La Galerie Dior - A Visit To The Couturier's House Exhibition in Paris

My visit to La Galerie Dior in Paris was everything I hoped for and more. On display was Tunisian couturier Azzedine Alaïa’s Dior collection, curated by Oliver Saillard. Alaïa’s admiration shows the beauty of one couturier’s admiration for another and the impact of preserving the craft of courtiers that paved the way for fashion. The exhibit featured at least 600 pieces, from Christian Dior to Yves Saint Laurent and John Galliano. Alaïa’s work stands alongside Dior’s to 'demonstrate how the influence of the inventor of the New Look was expressed in the world of the French couturier of Tunisian origin...'

La Galerie Dior is set up in 30 Avenue Montaigne, where Dior curated his most iconic fashion pieces, including his debut “New Look” in 1947. Dior became besotted with 30 Av. Montaigne because of its 'simple yet refined setting for its location, modest proportions and neo-classical façade.' Upon its opening on the 15th of December 1946, it became a 'hive of activity.' The quotes displayed along the exhibit were taken directly from Dior, adding an intimate element to the exhibit and helping connect viewers to tales of his upbringing, years in the industry de la mode, and what inspired him.

1905-1919: L’enfance a Granville

A display of Dior's Study in La Galerie Dior

'The Home of my childhood, I have the fondest and most amazed memories. My life, my style owe almost everything to its location and its architecture.'

– Christian Dior

Born in 1905 to an eminent family from Normandy, Dior found passion in nature and art, fuelled by his botanical knowledge from his garden at their home in Granville. He would familiarise himself with Vilmorin-Andrieux & Cie seed catalogues, the source of inspiration for the staple theme of florals and gardens even in the twenty-first century.

This stayed in my mind when walking through the gallery, and I really started to notice the elaborate floral designs on bags, dresses, and the staple Miss Dior perfumes.

When his family moved to Paris a few years later, he became fascinated with the modern artistic movement that was developing. He rubbed shoulders with many artists during this period and opened an art gallery at age 23 with Jacques Bonjean.

He also began illustrating and selling his drawings to couture houses and milliners, to names such as Schiaparelli and Balenciaga in 1935.

The Enchanted Gardens

'I designed clothes for flowerlike women.'

– Christian Dior

Stepping into this room transported me into a fairy tale. Draped with foliage and dim lighting, the pieces standing in this room were elevated by discrete spotlights that perfectly accentuate the details embroidered within the garments.

Collaborations from designers like Gianfranco Ferré and Marc Bohan stood amongst Dior’s own pieces. His first collection featured a 'blooming silhouette of a femme-fleur' which was described by the press as 'dancing, very full-skirted...' Rosebuds and bell-shaped lily of the valley flowers became essential patterns in his embroidery.

The Tulipe line evening sheath dress from the Haute Couture Spring-Summer of 1953 stood out to me the most. The striking intricacy in the guipure lace and subtle, yet eye-capturing turquoise embellishment created a visual masterpiece that glistened before me.

The Masquerade Collection

'Parties like that are genuine works of art.'

– Christian Dior

The end of World War II saw a rise in grand balls for the aristocracy and wealthy upper-middle classes. They were an opportunity to restore social order and celebrate a return to normality. Dior’s fascination with masquerades since his childhood inspired him to design a series of astonishing gowns: 'People may be annoyed by them, by the very fact that they are on a grand scale – nevertheless, they are desirable,' Dior claimed.

The display was visionary perfection. Remarkable gowns ranging from detail, designs, colours, and patterns stood admirably on three levels. The room had alternating lighting to transform the appearance of the gowns. Under bright light, the colours were bold, and certain dresses gleamed. When the lights dimmed, they softened into silhouettes, making them appear mysterious. The embellishments softly sparkled to keep their presence alive.

Each gown was unique, differing from the most obvious detailing, such as ruffles and cuts, and others featuring minute differences, down to a belt or sash. Designers had their own imprint that was evident across the display, ranging from John Galliano to Marc Bohan. Masks designed by Dior’s couture milliner, Stephen Jones, feature on the mannequins, adding character and personality.

The Heart of Creation

'Suddenly one such flash of inspiration gives me an electric shock. I am possessed. Like sap, the creative idea circulates now throughout the whole building.'

– Christian Dior

Dior created twenty-two collections of fabric swatches from Spring-Summer 1947 to Autumn Winter 1957. Each frame encapsulates the palettes he favoured most. And claimed this process was a crucial step in the few weeks before designing a collection. Throughout this process, his infamous “Dior red” started to appear in 1949 and developed into a range of lipsticks, nail polishes and the “Ultra Dior” line in 1965.

The simplicity of each setup was intriguing 'from just a sliver of fabric to the names of the premières and premiers d’atelier who supervised the creation, and the models who wore them' - a rough sketch of a dress was all that was needed to bring the final piece to life.

The Ateliers of Dreams

Pieces began to develop in the final stages. White toiles, designed from the sketches and sent to skilled artisans and seamstresses, were there to admire. Dior wrote that they 'seem to be able to decipher an unbreakable code,' magically interpreting his dozens of sketches.

The quality put into the prototype alone captured the talent of every member working within the Couturier's house.

Evolution of Perfumes

'Today I feel myself as much a parfumier as a couturier'

– Christian Dior

Aside from textiles, Dior launched Miss Dior in 1947, alongside the “New Look.” The jasmine and rose notes created by perfumers Jean Carles and Paul Vacher reflected Dor’s visions of femininity and attempt to create the 'scent of love.' He chose the name to honour his sister Catherine Dior.

In 1999, Calice Becker created J’adore. Featuring notes of Jasmine and Damascus rose, the aim was to create a luxurious, liberating scent. The distinctive bottle design by Herve Van der Staeten complimented the bold floral bouquet scent whilst reminiscing 'the curves of the En 8 line' Dior designed in 1947. It quickly became a 'universal expression of luxury and opulence.' The first bottles were in the shape of amphoras. Later in 1950, they transformed to the new geometric shape with the release of the Vertical & Oblique Couture collection.

Red Carpet Looks

Celebrities, royals and actresses have trusted Dior to design their outfits for the red carpet and costumes in films. Actress Marlene Dietrich declared to Alfred Hitchcock, 'No Dior, no Dietrich' for her role in Stage Fright. Other notable names that became Dior’s muses include Marilyn Monroe and Diana, Princess of Wales who wore a stunning long, midnight blue evening gown, designed by John Galliano. The look was debuted at the 50th anniversary gala celebrating the House of Dior in 1996. Accompanying the look, Diana held the Lady Dior bag named in her honour.

Recently more celebrities have become loyal muses of the house, such as Natalie Portman, who wore a dress designed by Maria Grazia Chiuri for the 2023 Gotham Awards. The elegant flower pattern embodies Dior’s passion for preserving floral landscapes within a dress and the importance of keeping this vision alive in the House.

All Images Courtesy of Natalia Georgopoulos

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Written by Natalia Georgopoulos

Edited by Abbey Villasis, Co-Fashion Editor