Sunday 15 April 2012

    the Christian Dior boat


    Captain John Galliano, of the Christian Dior boat

    throws the anchor down in the warm waters of the Pacific with nautical-themed outfits.

    The Christian Dior Spring Summer 2011 collection mixed a variety of marine themes, from Polynesia and the docks of Marlon Brando’s “On the Waterfront” to the Rodgers & Hammerstein musical, “South Pacific”, and Rainer Fassbinder’s 1982 film, “Querelle”. The catwalk was a rusting slipway, set against a harbourside setting of wooden pilings, chains, gantrys and ropes. The clothes blended tough-guy T-shirts, sailors’ trousers, life-vests and nautical cagouls, with flimsy, chiffon mini’s, bubble-hem dresses, and fringed, ‘hula’-gowns.

    Models, styled in the manner of the 1950′s movie pin-up, Bettie Page, with false fringes, flick-up hair, and bright red lips, posed and gave jaunty salutes in faux captain’s hats at the end of the catwalk.  Designerz Central

    {Images: Christian Dior Spring Summer 2011}

    Tagged with , , and
    Posted in Carousel with
    No Comments »

    Wednesday 11 January 2012

    Bois De Rose ♥ Dior


    I must remember to pack my stunning Dior jewllery.

    A gal has gotta dream… but it’s not Straddie beach style anyway!

    {Images: Dior}

    Tagged with , , , and
    Posted in Uncategorized with
    1 Comment »

    Sunday 2 October 2011

    Enchanted by the glittering diamonds, aquamarines, sapphires, amethysts and other precious stones


    Amazing jeweleries :: Dior Diorette on avenue Royale, Paris as captured by Cherry Blossom Girl.

    Garden flowers have inspired this adorable collection. Butterflies, flowers as well as ladybug designs are fabulously put together so the rings and earrings look like a they are just natural flower bouquets gathered from nature.

    The rings are huge, bold, chunky.

    It’s like wearing a little forest on your finger.

    Victoire de Castellane has designed the Dior Diorette collection. She is the queen of enamel and jewels.

    Dior Joaillerie has been creating fabulous and luxurious jewelry designs for decades and the hard work, talent and soul which has been put into each and every jewelry piece has helped Christian Dior’s name be carried on even after his death.

    {Images via Cherry Blossom Girl}

    Tagged with , and
    Posted in Uncategorized with
    No Comments »

    Friday 10 December 2010

    Pink after dark


    A pretty pink party dress for all the glamorous festive parties . . .

    {Images: viviane orth by steven gomillion & dennis leupold for l’officiel brazil october 2009; DIOR haute couture fall-winter 2009-2010}

    Tagged with , and
    Posted in Uncategorized with
    No Comments »

    Tuesday 2 November 2010

    All a flutter


    More racing inspiration from Christian Dior Haute Couture Autumn/Winter 2009/2010.

    Just look at the hats … the vibrant colors … the innerwear as outerwear … and marvel at Dior designer John Galliano’s homage to the 1950s.

    Jenny Barchfield of the Associated Press shares a few details:

    Half-dressed models in waspwaisted jackets with outrageous bouffant sleeves and flesh-colored garter belts, or in pouffy skirts heavy with beadwork and pointy 1950s-era bras, loped languidly through the labyrinthine showrooms at Dior’s Paris flagship store, where the runway show was held.

    Hourglass-shaped dresses in vibrant jewel tones dipped in the back to reveal the suggestive laces of a tightly cinched corset. A flesh-colored slip peeked out from beneath a knee-length dress, its sexy silk undermining the dress’ straight-laced seriousness.

    And I can’t resist these two beautiful dresses for the post track celebrations!

    {Images via Trendmill, Vogue Aust, M&C, Herald Sun}

    Tagged with , , and
    Posted in Uncategorized with
    No Comments »

    Saturday 23 October 2010

    Dior’s ring of petals: ‘Flower women’


    Christian Dior debuted his first collection, Corelle ~ circlet of flower petals.

    “I have designed flower women”

    Famed French designer, Christian Dior said  when he launched Corolle

    (the French word for the botanical term corolla or circlet of flower petals),

    his first collection on 12th February 1947 with voluptuous, soft silhouettes.

    beautiful, feminine clothes, soft rounded shapes, full flowing skirts,

    nipped-in waists and hemlines below the knee.

    He wanted to make women feel like beautiful flowers.

    This collection ushered in the New Look. Gone were the boxy, conservative styles of the war period with Dior’s decadent use of corsets and swaths of material reminiscent of the “Belle Epoque”.

