B Dior
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Dior History
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New Look
Pg 15
Creative Directors
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Brand Signatures
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Dior Sauvage
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Creative Brief
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Denim Piece
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Final Shoot
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Dior
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No. 11
History
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Christian Dior, or Dior is a French luxury goods house based in Paris. The company is currently owned by the LVMH group run by CEO Bernard Arnault. The current creative directors are Maria–Grazia Chiuri for Womenswear and Kim Jones for Mens. Historically Dior has been one of the most influential fashion houses in the world, from contributing to the reformation of luxury fashion after World War II, to being a key stepping stone in the formation of another influential fashion designer in Yves Saint Laurent. Christian Dior through a short but extremely influential career began making clothes in a post-war society that was still using fabric rations. Bucking the trend Dior returned fashion to a world of excess with huge volumes of fabric usage, full skirts, cinched waists, the creation of the bar jacket, and overall a stylistic renaissance of stereotypical femininity. This first collection was coined by Vogue as the ‘New Look’ and subsequently went on to be credited for the revival of the French Haute Couture industry. Not only inspiring other designers in the 50’s ‘New Look’ has gone on to heavily influence modern designers in the 2000’s also, such as Miuccia Prada, Thom Browne, and Vivienne Westwood. Though it met with no small amount of criticism from feminists at the time, notably, Coco Chanel mentioned that “only a man who had never been intimate with a woman could design something that uncomfortable”. ‘New Look’ remained a constant source of inspiration and made the house a historical giant, regardless of the short ten year career of Dior himself. The house and, equally as captivating Christian Dior himself spawned several inspired, commemorative and retrospective collections existing well into the 21st century by posthumous creative directors at the brand such as John Galliano, and Raf Simons. Dior’s personal affectations also influenced notable contemporary collections such as the 2018 Sauvage, Resort show which referenced the Lascaux Caves, Georgia O’Keeffe, and Dior’s love of astrology and tarot cards.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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New Look
Dior launched his first fashion collection for Spring–Summer 1947. The show was presented in the salons of the company’s headquarters at 30 Avenue Montaigne. Originally, the two lines were named “Corolle” and “Huit”. However, the new collection went down in fashion history as the “New Look” after the Editor-in-Chief of Harper’s Bazaar Carmel Snow exclaimed, “It’s such a new look!” The New Look was a revolutionary era for women back in the forties. The debut collection of Christian Dior is credited with having revived the fashion industry of France. Along with the spirit of haute couture as it was considered glamorous and young-looking. The silhouette was characterised by a small, nipped-in waist and a full skirt falling below mid-calf length, which emphasised the bust and hips, as epitomized by the ‘Bar’ suit from the first collection. The collection overall showcased more stereotypically feminine designs in contrast to the popular fashions of wartime, with full skirts, tight waists, and soft shoulders. Dior retained some of the masculine aspects as they continued to hold popularity through the early 1940s, however Dior strived to celebrate a feminine aesthetic.
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Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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No. 19
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Creative Directors
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Maria Grazia Chiuri
Kim Jones
2016 — Current
2018 — Current
Dior
Dior Homme
CHRISTIAN DIOR
YVES SAINT LAURENT
1946 — 57
MARC BOHAN
1957 — 60
GIANFRANCO FERRE
1960 — 89
1989 — 97
JOHN GALLIANO
BILL GAYTTEN
RAF SIMMONS
SERGE RUFFIEUX & LUCIE MEIER
1997 — 2011
2011 — 12
2012 — 15
2015 — 16
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
CREATIVE BRIEF
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No. 27
Brand Signatures
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Spanning decades the house of Dior has become synonymous with several key visuals or signatures of the brand which have been reinterpreted, re-purposed and evolved as part of the development of the brand while keeping it in the context of it’s long history. Some of these brand signatures have been included here:
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J’ ADORE
OBLIQUE PATTERN
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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No. 33
SADDLE BAG HOUNDSTOOTH
BAR JACKET
FRAGRANCE
LADY DIOR
BEE MOTIF
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Dior Sauvage
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RESORT COLLECTION S/S 18.
