Post-war, he founded and established the Dior fashion house, with his collection of the “New Look”.
 The “New Look” revolutionized women’s dress and reestablished Paris as the centre of the fashion world after World War II, as well as making Dior a virtual arbiter
of fashion for much of the following decade.
 Dior’s collection was an inspiration to many women post war, and helped them regain their love for fashion.
Christian Ernest Dior (French: [kʁistjɑ̃ djɔʁ]; 21 January 1905 – 24 October 1957) was a French fashion designer, best known as the founder of one of the world’s top fashion
houses, Christian Dior SE, which is now owned by parent company LVMH.
“[dead link] Dior’s skills led to his employment and design for various fashion icons in attempts to preserve the fashion industry during World War II.
For the duration of World War II, Dior, as an employee of Lelong, designed dresses for the wives of Nazi officers and French collaborators, as did other fashion houses that
remained in business during the war, including Jean Patou, Jeanne Lanvin, and Nina Ricci.
 In search of work, Dior created fashion sketches and ended up selling them.
“ One of his original designs for Piguet, a day dress with a short, full skirt called “Cafe Anglais”, was particularly well received.
 Whilst at Piguet, Dior worked alongside Pierre Balmain, and was succeeded as house designer by Marc Bohan – who would, in 1960, become head of design for Christian
 The house employed Pierre Cardin as head of its tailoring atelier for the first three years of its existence, and it was Cardin who designed the 1947 Bar suit for
The gallery was closed three years later, following the deaths of Dior’s mother and brother, as well as financial trouble during the Great Depression that resulted in his
father losing control of the family business.
In 1928, Dior left school and received money from his father to finance a small art gallery, where he and a friend sold art by the likes of Pablo Picasso.
Dior’s family had hoped he would become a diplomat, but Dior wished to be involved in art.
 The Dior fashion house In 1946, Marcel Boussac, a successful entrepreneur, invited Dior to design for Philippe et Gaston, a Paris fashion house launched
 In 1955, the 19-year-old Yves Saint Laurent became Dior’s design assistant.
 Dior refused, wishing to make a fresh start under his own name rather than reviving an old brand.
[‘Var: Côte d’Azur, Verdon, by Dominique Auzias, Jean-Paul Labourdette, Nouvelles éditions de l’Université, 1 January 2010, pg 150
2. ^ “The History of the House of Dior”. 20 November 2018.[permanent dead link]
3. ^ Pochna, M-F. (1996). Christian
Dior: The Man Who Made the World Look New p. 5, Arcade Publishing. ISBN 1-55970-340-7.
4. ^ Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New (1st English language ed.). New York: Arcade Pub. p. 207. ISBN 1-55970-340-7.
1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker,
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6. ^ “Christian Dior (1905-1957)”. The Business of Fashion. Retrieved 14 May 2023.
7. ^ “Christian Dior (1905-1957)”. The Business of Fashion. Retrieved 14 May 2023.
8. ^ Jump up to:a b Marly,
Diana de (1990). Christian Dior. London: B.T. Batsford. p. 12. ISBN 978-0-7134-6453-5. Dior designed three collections while at Piguet’s, and the most famous dress he created then was the Cafe Anglais
9. ^ Jump up to:a b c Pochna, Marie-France
(1996). Christian Dior: The Man Who Made the World Look New. Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 62, 72, 74, 80, 102. ISBN 978-1-55970-340-6. Robert Piguet.
10. ^ Grainger, Nathalie (2010). Quintessentially
Perfume. London: Quintessentially Pub. Ltd. p. 125. ISBN 978-0-9558270-6-8.
11. ^ Picken, Mary Brooks; Dora Loues Miller (1956). Dressmakers of France: The Who, How, and why of the French Couture. Harper. p. 105.
12. ^ Jayne Sheridan, Fashion,
Media, Promotion: The New Black Magic (John Wiley & Sons, 2010), p. 44.
13. ^ Yuniya Kawamura, The Japanese Revolution in Fashion (Berg Publishers, 2004), page 46. As quoted in the book, Lelong was a leading force in keeping the French fashion industry
from being forcibly moved to Berlin, arguing, “You can impose anything upon us by force, but Paris couture cannot be uprooted, neither as a whole or in any part. Either it stays in Paris, or it does not exist. It is not within the power of any nation
to steal fashion creativity, for not only does it function quite spontaneously, also it is the product of a tradition maintained by a large body of skilled men and women in a variety of crafts and trades.” Kawamura explains that the survival of the
French fashion industry was critical to the survival of France, stating, “Export of a single dress by a leading couturier enabled the country to buy ten tons of coal, and a liter of perfume was worth two tons of petrol” (page 46).
14. ^ Sereny,
Gitta (2002). The Healing Wound: Experiences and Reflections, Germany, 1938–2001. New York: W. W. Norton & Company. pp. 15–16. ISBN 0-393-04428-9.
15. ^ Palmer, Alexandra (Spring 2010). “Dior’s Scandalous New Look”. ROM Magazine. Royal Ontario
Museum. Retrieved 6 November 2015.
16. ^ Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New. Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 90–92. ISBN 978-1-55970-340-6.