    Most of the dresses used between 10 to 80 yards of material: They were as wide, long, and sumptuous. Evening dresses were made with bouffant skirts, layer after layer of tulle.

    Dior’s New Look of 1947, The Corolle or figure 8 collection and the design called Bar.

    Called “Bar,” a shantung silk jacket over a black pleated skirt (above), became the most well-known of Dior’s New Look creations.  Featuring rounded shoulders, a cinched waist, and  long pleated wool full skirt, backed with cambric, it is exceptionally heavy. The New Look celebrated ultra-femininity and opulence in women’s fashion. Harper’s Bazaar editor-in-chief, Carmel Snow, named Dior’s revolutionary direction, ‘New Look.’

    The “Bar” suit and hat: tight fitting jacket with padded hips which emphasized the small waist {Paris 1948}

    1948 Janine Klein wearing Diors ‘New Look’. Photos of above two images, Clifford Coffin.

    After the war women longed for frivolity in dress and desired feminine clothes that did not look like a civilian version of a military uniform. Evening versions of the New Look were very glamorous and consisted of strapless boned tops with full skirts and were ultra feminine.

    The shaped fitted jacket Dior designed with his New Look full skirt was also teamed with a straight mid calf length skirt.  Women usually wore just underwear beneath the buttoned up jacket, or filled in the neckline with a satin foulard head scarf, dickey or bib.

    After years of military and civilian uniforms, sartorial restrictions and shortages,

    Dior offered not merely a new look but a new outlook.

    Ann Sainte-Marie, Christian Dior 1955

    Detail of the ‘Bar’ suit jacket (Silk shantung & wool crêpe) by Christian Dior.

    The jacket required 3.7 metres of silk shantung and fastened with five hand-stitched buttons.

    This information helped Dior to price the design. ‘Bar’ cost 59,000 francs.

    Below, the notebook contains a sketch and specifications for the type and quantity of fabric for Dior’s ‘Bar’ suit.

    Dior helped to restore a beleaguered postwar Paris as the capital of fashion.

    Each of his collections throughout this period had a theme. In all Dior presented 22 collections.

    Dior Haute Salon, 1957

    Spring 1947 was ‘Carolle’ or ‘figure 8

    ~ a name that suggested the silhouette of the New Look, comprised of 90 designs.

    The spring 1953 collection, dubbed Tulip,

    featured an abundance of floaty, flowery prints.

    Spring 1955′s A-line,

    with its undefined waist and smooth silhouette that widened over the hips and legs, resembled a capital “A.”

    1950 Christian Dior evening dress

    1954 Christian Dior dress

    He was a master at creating shapes and silhouettes; His look employed fabrics lined predominantly with percale, boned bustier-style bodices, hip padding, wasp-waisted corsets and petticoats that made his dresses flare out from the waist, giving his models a very curvaceous form. The hemlines were very flattering on the calves and ankles, creating a beautiful silhouette.

    Fiona Campbell-Walter wearing Dior’s fishscale evening gown with black velvet bow accent, 1955

    The House of Dior attracted glamorous clients including Ava Gardner, Marlene Dietrich, Princess Margaret and the Duchess of Windsor. Rita Hayworth chose an evening gown for the première of her film Gilda; the ballerina Margot Fonteyn bought a suit.

    Dior was invited to stage a private presentation of that season’s show for the British royal family, although King George V forbade Princesses Elizabeth and Margaret from wearing the New Look, which he feared would set a bad example at a time when rationing was still in force.

    While women all over the world embraced Dior’s “New Look,” many considered it excessive and wasteful.  Models had their clothes torn off and many Governments around the world condemned the collection as extravagant and outrageous. Some of Dior’s skirts used 10 to 25 yards of fabric, after all.

    The British Government requested all English women to boycott Dior. However, when Princess Margaret, the leader of British fashion, wore the New Look, the Board of Trade gave up and said, “We cannot dictate to women the length of their skirts.”

    Suzy Parker wearing Dior’s white evening gown with matching shawl, 1954

    Photo by Philippe Pottier, 1948

    Villa Les Rhumbs inspiration & influences

    Christian was born in 1905. His childhood home, now a museum dedicated to him, is located in the town of Granville in Normandy on a cliff overlooking the sea. The villa is known as Les Rhumbs (the name came from the rhombus-shaped points of the compass in the mosaic floor of the house).

