated it as a woody, fruity floral. The gourmand side comes from wild strawberry, a sparkling facet of star jasmine grandiflorum, a luminescent bouquet that reflects how scents blossom at night. It’s an alignment of planets (and stars) with the constellation of Monsieur Dior’s early, Provençal inspirations.

1. “He named his first perfume Miss Dior to delight his sister. He wanted to organize a flower farm with her at his estate La Colle Noire,” commented the celebrated English photographer Cecil Beaton, a friend of Christian Dior.

Miss Dior was born of those evenings in Provence filled with fireflies, with green jasmine as a counterpoint to the melody of night and the Earth.”

– Christian Dior

2. Director Luchino Visconti’s French-Italian film (1963), adapted from the novel by Giuseppe Tomasi di Lampedusa.

3. Renée, the New Look of Dior, Place de la Concorde, Paris, August 1947.

4. Originally, Miss Dior was to be named “Corolle”, after one of the two lines (the other being En Huit) designed by Christian Dior for his first collection, the iconic New Look.

MA: There’s a famous line from The Leopard2, which reflects that alignment: “Everything must change so that nothing changes”…

FK: Miss Dior symbolizes exactly that fusion: the homage to the House, and the rhythm of reinterpretation, like the New Look silhouette twirling in a Richard Avedon3 photo. That dancing silhouette says it all about the “movement of life” as Monsieur Dior said, and also magnificently evokes the corolla4 of star jasmine from Grasse, whose underside is pink, like the flower bud and Miss Dior’s signature colour.

MA: You’ve said that chypre – the olfactory profile of Miss Dior – represents “French sophistication”. What exactly did you mean by that?

FK: It’s a mental construct, unlike a floral bouquet or an oriental amber, which are more concrete. The abstraction of the “chypre” narrative takes perfumery into a complex artistic dimension that is, in my opinion, unique to the refinement of French perfumery.

MA: What significant anecdotes did you come across about Miss Dior?

FK: All those captivating archives (re)confirmed that Dior was – truly – the only House to have launched a fragrance and couture collections in the same year. Miss Dior was first sprayed in the Salons of 30 Montaigne in 1947, as fashion’s revival triumphed, heralding a marvellously reborn femininity.

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© Florian Joye

Beauty - PCD Miss Dior
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Beauty - PCD Miss Dior
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© FLORIAN JOYE

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