A dose of sublime elegance

Exhibition poster. Marilyn Monroe wears a Dior design during The Last Sitting photographed by Bert Stern for Vogue at the Bel-Air Hotel in Los Angeles, June 1962. © Bert Stern.

Some people go for the puppy or kitten videos, others post scenes of nature. While these certainly give me a needed distraction from the disturbing state of politics today, there's no escape like momentarily sinking into a world of beauty and elegance. To calm my nerves after obsessively reading and watching the news and as a reward for taking the latest action (writing letters and postcards to my senators and other elected officials), I decided to pay a visit to the childhood home of Christian Dior.

On February 12, it will be 70 years since Christian Dior presented his first collection, his post-war antidote to austerity and drabness. Using 10 to 25 yards of fabric and accentuating the waist, hips and bosom, his designs were not modern, but his "New Look" answered a deep need for beauty and reassurance.

Christian Dior was born here in 1905 and was nostalgic about it all his life, incorporating pink and grey colors in his designs and the scents of rose and lily of the valley in his perfumes.

Museum shows are such a great opportunity to study a theme in depth and a great resource of curated imagery, information and point of view. Even if I can't make it to a particular exhibit, at least I can do online research and request access to the images. I didn't make it to Granville in Normandy France for the Christian Dior Museum's show, "Women in Dior – Sublime Elegance of a Portrait," but they kindly shared their images.

Curated by Florence Müller, the show pays tribute to Dior dresses and the women who wore them. Here's a quote from the exhibit:

"The clothes a woman wears communicate a lot about her personality, unspoken clues to who she is for the world to decipher. The array of designs created by Christian Dior, and then by his successors, has consistently enchanted a vast number of women who find what they need to express their individuality in the beautifully crafted lines. Ever since 1947, this synergy has produced a long line of elegantly-clad women who have a close relationship with their Dior outfits, unfailing witnesses to every highlight of their lives."

The cover for the exhibition book. Angélique dress by Mats Gustafson, 2016. © Mats Gustafson.

The women featured in the book written by biographer and fashion journalist Laurence Benaïm are the many of the most glamorous women, past and present. To review the list is a study of fascinating lives. 

They are:
HRH Princess Grace of Monaco
The Duchess of Windsor
Diana, Princess of Wales
Countess de Ribes
Leonor Fini, a very interesting Argentine surrealist painter
Olivia de Havilland
Jackie Kennedy
Patricia López-Willshaw (fascinating story)
Francine Weisweiller, muse to Jean Cocteau
Marilyn Monroe
Charlize Theron
Elizabeth Taylor
Edmonde Charles-Roux, French Vogue editor, novelist and biographer of Chanel
Zizi Jeanmaire, French dancer with great style and pizazz
Mitzah Bricard, muse to Christian Dior, he said "Ms. Bricard is one of those rare people whose only reason for living is elegance." She was the leopard print personified.
Suzanne Luling, childhood friend and original Dior public relations directrice
Carmen Colle
Marlene Dietrich
Jennifer Lawrence
Natalie Portman
Marion Cotillard
Emilia Clarke
Rihanna

Geneviève Page wears a Christian Dior dress during the French Film Festival in London in 1957.

© Keystone-France.

Lady Diana arrives in Buenos Aires, November 23, 1995. She carries the Dior handbag that she will eventually poplularize, which will become the famous Lady Dior. ©Tim Graham/Getty Images. 

Portrait of Mitzah Bricard, circa 1950. All rights reserved.

Princess Margaret accompanied by Sir Oliver Harvey while arriving to the Bal du Cercle Interallié benefitting the British Hertford Hospital in Paris, November 21, 1951. © Rue des Archives/AGIP.

Rihanna chose a design from the Autumn-Winter 2015 haute couture collection to attend the Spring-Summer 2016 ready-to-wear collection’s runway show in Paris, October 2, 2015. © Getty Images for Dior.

My Dior

For the last couple of months, I've immersed myself in the enchanting world of Dior. I've read the autobiography Christian Dior and I; I've reverently turned the pages of the mighty tome Dior published by Assouline and I've watched Christian Dior: the Man Behind the Myth and Dior and I.

Little did I imagine that one day I could legitimately use the phrase "my Dior." I've never had a glimmer of a thought that I would ever own a dress by Dior. But now I do.

My lifelong friend, Holly, inherited a collection of couture clothes from her mother-in-law, Marjorie Stern. Most of the collection was donated to the San Francisco de Young Museum, but recently Holly and I were chatting and she mentioned there was one dress the museum didn't take and that I was the only person she thought it might fit. We set a date to meet at her textile studio in Sausalito for me to take a look at the dress and try it on. I had a restless night before our meeting. I envisioned one of the earlier Dior's from the 50's, when women wore heavy foundations to achieve the wasp waist and I worried that my waist would not wasp. But I reasoned with myself, even if it didn't fit, at least I would have the thrill of being up close and personal with a Dior dress. 

But as soon as Holly lifted the protective covering, I was thrilled to see that the dress might actually fit.   I stepped in to the dress and happily the zipper zipped without me having to suck it in too much!

Since it's from 1964, the dress was designed by Marc Bohan. Christian Dior died in 1957 and Yves Saint Laurent was appointed artistic director, but only for two years. He was drafted and due to a mental collapse was placed in a military hospital. In 1960, while Saint Laurent was in the hospital, Bohan was appointed artistic director. Bohan remained the artistic director for the next thirty years, until 1989.

I'm fascinated by the stamped model number on the label, 124646. I contacted the Textile Arts Council at the de Young museum to see if they had more information. I wondered if each dress has a unique number and if it's possible to track the background of a dress. They responded quickly, suggesting that I contact the company directly. Last Friday, I popped into the Christian Dior Boutique and explained my story to the very attentive and understanding manager. He is a wealth of Dior knowledge and offered a couple theories; before ready-to-wear was so available, high-end department stores would buy the patterns from couture designers and have the dresses made for their clients, so it could be the stores model number, or, it could be a customer number specific to Mrs. Stern and her measurements. The manager offered to send the photos of the label and dress to another Dior contact to get their ideas. I'll let you know what I find out.

Marc Bohan with his models, 1966, copyright RDA/Rue des Archives. 

From Dior by Farid Chenoune and Laziz Hamani

The dress is quite wearable, the wool is soft and airy and completely lined in silk. There's an additional silk lining, so the dress easily slips on and hangs effortlessly with a beautiful drape. And I adore that it has pockets - large and deep silk lined pockets that are completely invisible on the exterior.

Adding to the significance of my Dior dress, I admire the woman who wore it. Marjorie Stern is known for her philanthropic work in San Francisco, especially as one of the founders of the Friends of the San Francisco Public Library, an organization I've supported as a donor and volunteer for years. Now that's what I call dressing with personal style and meaning.