    The beautiful gardens were originally designed by Dior’s mother, Madeleine who spent most of her life cultivating flowers, turning this hobby into a mission, using it to mask the sickening smells coming from her husband’s fertilisizer factory.

    The French designer’s love for nature, plants, flowers and designing gardens, was a passion he inherited from his mother, Madeleine. The horticultural endeavours of Madeleine, and Dior’s own gardens at La Colle Noire, his last residence near Grasse, have inspired Dior.

    Young Christian learnt the names of plants and flowers during his mother’s conversations with gardeners and from colourful mail-order seed catalogues he found lying around the house.

    Acceding to his parents’ wishes, Dior attended the Ecole des Sciences Politiques in Paris to study politics. The family, whose fortune was derived from the manufacture of fertilizer, had hopes he would become a diplomat, but Dior only wished to be involved in the arts. To make money, he sold his fashion sketches on the streets for about 10 cents for each. In 1928, his father gave him enough money to open an art gallery – on condition that the family name did not appear above the door. Dior named his venture, Galerie Jacques Bonjean, where he sold art by the likes of Pablo Picasso, and it soon became an avant garde haunt.

    In 1931 Dior’s mother and brother died, and his family lost the family business. Dior was forced to close the art gallery and began selling his dress designs to fashion houses. In 1942, having left the Army having been called up for military service, Dior joined the fashion house of Lucien Lelong where he and Pierre Balmain were the primary designers. On 8 October 1946 Dior founded his own fashion house at 30 Ave Montaigne, backed by Marcel Boussac, the textile magnate. The salon was modest mansion that was decorated in Dior’s favourite colours of white and grey and embellished in Dior’s version of a Louis XVl salon.

    Dior also had sound commercial instincts. A US hosiery company offered the enormous fee of $10,000 for the rights to manufacture Dior stockings, but the couturier proposed waïving the fee in favour of a percentage of the product’s sales. He thereby introduced the royalty payment system to fashion.

    At the same time, Dior was highly superstitious. Dior never began a couture show without consulting his tarot card reader.


    Christian Dior’s favorite flower was the lily-of-the-valley {Convallaria majalis}, which he considered a symbol of happiness and hope. Every collection included a coat called the ‘Granville’, named after his birthplace and at least one model wore a bunch of lily of the valley.

    And Dior decided to bestow his customers with a very personal amulet, Diorissimo, the emblematic fragrance that was created in 1956 by Edmond Roudnitska after years of studying lilies of the valley.

    {Images & Sources: Art Tattler; Vogue Web blog; factoidz; Fashion Doll Review; skorver1′s photostream; Fashion Lifestyle; and Les Rhumbs photos by Ritournelle}

    Tagged with , , and
    Posted in Uncategorized with

    Friday 22 October 2010

    A Dior floral obsession


    A bouquet of flower-inspired dresses at Christian Dior

    It was a vivid bouquet of flowers in full bloom, tied up in the middle with florists’ raffia bows

    and bulb-shaped hairdos wrapped in florist’s cellophane headpieces

    devised by the inventive London milliner, Stephen Jones.

    Bold, botanical gowns of feathers, tulle, and mohair formed flowerly shapes.

    Galliano calls it ‘la ligne florale.’  C’est vraiment superbe!

    Tulips, lilies and a variety of other beautiful flowers were all turned into

    voluptuous gowns made of silk and organza in vivid colours.

    Galliano created enormous tulip-shaped blooms in hothouse colours,

    marigold yellow, blush pink, and acid green,

    which he presented among the statues of the Rodin Museum.

    La Ligne Florale” was John Galliano’s name for a collection that started when he gathered together images of Dior’s 1953 Tulip Line, period couture. His research involved studying real flowers, spending an hour watching the light change on a parrot tulip, for instance. Together with photographs by two great botanical photographers de nos jours, Irving Penn and Nick Knight (book Flora), Galliano let his imagination off into painterly, free-form flight.

    It’s unlikely that when he compared himself to a jardinière tending his blooms, the designer had attendees like Blake Lively, Jessica Alba, and Lou Doillon in mind, but you could imagine them being seduced by his hybrids, the jacket and skirt combinations like the white felt over lilac organza, or the jade mohair with a swoop of portrait neckline over a petalled bubble of black organza.

    Stalking through the hot-house of a tent in the garden of the Musee Rodin, with their hair done up in the shape of bulbs and slashes of bold colour over their eyes, Galliano’s flower-girls were anything but a bunch of chi-chi, shrinking violets.

