His low necks were so low that they barely stopped at the waist. His narrow waists became as much as 2 inches narrower by means of specially installed corsets. "I'm a mild man," Dior says, "but I have violent tastes." Violent tastes were precisely what the situation demanded. He returned from his lonely vigil, his pockets stuffed with 300 designs scrawled on odd bits of paper.
When the setting was ready, Dior retired to his little country house near Fontainbleau and meditated for a week. For four months 85 decorators and painters labored to produce an atmosphere of discreet elegance unequaled in any existing Paris salon de couture. He plunged lavishly, staking everything on a single throw. About a year and a half ago, with backing from a French gambler and millionaire named Marcel Boussac, he left a job as one of Lucien Lelong's numerous assistants to open his own dress shop a fine old mansion on the Avenue Montaigne, a few steps away from the Champs Elysées. He also senses that the time was exactly ripe to convert these minority manifestations into a powerful mass movement.Īlthough scarcely anyone had ever heard of him before last year, Christian Dior had been a minor league figure in Paris dress business, on and off, since 1936. If this longer skirt length looks right to you, you're a woman of the future.' Dior senses this situation ('I know very well the women'). In 1941 Harper's Bazaar solemnly warned its readers: 'Watch your skirt length. As far back as the late 1930s Martha Graham's modern ballet troupe was wearing the knee-covering, bosom-exposing garments currently featured as the New Looks. But he appeared at the psychological moment as its man on plush horseback. He did not create the New Look single-handed. Like all great revolutionists, Christian Dior is a creature of destiny. Here, not only offers a glimpse back at a seminal moment in fashion history, but presents pictures-some that appeared in the magazine, many that were never published-by some of LIFE’s finest photographers, taken at a Dior show in Paris in 1948, when the New Look was all the rage and a timid, middle-aged, insignificant-looking little Frenchman astonished and thrilled the couture world.īelow is an abridged version of the article that ran in the March 1, 1948, issue of LIFE, beneath the one-word headline: DIOR.
The monsieur in question was none other than (in writer Jeanne Perkins marvelous characterization) “a timid, middle-aged, insignificant-looking little Frenchman named Christian Dior,” and the fashion earthquake he unleashed was something called, simply and unforgettably, the New Look. In March 1948, LIFE introduced its readers to a pioneering French fashion designer and what the magazine called his “revolutionary” vision.
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