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The Dior, 2018 Spring/Summer Resort show was situated in the Upper Las Virgenes Canyon California, less that an hours drive from central Los Angeles. This location creates the perfect atmospheric setting for the show to embody the essence of the collection, and to carry through the brand image in a spacial capacity. This location also makes it extremely convenient for the countless celebrities and fashion names that could be in attendance, many of which are already based in LA. Maria Grazia Chiuri also reasoned that the natural landscape here resembled to her the Lascaux aspects of the collection and brought a healthy reverence for a human connection to the natural elements. The phenomenon of a resort collection originated as a result of, the cultural affectation for wealthy people to spend colder months in holiday or ‘resort’ destinations. High fashion labels’ reaction to this was to create an inter-seasonal collection based around this migration which bridges the gap between seasons, and includes crossseasonal garments that can be worn at any time of year.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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References
The collection itself (designed by Maria Grazia Chiuri) was extensive and combined heritage, house silhouettes with imagery drawn heavily from archival work and the personal life of Christian Dior himself. Notable aesthetic references include imagery that referenced tarot cards, and astrology with which Christian Dior was famously fond of, it also took on direct references to the famous ‘Lascaux Caves’ collection from the house founder. The collection then combined these references and imagery with a midwest aesthetic closely tied to the artist Georgia O’Keeffe and her personal style as well as her art.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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No. 43
Cultural References
The collection also carries strong cultural references. There is a strong vein of vintage western and native American aesthetics that runs throughout each individual story, notably referencing 70’s Halston dresses, utilitarian workwear, and shamanism/ mysticism. while it also carries cultural notes from Mexican and South American culture from the same time period, specifically Frida Kahlo, Huichol Mexican, mariachi bands, and Gaucho.
Collectively these influences are realised through different fabrication techniques, including intarsia, woven accessories, jacquards, and prints.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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Stories of the collection
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Western
The ‘Western’ story of the collection is focused around more layered complete looks, based around an earthy tonal palette. The references to a 1950’s silhouette and more new look Dior shapes is also prominent in this story, then building a more modest shape including full length skirts & dresses as well as full coverings on the top half of the body to complete the look, thus appealing to an older market or areas in which more modest clothing is required. Stylistically unique to this story is also the prominent use of checks and darker, earthy colours to balance the styling, drawing clear and specific reference points to Georgia O’Keeffe and the midwestern style of that era that also ties into the Mexican and Native American cultural influences and construction techniques used in the collection.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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No. 49
Primitive
The ‘Primitive’ story that runs through the collection also works with more heavily layered looks, however this story utilises those layers with the majority of, more full, relaxed silhouettes as well as simple shapes. The namesake of this story refers to it’s heavy use of primitive patterns and illustrations, similar to cave paintings, throughout a variety of applications. The theme is also reflected in the use of faux furs, and a variety of other animal hide replications. This is a direct reference to the famous Lascaux cave painting collection Dior put out in 1951. While the boxier silhouettes also play into the primitive story, this part of the collection, similar to the western story is heavy in an earthy, ochre colour palette and also appeals to a more modest market sector in older or more conservative women.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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Spiritual
The ‘Spiritual’ story of the collection features notably less layering throughout the styling of the looks, showing of some of the more sheer and delicate pieces, lending itself more so, to a younger and more spritely market segment than the other two fabric stories. This is also an indication of a silhouette that draws more on 70’s stylistic influences with long, fluid structure and includes the same fitted shapes however with fuller hems.
Visually the spiritual story also utilises a cooler, softer tonal colour palette with relaxed styling pieces and a heavier focus on jewellery.
The focus on jewellery also relates to the main difference in this story which is its heavy referencing of the tarot, and mythical imagery throughout, taken from Christian Dior’s personal affection for the practices and his well publicised superstitions.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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Key Garments and Silhouettes
The following silhouettes and garments exemplify the core pieces of the collection and the overarching themes in the garment construction:
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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The relaxed silhouette Earthy/ brown tones
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The sheer, short, and young silhouette Black, white and sheer
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The sheer, relaxed silhouette Ochre/ earthy tones
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The fitted silhouette Ochre/ earthy tones
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Details
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Screen printed suede jackets, ponchos, and dresses feature tonal cave painting motifs directly inspired by the Lascaux collection in 1951.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
Fur gillets and coats featured intarsia cave painting motifs.
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Leather jackets featured hand-painted tarot motifs, matching the bags.
Fringing, beading, tassles, and feathers were used as accents on skirts, dress and jacket hems or around necklines and shoes.
Hair and Makeup
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For Dior Makeup’s creative and image director, Peter Philips, this fashion presentation was an opportunity to explore nature and natural beauty.
“The models are sun-kissed without being tan, beautiful skin with a little bit of blushing,” he said of the beauty looks for the fashion show. “When you’re running or working out, sometimes, you get that athletic look. That was the idea.” To achieve this natural flush, Philips used Rouge Dior Lipstick in Ready (No. 642) on the models’ cheekbones and nose bridges as well as a little bit on their eyelids and under their chins to present a subtle, warm look without them looking as if they had spent too much time in the sun.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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The general styling of the hair for the 2018 resort show was a rumpled low braid. Backstage at the show, the models had their hair set into small, tight ringlets. Once cool, the rumpled curls were then pulled back and braided starting at the shoulders-down. The braid was secured at the end with a tiny black ribbon tied into a bow. Then a bandanna was added across the forehead before being topped with one of the turquoise-adorned hats.
“Last season it was leather berets in Paris, this season it was Western-inspired hats against the backdrop of the Santa Monica mountains. It’s safe to say Dior’s Maria Grazia Chiuri isn’t afraid to show hat hair on the runway.”
