CHRISTIAN DIOR: DESIGNER OF DREAMS

“There is no other country in the world, besides my own, whose way of life I like so much. I love English traditions, English politeness, English architecture. I even love English cooking.” Christian Dior

 

Christian Dior, Juno dress, haute couture fall-winter 1949, mid-century line – © MAD / Nicholas Alan Cope

In February 2019, the V&A will open the largest and most comprehensive exhibition ever staged in the UK on the House of Dior – the museum’s biggest fashion exhibition since Alexander McQueen: Savage Beauty in 2015. Spanning 1947 to the present day, Christian Dior: Designer of Dreams will trace the history and impact of one of the 20th century’s most influential couturiers, and the six artistic directors who have succeeded him, to explore the enduring influence of the fashion house.

Based on the major exhibition Christian Dior: Couturier du Rêve, organised by the Musée des Arts Décoratifs, Paris, the exhibition will be reimagined for the V&A. A brand-new section will, for the first time, explore the designer’s fascination with British culture. Dior admired the grandeur of the great houses and gardens of Britain, as well as British-designed ocean liners, including the Queen Mary. He also had a preference for Savile Row suits. In 1947, he hosted his first UK fashion show at London’s Savoy Hotel, and in 1952 established Christian Dior London.

A 21-year-old Princess Margaret in Dior, 1951, copyright Museum of London

This exhibition will investigate Dior’s creative collaborations with influential British
manufacturers, and his most notable British clients, from author Nancy Mitford to ballet dancer Margot Fonteyn. A highlight will be the Christian Dior dress worn by Princess Margaret for her 21st birthday celebrations, generously on loan from the Museum of London. It will also bring to life Dior’s spectacular fashion shows staged in the UK’s most luxurious stately homes, including Blenheim Palace in 1954.

Princess Margaret (left), with the Duchess of Marlborough behind, presents Christian Dior with a scroll entitling him to Honorary Life Membership of the British Red Cross after the presentation of his Winter Collection at Blenheim Palace on 3rd November 1954. (Photo by Popperfoto/Getty Images)

Drawn from the extensive Dior Archives, the exhibition will also showcase highlights from the V&A’s world-class Couture collections, including the iconic Bar Suit, gifted to the museum by the House of Dior in 1960. The exhibition will present over 500 objects, with over 200 rare Haute Couture garments shown alongside accessories, fashion photography, film, perfume, make-up, illustrations, magazines, and Christian Dior’s personal possessions.

Miss Dior Perfume, 1947 © Philippe Schlienger

The exhibition will highlight Dior’s vision of femininity, encompassing garments, accessories and fragrances. Flowers are emblematic of the Couture House and have inspired silhouettes, embroidery and prints but also the launch of Miss Dior in 1947, the first fragrance created alongside the very first show. From horticulture to global travel and 18th century decorative arts, the show will reveal the sources of inspiration that defined the House of Dior’s aesthetic. From the daring designs of
Yves Saint Laurent to the rational style of Marc Bohan, the flamboyance of Gianfranco Ferré, the exuberance of John Galliano, the minimalism of Raf Simons, and Maria Grazia Chiuri’s feminist vision of fashion, the exhibition will show how each successive artistic director has stayed true to Dior’s vision of Haute Couture, while bringing their own creative sensibilities to the House.

Dior Couture, “The Ingenue” collection by John Galliano, 2009.

Tim Reeve, Deputy Director and COO of the V&A, said: “Christian Dior: Designer of Dreams celebrates one of the most ingenious and iconic designers in fashion history. Reimagining this hugely popular exhibition from Paris – as the largest fashion exhibition the V&A has undertaken since Alexander McQueen: Savage Beauty – will shed new light on Dior’s fascination with Britain. The V&A holds one of the largest and most important fashion collections in the world, and we are delighted to be able to reveal highlights from our outstanding collection alongside those from the remarkable archive of the House of Dior, for this spectacular exhibition.”

Christian Dior with model Sylvie, circa 1948, Courtesy of Christian Dior

Oriole Cullen, Fashion and Textiles Curator at the V&A, said: “In 1947, Christian Dior changed the face of fashion with his ‘New Look’, which redefined the female silhouette and reinvigorated the post-War Parisian fashion industry. The V&A recognised Dior’s important contribution to design history early-on in his career, acquiring his sketches and garments from the 1950’s onwards. The influence of Christian Dior’s design was all-pervasive and helped to define an era. In their own individual ways, each of the House’s successive artistic directors have referenced and reinterpreted Dior’s own designs and continued the legacy of the founder, ensuring that the House of Christian Dior is at the forefront of fashion today. More than seventy years after its founding, the V&A’s exhibition will celebrate the enduring
influence of the House of Dior and uncover Dior’s relationship with Britain.”

