Description

Immediate dispatch from Somerset. Book in excellent unread/unused condition. See images. Fantastic book.

About the book >.>.> This book serves particularly as a record of the exhibition Christian Dior Designer of Dreams held at the Victoria and Albert Museum in 2019 Based on the highly successful Mus?e des Arts D?coratifs exhibition Christian Dior Couturier du R?ve ton view from 5 July 2017 to January 2018 the show charts seven decades of the continuing importance influence and creativity of the House of Dior in the fashion world in the V&A version of the show an additional section charts the story of Dior in Britain explored in further deptir in this book In 1942 as Christian Dior’s New Look sent a flurry of excitement through the fashion world journalist Ernestine Carter reported from Dior’s first show the model girls swinging their vast skirts lone had 80 yards of fabric) the soft shoulders the tight bodices the wasp-waists… To us in our sharp shouldered.. skimpy rationed suits this new softness and roundness was positively voheptuous. All round the salon you could see the English tugging at their skirts trying to inch them over their knees Back in London James Laver fashion historian and the V&A’s Keeper of Prints and Drawings was canvassed for his opinion on the new silhouette Post-war rationing was sill in place in Britain and the head of the Board of Trade Sir Stafford Cripps had spoken out firmly against the New Look fashions with their luxuriously full longer-length skirts dramatically nipped-in waists and exaggerated hips all of which required doubling the amount fabric to achieve one garmen Fashion journalists were called to meetings at the Board of Trade as first Cripps and then his successor Harold Wilson urged the journalists to ignore of report unfavourably on the new fashions but the war weary public were hungry for this new luxurious style As debate raged Laver seemed unconcerned about the issue of fabric his main contention it seemed was that the longer hemlinie drew attention to the lower part of the leg and spotlights the ankles and the feet-neither of which is the British Wogian’s strong point Yet despite his apprehension Laver fully acknowledged the importance of Christian Dior’s work through the acquisition of a series of fashion drawings of Dior designs by the fashion illustrator Marcel Fromenti in the early 1950s Later that decade in 1957 as the Museum began to take a deeper interest in the topic of fashion as distinct from textiles and historic dress Madeleine Gunsborg ince Bhamstein was appointed as the first curator of fashion Ginsburg and her colleague Peter Thornton were charged with corating the Museum’s new Costume Court a large dedicated gallery that allowed for a thorough historical survey of fashion. They drew on collections from across the Museum to contextualize dress of different periods displaying approximately 100 dresses from the 1600s to the mid twentieth century For the final case which housed the most recent example of an era defining silhouette both curators felt that the ultimate garment should be an example that had changed the face of fashionable dress a New Look ensemble by Christian Dior (MP)