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
The Market
RESORT COLLECTION S/S 18.
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No. 71
Commercialisation
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To make a large collection more palatable to the average consumer, the underpinning visual features of the collection are diluted through more basic, and therefore cheaper products, such as t-shirts, scarves and small leather goods allowing consumers to have access to the collection at a more affordable price point.
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Branded T-shirts and Knits.
Small Leather Goods
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
Scarves.
Shoes
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The global market
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The reason global brands such as Dior make such large collections is because they have to cater for a global market of consumers. This means thinking about different climates, politics, cultural differences, and lifestyles as well as standard trend forecasting. Because of this, the brands seasonal offerings are divided into stories, and core product in a way that can be organised for external buyers and their own stores to be able to stock a cohesive seasonal story, and still have a practical and specific offering depending on where in the world the store is located. Consuming a luxury brand can be intimidating for an aspirational customer, even though these brands stay afloat because of them. Therefore they create less formal, and more engaging ways of targeting this upper-middle class consumer such as pop-up stores which allows a customer to interact and familiarise with the brand without feeling as though they are in an elitist environment that is sometimes attached to large European fashion houses. Another method of accessing a global market, and a method that is still used however is less effective since the advent of social media, is to dress certain people for free, so as to leverage their celebrity and large TV viewership (e.g. The Oscars or The MET Gala) to give the brand a platform, and an association, that would bring in the aspirational consumer. This can now be accomplished through traditional advertising and social media campaigns.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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Price points and Analysis
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No. 81
Womens Hand-Painted Hat $2300 Silk Scarf $570 ea
Tulle Embroidered Dress $30,000 ea
Ja’dior Cotton Bracelets $410 ea
Turquoise and Gold Rings $1200 ea
Dior and Denim
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No. 85
Denim, which has historically been known as a symbol of the working class, has recently become a useful tool for luxury houses to bridge the gap between exclusivity and the ever increasing popularity of street style. Dior being no different they have begun using denim in various collections for both mens and womens.
Nicole Phelps, 2017, A. Toschorn, 2017, House of Dior, 2016, Lauren Sherman, 2017, BoF Team, 2018, Richard McCoy, 2019
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C R E AT I V E B R I E F
BY KYLE LEWENDON M E L—S1A
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DENIM PIECE.
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No. 93
The Denim Piece
The aim of this concept is to explore the relationship between aesthetics, femininity and gender. And the difference in this relationship between the 1940s at the introduction of Diors New Look, and the contemporary interpretations in fashion. This denim piece was constructed through a synthesis of Diors spirit of innovation and the current streetwear and luxury trends.
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Pantone 2153U
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Pantone 642U
Pantone ‘Bright White’
Pantone 10-16 U
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SHOOT CONCEPT.
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Denim
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Streetwear
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LOOK ONE Denim Piece Thick/ oversize rollneck sweater Wide leg trouser Heeled boot Wrap Bracelet Front on product focus highlights the trouser, sweater and stylists own denim piece.
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No. 109
LOOK FIVE Boots Socks Chunky rollneck sweater Student long skirt Wrap Bracelet Bracelets Product focus becomes the skirt, shoes and the denim piece.
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FINAL IMAGES.
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Analogous
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Complementary
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Image References in order of Appearance: Text References: Nicole Phelps, 2017 https://www.vogue.com/fashionshows/resort-2018/christian-dior A. Toschorn, 2017 https://www.latimes.com/ fashion/la-ig-dior-maria-graziachiuri-20170517-htmlstory.html
https://www.dior.com/couture/ en_int/the-house-of-dior/ the-story-of-dior/30-avenuemontaigne https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior
House of Dior, 2016 https://www.dior.com/couture/ en_int/the-house-of-dior/ the-story-of-dior/30-avenuemontaigne
https://www.vogue.com/fashionshows/resort-2018/christian-dior
Lauren Sherman, 2017 https://www.businessoffashion. com/articles/fashion-showreview/christian-dior-goes-west
https://www.vogue.com/fashionshows/resort-2018/christian-dior
BoF Team, 2018 https://www.businessoffashion. com/articles/professional/is-diorready-for-a-revolution Richard McCoy, 2019 https://doc-08-4g-docs. googleusercontent. com/docs/securesc/
https://www.vogue.com/fashionshows/resort-2018/christian-dior
https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.dior.com/couture/ en_int/the-house-of-dior/ the-story-of-dior/30-avenuemontaigne https://www.dior.com/couture/ en_int/the-house-of-dior/ the-story-of-dior/30-avenuemontaigne
https://www.dior.com/couture en_int/the-house-of-dior/ the-story-of-dior/30-avenuemontaigne https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior’ https://www.vogue.com/fashionshows/resort-2018/christian-dior https://www.vogue.com/fashionshows/resort-2018/christian-dior