Christian Dior: Designer of Dreams review: Go crazy for couture at the Victoria and Albert Museum
Exploring eight decades of Dior and the man himself at this stylish exhibition.
Without a doubt, Christian Dior is one of the most important designers in women’s fashion. Launching his label in 1947, he transformed ladieswear with the ‘New Look’, among many more stunning designs. I’ve visited several fashion exhibitions in the past, but my ultimate design house to see was Christian Dior. As you may have read, the tickets were a huge hit and sold out immediately, prompting the V&A to extend opening hours. A friend and I managed to get tickets recently to a late Sunday evening opening and ending up spending about three and a half hours in fashion heaven.
The exhibition not only explores the story of the man himself and his path to establishing the worldwide brand, but also follows his successors, including Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and the current creative director, Maria Grazia Chiuri. While there is something very ‘Dior’ throughout the company’s fashions, each designer has their own signature look they bring to their label.
Designer of Dreams starts with the French designer’s early life, growing up in a wealthy family and residing in Paris and Normandy. A display shows artefacts from the young Dior’s youth and creative beginnings, from running an art gallery to becoming an apprentice to fashion designer Robert Piguet. With Europe recovering from World War II, women were tired and weary of wartime fashion so were ripe for Dior’s ‘New Look’. Establishing his eponoymous fashion label in 1946, he stood out for giving women shape and silhouettes – a contrast to the boxy, plain designs which were synonymous at the time. One of the first designs you see in the exhibition is the iconic ‘New Look’: the Bar Suit and Hat, a silk, wool and taffeta ensemble of a structured jacket and full skirt. Being a fan of Netflix’s The Crown and its fashions, it was great to see the silk, couture gown designed for Princess Margaret’s 21st birthday portrait in 1951.
The initial rooms of Designer of Dreams were focused on Dior’s realm at his label, with gorgeous dress upon gorgeous dress. The lighting and layout was very effective at highlighting the detail and complementing the aesthetic of the fashions. Following the designer’s death at just 52 in 1957, his young protégée Yves Saint Laurent was appointed artistic director at the tender age of 21. While trying to keep that signature Dior look, YSL embraced a more softer and wearable style. However, YSL didn’t stay long at Dior and moved on in 1960 after just six collections. As a result, there is an understandably small amount of YSL creations in the exhibition. Read the rest of this entry
Ocean Liners – Speed and Style at Victoria and Albert Museum review
Long before planes dominated international travel, cruise liners were the way to go abroad. Throughout the 19th century and early 20th century, huge swathes of Europeans crossed the Atlantic to start a new life or explore the Americas. Today, the cruise liner is stereotypically associated with pensioners on holiday and has been getting a bad rap in recent years for the ‘negative’ tourism it brings to port cities such as Venice, Barcelona or Dubrovnik. While current cruise liners are apparently very comfortable and have all the mod cons, we don’t quite associate them with the glamour they had in yesteryear. A current exhibition at the Victoria and Albert Museum delves into their history, starting as far back as Isambard Kingdom Brunel’s SS Great Eastern in 1857, which revolutionised boat transport.
The exhibition kicks off with the advertising – with posters, brochures and flyers showcasing famous liners such as the Normandie, Olympic, Titanic and Mauretania. Like a would-be passenger of the time, this is usually the first impression you would have of a liner before seeing it in the flesh. The dozens of shipping companies in the 19th and early 20th century were incredibly competitive. New liners always tried to boast some new feature the others didn’t have, with the Titanic’s claim to being unsinkable proving horrifically untrue.
However, as in real-life for travellers, the advertising is simply a warm-up. We are then introduced to the first of 200 pieces of artefacts from cruise liners gone by, including furniture, uniforms, art work, film footage, panelling and more. As someone who has long been interested in the Titanic’s history beyond the film, it was amazing to see the ‘Honour and Glory crowning Time’ clock panel from the RMS Olympic – Titanic’s sister ship. Fans of the 1998 film will remember this was faithfully recreated as the meeting place for Jack and Rose on the grand staircase. The exhibition also features two artefacts from the Titanic – a deckchair and a panel from the first class lounge rescued from the north Atlantic after the ship went down in April 1912. The wooden panel is displayed at the end of the exhibition appearing to float at sea, just how it was found over 100 years ago. From around the same time period is furniture from the RMS Mauretania (1906). Run by Cunard, it was the world’s largest ship until it was overcome by the Olympic in 1911. On show is a bed from first-class cabin C23, designed by workers at the Swan Hunter & Wigham Richardson shipyard at Wallsend Tyne and Wear.
One liner that often appears throughout the exhibition is the Normandie, launched in 1935 by the Compagnie Générale Transatlantique. Although not a huge commercial success, she is widely labelled as one of the greatest liners ever due to her stunning design and interiors and was the largest and fastest when she entered service. An Art Deco lacquer panel, designed by Jean Dunand for the first-class smoking room, is stunning and huge. Going back two decades is another example of a striking Gallic liner by the same company, the SS France (1910). The doors and panelling from the embarkation hall and communication gallery from around 1912 are joined by two armchairs from the first class dining room and they give you a good understanding of why the ship was nicknamed ‘the Versailles of the Atlantic’. However, as the exhibition progresses through the decades, the furniture and decoration rather deteriorates into more simple and bland designs by the 1950s and the 1960s. Looking back over 150 years of mass transit, it’s clear the Victorians and inter-war period were clearly leading the way in terms of style. Read the rest of this entry