Company History at Dior’s website Archived 7 November 2008 at the Wayback Machine
18. ^ Morris, Bernadine (29 July 1976). “A Revolutionary Saint Laurent Showing”. The New York Times: 65. Retrieved 16 March 2022. [T]he collection Christian Dior
showed in 1947 … was Edwardian
19. ^ Mulvagh, Jane (1988). “1946-1956”. Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. pp. 180–181. ISBN 0-670-80172-0. Dior’s New Look was still relying on old-fashioned underpinnings
like boned corsetry … Fashion … reviv[ed] the mock-Edwardian style first presented in the late thirties. … [Dior’s] tighter waists, longer, fuller skirts and more pronounced hips were in fact the maximization of an old style
20. ^ “Christian
Dior Cuts Skirt Length in Move Disrupting Couture World”. The New York Times: 28. 10 February 1948. As in 1900, horizontal strips of tucked lawn, lace insertion and Valenciennes ruching alternate from décolletage to hem…
21. ^ Mulvagh, Jane (1988).
“1947”. Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 194. ISBN 0-670-80172-0. [T]he trend towards longer skirts, smaller waists and feminine lines had begun in the late thirties and was seen in America in the
early forties; hence Dior was not the originator of this mode, but its rejuvenator and popularist.
22. ^ Cunningham, Bill (1 March 1988). “Fashionating Rhythm”. Details. New York, NY: Details Publishing Corp. VI (8): 121. ISSN 0740-4921. Each of
the major fashion changes that mark a season is the result of a series of creative designers adding essential elements to the overall picture. The eventual credit for the genius is often given to the designer who articulated the look with commercial
success, such as Dior achieved with his 1947 New Look, although it had been seen in small prototypes at Balenciaga in the early Forties and at other Paris houses just before the war.
23. ^ Grant, L. (22 September 2007). “Light at the end of the
tunnel”. The Guardian, Life & Style. London. Retrieved 11 November 2013.
24. ^ “Cardin First Struck Gold with Suit Made for Dior”. The New York Times: 22. 27 August 1958. Retrieved 5 April 2023. Cocteau and Berard…introduced…Cardin to [Dior,]
who was…preparing his first fashion collection…Cardin designed, cut, and made a coat and a suit. He showed them to Dior, who…enrolled him on his team….Cardin spent three…years at Dior…
25. ^ “Cardin First Struck Gold with Suit Made for
Dior”. The New York Times: 22. 27 August 1958. Retrieved 5 April 2023. …Cardin…designed one of the most successful models…a suit called ‘Bar,’ which buyers the world over bought.
26. ^ Morris, Bernadine (14 April 1981). “How Paris Kept Position
in Fashion”. The New York Times: B19. Retrieved 4 April 2022. Dior’s bombshell brought manufacturers as well as store buyers rushing back to the City of Light as they sought to interpret his inspirational designs for their own clients….Throughout
the 1950’s, Paris was acclaimed as the source of fashion, and Dior’s success helped stave off the development of other independent style centers for at least a decade.
27. ^ “Christian Dior – Fashionsizzle”. fashionsizzle.com. 12 January 2014.
Retrieved 2 November 2017.
28. ^ Howell, Georgina (1978). “1948-1959”. In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 204. ISBN 0-14-004955-X. Women obeyed Paris because
of Christian Dior.
29. ^ “Christian Dior (1905-1957)”. The Business of Fashion. Retrieved 14 May 2023.
30. ^ Howell, Georgina (1978). “1947, 1948-1959”. In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex,
England: Penguin Books Ltd. pp. 198, 204, 221–245. ISBN 0-14-004955-X. page range covering mention of Dior line names
31. ^ Mulvagh, Jane (1988). “1946-1956”. Vogue History of 20th Century Fashion. London, England: Viking, The Penguin Group. pp.
194–248. ISBN 0-670-80172-0. page range covering mention of Dior line names
32. ^ Radieva, Krasimira (1 March 2019). “An Investigation of the Silhouettes of Christian Dior”. Artte. 7 (3): 169–173. doi:10.15547/artte.2019.03.002. ISSN 1314-8796.
Retrieved 5 May 2023.
33. ^ Howell, Georgina (1978). “1958”. In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 246. ISBN 0-14-004955-X.
34. ^ Mulvagh, Jane (1988). “1958”.
Vogue History of 20th Century Fashion. London, England: Viking, The Penguin Group. pp. 251–252. ISBN 0-670-80172-0.
35. ^ “Christian Dior”. British Vogue. 5 April 2012. Retrieved 4 June 2020.
36. ^ “Died. Christian Dior, 52”. Time. 4 November
1957. Archived from the original on 12 October 2007. Retrieved 7 March 2008.
37. ^ Zotoff, Lucy (25 December 2015). “Revolutions in fashion: Christian Dior”. Haute Couture News. Retrieved 14 October 2022.
38. ^ Blanks, Tim (18 August 2002). “The
Last Temptation of Christian”. New York Times. Retrieved 14 October 2022.
39. ^ Du Plessix Gray, Francine (27 October 1996). “Prophets of Seduction”. New Yorker. Retrieved 14 October 2022.
40. ^ “1967 Film British Costume Design – Colour | BAFTA
Awards”. Awards.bafta.org. Retrieved 12 February 2017.
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Photo credit: https://www.flickr.com/photos/clairity/3179751458/’]