Christian Dior: Designer of Dreams
The Sainsbury Gallery
2 February – 14 July 2019

A TOUR GUIDE IN ENGLAND: MORE GATES AND DOORS

The Roman Baths, Bath
Bath, England
Townhouse,, Bath
Bath, England
Royal Oak, Corsley Heath
Naval and Military Club,, St. James’s Square
Castle Hotel, Ryde, Isle of Wight
Appuldurcombe House, Godshill, Isle of Wight
Osborne House, Isle of Wight
Osborne House, Isle of Wight
Albert Cottage, Isle of Wight
Osborne House, Isle of Wight
Osborne House, Isle of Wight
Oxfordshire
Caversham
Oxfordshire
St Mary the Virgin Churchyard. Ewelme, Oxfordshire
St Mary the Virgin Churchyard. Ewelme, Oxfordshire
St Mary the Virgin Churchyard. Ewelme, Oxfordshire
St Mary the Virgin Churchyard. Ewelme, Oxfordshire
Dorchester
The George Inn, Dorchester
Beaulieu
Beaulieu
Beaulieu
Salisbury Close
Salisbury Close
Arundel Castle
Arundel Castle

A TOUR GUIDE IN ENGLAND – CAVERSHAM

Following the Number One London Georgian Tour, Vicky flew in and met me in London for a night before we headed off on our epic research journey, visiting three Archives that hold documents related to the Duke of Wellington. Our first stop was the Museum of English Rural Life in Reading. We had booked a hotel in nearby Caversham and our good friend, author Beth Elliott was kind enough to pick us up at the station.

You’ve heard me speak of Beth here on the blog before. She’s the sort of friend who is a comfort, a joy and who also happens to be very funny. In an understated English way. So, Beth collected us at the train station and drove Vicky and me to our riverside hotel, where we met a gaggle of other local residents.

Later that evening, we all went out to the nearby carvery and indulged in that most comforting of British food, the Sunday Roast, even though it was actually a Wednesday.

Next day, Vicky and I headed off to the Museum of English Rural Life.

We had ordered the documents we wished to see in advance, one of which was the Marriage Settlement between Richard, Marquis Wellesley and Maryanne Patterson, below. You’ll see that the Duke of Wellington was one of the executors of the Settlement. Between his brother and his former mistress. Yes, you read that correctly.

We spent the entire day reading historic documents and attempting to read Wellington’s handwriting. Boxes and boxes of letters and documents. Naturally, by the end of the day, Vicky and I were ready for a drink. And when we met up with Beth later that evening, we told her we’d love to have a plate of roast beef for dinner. Again. So we did.

Afterwards, we strolled through historic Caversham, which, as Cavesham, was mentioned in the Domesday Book and which sits on the north bank of the Thames.

Good friends, good food and good Wellington documents. As you can imagine, it was a wonderfully satisfying day. And one I’ll always remember. More to come . . . .

A TOUR GUIDE IN ENGLAND: THE FOOD

 

Room service breakfast, Sloane Square, London

 

Cheese board, Grenadier Pub, Wilton Mews, London

 

Sunday roast, The Albany, Great Portland Street, London

 

Steak platter, The Herd, Pulteney Bridge, Bath

 

Cheese platter, our Townhouse, Bath

 

Afternoon tea, Richoux, Piccadilly, London

 

Steak, Castle Hotel, Ryde, Isle of Wight

 

Pea soup, Osborne House, Isle of Wight

 

The table is laid, the Durbar Room, Osborne House

 

Moules, Albert Cottage, Isle of Wight

 

Cheese board, Albert Cottage, Isle of Wight

 

Sunday roast, the Green Man, Great Portland Street, London

 

Sunday roast, the Carvery, Caversham

 

Pimm’s riverside, Henley

 

 

 

 

Sunday roast, the Duke of Wellington, Southampton

 

Latte and cookie, Mottisfont Abbey

 

Pimms, The George, Chichester

 

Hot chocolate and scone, Vintage Tea Room, Chichester

 

 

The table is laid, Arundel Castle, West Sussex

 

As seen in a cheese shop in Arundel, where Vicky instead bought us some Stinking Bishop, which was certainly aptly named. I almost passed out in the cab while bringing it back to our cottage. Subtle it is not.

 

 

 

WHAT WE SAW AT THE V&A

 

Following Number One London’s Georgian Tour, Louisa and I had a day to ourselves in London and decided to spend a good portion of it in the V&A. Following are  photos of just a few of the things we saw on display in their Fashion Collection.

Fashion doll, 1885

From the V&A website: French Doll. Fine bisque head with fixed glass eyes. Tightly curled mohair wig. Pierced ears (no earrings). Ball-jointed strung composition body.
Dressed in an English costume; silk satin formal day dress in gold and peacock blue, trimmed with deep blue silk velvet. Fully lined in white cotton. Large bustle. White lace at neck and wrists. Dress fastens in back with embroidered buttons. Smocking at yoke, bodice and cuffs. Leather shoes and crochet socks, some white cotton underwear. Doll was originally mounted/sewn to a padded cushion and had her shoes pasted to a cardboard base for display purposes; this has since been reverted by Conservation.