Visit To Dior’s Paris Salon For Spring Show

Press, Volume XCIII, Issue 27993, 13 June 1956, Page 2

Visit To Dior’s Paris Salon For Spring Show

“We came from the diamond light of ice-cold sunshine intp the grey vestibule, hot and sweet’with the of ‘Miss Dior’ sprayed over each woman as she arrived. The stairs were jammed with people holding out cards,” wrote Carmel Snow, editor of “Harper’s Bazaar,” when describing her visit to the house of Christian Dior in P?ris for the showing of his spring collection.

“It has been said that it is easier to get into the Kremlin than into Dior on the first day. Every invitation is scrutinised as carelu ly as a passport. Those who get safely past and into the salons, push for seals, packed_elbow to rib on spindly chairs On the mantelpiece, a great pyramid of fresh flowers, heavy lilies and magnolias mixed with jonquils, tulips, and primroses, is set in a spiky halo of budding branches. “There we were, all agog, until suddenly the first model was in the room —then complete stillness. Throughout, there were two girls to be watched at once, coming and going between the two rooms. The showing is fast There is only just time to seize and try to retain each exquisitely stated phrase in the new pronouncement of fashion.

“Oblivious of the smothering heat and of our cramped bodies, we were enchanted by the fluidity, the apparent simplicity, and the intense feminity of the clothes. And, on top of the fragile • column of the figure, like a gigantic dot, or like a nodding rose on its stem, were the fabulous hats of the ‘grande the most romantic of them buried in chiffon, in printed silk, in silk organza, or in organdie.” Empress Inspired New Line The spring showing of Dior’s was a collection of collections. There was an elegance, a freshness of inspiration, and an inexhaustibility of ideas that made it his best since the famous one of 1947, but very different in spirit. It was a queenly collection because it was inspired by the regal shadow of Empress Josephine, and 1o a far lesser degree by Marie Antoinette. The Empress Josephine stood for the Directoire economy of line, high waists and dresses that flowed with the body. The Empire line in Dior’s evening dresses was done with a perfection never equalled, wrote Mi c s Snow. The Directoire called for soft, diaphanous. clinging fabrics. The Marie Antoinette line stood for a tight bodice, wide skirts, spread over petticoats. It found its embodiment in short evening dresses, in flowered taffeta. and in satin organza.

Dior’s princess day line, which was exploited last season, was, in the spring collection, a thing of the past. It was replaced by a dress that had two elements. The skirt was straight, and the bodice was topped by a brlero which Dior called a Caraco. This was really a little bolero over-bodice. It does'not flare; it is not alway removable. and fits without touching the body. The Caraco may be any length, but is nearly always short enough to

show the waistline to advantage. It is fitted at the waistline, on the bosom, and on slim hips. The Caraco gives movement and subtleness to the body. “Dior had another important day silhouette, a wool dress, often checked, in which the line was unbroken at the back, but the front may have a felt ot the fabric coming from each side seam, knotted in front, or perhaps there is a small bow or d drapery in front. Whether belt, bow, or drapery. Dior places them well above the natural waistline. “There is a return of belts in Paris. You don’t pull them tight, but they are there, either on the waistline or above it. All day dresses have sleeves. The sleeveless day dress looks as passe as the unbroken princess line,” wrote Miss Snow. Sleeves Have Kimono Effect “Important are Dior’s suit jackets which touch the hipbone. In Paris, as elsewhere, suit jackets are shorter. The sleeves are cut in one with the fabric of the body, a kimono effect, standing out away from the arm. The sleeves themselves are fairly wide, the fit of the jacket easy. The backs of some of these jackets have a fold falling from the shoulder on either side, giving ease and a new look. Some jackets have no collars, but, with or without collars, they stand softly away from the neckline. There are also interesting new loose suit jackets with a high waistline, indicated by an easy belt of the fabric or by an easy leather belt. “Dior brings back bewitching blouses. They are in white organdie, in pique, in tussore, in chiffon. Blouses are worp over or under the skirt, denending on the texture of the material For instance, tussore or pique outside, organdie or chiffon inside. There are printed silk or printed satin dresses with jackets, many of which have hats of matching prints. “Dior showed an amusing straight darkish blue printed dress with a little bolero jacket, and attached to the bolero at the back was a wide panel, falling like a man’s swallow tail. Smart Travel Ensembles “Two of Dior’s loveliest models were called ‘voyageur’ ‘Tour Du Monde.’ With these two costumes one could take a trip round the world and easily be the smartest, woman in any port. The one called ‘voyageur’ is a collarless palish grey wool suit with a soft feminine go’den amber chiffon blouse. When the jacket is on. the chiffon collar of the blouse is pulled up over the tiny amber straw hat. like a Capuchin monk’s hood. Wi+h the jacket off. the blouse falls into folds forming a most becoming neckline. “The model ‘Tour du Monde’ has a long blue and white tweed coat, worn over a dark blue chiffon dress —again the chiffon collar is drawn up over the small pill-box hat. and when the tweed coat is removed you find an enchanting chiffon dress that could be worn fo" 10 occasions.

“The combination of chiffon ( and wool, tweed and chiffon is a master touch.

“Dior’s sv’t skirts, day dresses and mats are slightly shorter. One feels the tendency is for shorter skirts,” wrote Miss Snow.