Christian Dior’s Most Famous Silhouettes in Vogue Inline
Photographed by Serge Balkin, Vogue, April 19471/22Spring 1947: The New Look
“If there could be a composite, mythical woman dressed by a mythical, composite couturier,” wrote Vogue in the April 1, 1947, issue, “she would probably wear her skirt about 14 inches from the floor; it might have, for its working model a flower: petals of padding and stiffening seen beneath the cup of the skirt.” In other words, she’d be wearing the New Look silhouette introduced by Dior in his debut collection, the most iconic example of which is the Bar suit.
Illustrated by Eric, Vogue, October 19472/22Fall 1947
“Take last season’s round hipline, small shoulder, pulled-in waist, longer skirt, and emphasize each; stress the bosom, the derrière; add a side-moving hat . . .”
Illustrated by Moles, Vogue, March 19483/22Spring 1948
“The new ‘zigzag’ cut of Dior; a glove-close top, a skirt manipulated entirely at the back.”
Photographed by Clifford Coffin, Vogue, September 1948 (left); October 1948 (right)4/22Fall 1948
Left: “The wide flaring silhouette: The cloche. Gentle natural shoulders; lamp-shade draping; the cummerbund waistline. . . .”
Right: Photographed in the gardens of the Grand Trianon, “Dior’s big satin dress, pearl-grey, stately, the extraordinary décolletage drapery slanted high above one shoulder, and balanced by a bow at the side-back; the skirt a sweeping fullness of doubly inverted pleats.”
Photographed by Nepo, Vogue, March 19495/22Spring 1949
(Kangaroo) pockets and panels.