    Instead, he’d taken a bolder route, inspired by the strong saturated color and rude vigor of the forms of parrot-tulips, dahlias, irises, pansies, carnations, wisteria—and at one point, even fungi.

    When John Galliano dreams in flowers it’s a wonderland of prickly tulips, dripping irises, and pompous poppies. Voluminous shapes, sprouting vivid hues, drape around the figure in the manner of petals from the flower. Layers fall and overlap just as in nature and clothe the body is soft luxury.

    The fronding, the feathering, the ruching, the ruffling, the whooshes of tulle —all duplicated the extraordinary intricacies of flowers. Delicate they may be in nature, but his objects of study gave Galliano free rein to be bold with a coat like a huge inverted daffodil and a dress in black taffeta that was hand-painted with pansies.

    Bouncing, fluttering petalled skirts, shaped like tulips were hand-painted in the impressionist hues of irises and pansies; jackets were adorned with silk hydrangeas; coats were festooned with petal-collars; dresses were printed with delphiniums and lilacs; accessories of rubber gardening gloves; and the models’ towering “peony” hairdos were encased in cellophane wrapping, in the manner of a bunch of flowers, normally delivered by your local florist.

    A coat had the feathery outline of a parrot tulip, but in vivid purple mohair, and a delicate blue ballerina dress incorporated a petal skirt and flower-printed bodice. The dainty suede high heels with calyx-form fronds looked like the twisted stems of a flower.

    In a spectacular horticultural finale, models appeared in a succession of “floral dance” ball gowns, each one inspired, in turn by pansy, rose, or “parrot” tulip, with corseted bodices hand-painted and embroidered with gigantic blooms, and immense, intensely-coloured, silk-tulle crinoline skirts, trailing like parachutes along the floor.

    “I wanted it to have poetic abstraction and spontaneity…..

    “Mother Nature is my biggest inspirational source

    John Galliano, after a show that was a hymn to all things floral.

    Stunning detailed images of the John Galliano Christian Dior Haute Couture FW 10.11 show.

    Tagged with , and
    Posted in Uncategorized with
    1 Comment »

    Friday 22 October 2010

    A fairytale of rare flowers from Christian Dior’s garden


    Christian Dior Haute Couture F/W 10.11

    A floral obsession at Christian Dior.

    British couturier John Galliano presented a beautiful floral dream at the

    Christian Dior Haute Couture show in Paris.

    This season he was inspired by the late Christian Dior’s childhood home, “Les Rhumbs,” located in Granville, Normandy. Les Rhumbs is a beautiful cliff top garden filled with a breathtaking floral fantasy. The vivid floral fantasy were similar to the colors in nature like sunflower yellow, turquoise, lilac purple and rose.

    The flowers that were visible in this bouquet were poppies, crocuses, sweet peas, orchids, tulips, pansy and orchids. Skirts were manipulated to resemble a parrot tulip and a pansy was hand painted onto a ball gown. Galliano was also inspired by photographers Irving Penn and Nick Knight floral portraits that influenced the colors and the flowers that were visible in the collection. It also seemed that there was a reference to Christian Dior’s 1953 spring collection that was titled, “tulip line” in the floral prints of delphiniums and lilacs that were painted on fabrics. It was obvious that Galliano was having a floral moment and this was his dream. The Christian Dior look is fresh as a daisy with the proper elegance of Haute Couture.

    The show was held at rue de Verenne at the Musee Rodin in a see-through stage tent that displayed the outdoor gardens filled with baby pink roses and beautiful statues. A huge orange floral arrangement decorated the backdrop of the runway. American Supermodel Karlie Kloss opened the show in a lilac purple coat adorned with a petals around the collar that was paired with red leather gloves and a clear purple bulb shaped hairpiece.

    On various models the towering bulb shaped hairdo were encased with a cellophane wrapped hairpiece, like an upside down bouquet, created by London milliner Stephen Jones. Mohair and boucle dresses resembled the wildflowers in a field that are ready to bloom. Jackets were decorated with silk hydrangeas and dresses had beautiful hand painted floral prints.

    John Galliano referenced the house of Dior and inspiration from the childhood home garden of the late Christian Dior to create this successful collection. This collection had the Dior drama but was completely wearable and elegant. The Christian Dior Haute Couture women elegant and ready to be a flower in Dior’s garden.

    {Words by Brent Billiman, Paris, France. Images via Of the seasona fashion addicts confession}

    Tagged with , , and
    Posted in Uncategorized with
    No Comments »