Christian Dior: Part 2
Without a doubt, what was remarkable about this room was the ceiling. It was made of thousands of tiny paper roses. I don't know whether they were handmade, but I can't think of a machine that makes roses. Instantly I began thinking I'd like an area with a ceiling like this at my wedding...and imagined months of making paper roses and dragging whoever I could to help out. I loved the way they draped down, like vines or willow trees- and you couldn't help but think you were in some sort of magical fairy-like forest.
Soon enough we noticed this quote put up on the wall.
"After women, flowers are the most divine of creations."
Not at all sure I agree with that, but it made me laugh all the same. ￼
Here's another one of those tiny sample dresses I was talking about in What is Haute Couture, but this one really did astonish me. I have no idea how it's possible to make something so precise and gorgeous on such a small scale. Imagine sewing each one of those flowers on individually... The full sized dress was the centre piece of the room, in a glass dome which we walked around to see the rest of the pieces. I loved it (was hard not to) and found it comforting somehow, that a man had chosen such a stereotypically feminine inspiration choice.
As for these three, I can easily see them being worn in Spain. I find white is harder to pull off in Britain- to me I it does need some heat and sunshine to make sense. For some reason these made me think of baptism outfits for the guests- maybe that's related to my cousins' baptism and memories of many elegant guests. I loved the use of the lace- and how the bouquet was created just so wonderfully in par with the design. I loved the soft tones of the flowers and sash; they're not eyepopping, but gentle on the eye, blending with the dress instead of distracting from the masterwork of the lace.
The creation beside that dress also interests me, because the top took me to Japan and made me think of their fashion. I'm not sure whether there was Japanese inspiration behind it, but the high neckline, shape of the sleeves and tie-waste, made me think of a traditional kimono.
I put in this one because of the two dresses facing us...Notice the bronze belt on the dress on the right. I don't know anything about bronze craft, but I loved the detail the flower had, with little dents and scratches carved in deliberately to add texture. The golden colour, although a shade or two closer to copper, only added to the wonderfully magical final impresssion.
I'm sure the dress would look perfectly dreamy in a forest with deer, and perhaps a deep blue stream running through it... Then again, the dress on the left also gives me elven, mystical vibes. And once more the belt caught my attention. The choice of leather on a cauture dess seemed too 'earthlike'- so unsuited to the city and the red carpet, that it surprised me.
But after all, this room was centred around nature and nature alone, so I guess a small 'Lord of the Rings' touch can't be said to be too amiss.
Aaaaaah isn't this ombre look as pretty as anything. The texture on the ombre dress was something that jumped out at me too. The whole fabric on was lovely and felt like a nice change- stiff enough to hold shape without losing a sense of flow. But I loved the texture best of all. It reminded me of pollen when you rub it together in your hands, that sort of graininess. Or, now I look back at the photos, you could also say it's like fairy dust...Perhaps Cinderella's godmother left it behind when sweeping the dress into creation. Of the dress on the right, I adored the 1950's shape. I always love a sash at the waist, and this one was lovely and wide.
Now these are possibly my favourite from the room. Frosty, would be my choice of word to sum them up. They're fluffy and lovely, and wintery and summery at the same time. I just find them incredibly beautiful, especially the pale blue one- I can see myself wearing that a lot more- the detail is simply fabulous. Without my imagination I really would be stuck in calamity. But that at least does give me a little window, through which, I can almost feel what it would be like to wear that gown. In some place in Europe (Greece perhaps), with pillars and white chalky steps.
Had I the opportunity to go round again, what I would change is how much attention I payed to the information of each dress. There were placquards beneath each dress giving their name, their designer, and their date- but I was too rapt and immersed to think of paying attention to them. By this point in the exhibition dresses were being displayed that were designed after Christian Dior's death, so knowing the names of each designer I would have really appreciated. I'm sure it's nothing a Google search can't solve, but even still it's just something on my mind.