Christian Dior (French, 1905–1957)
Spring/ Summer 1953
The Met says: Dior reveled in the paradox of the natural and the sophisticated. The most telling example is his frequent self-presentation, not as a man who symbolized the authority of French taste, but rather as a simple gardener, farmer, and mill owner.
In “May,” flowering grasses and wild clover are rendered in silk floss on organza. This “simple” patterning of meadow-gone-to-weed is composed of the tiniest French knots and the meticulously measured stitches of the hand embroiderer, suggesting that for Dior, it was not only that beauty resides in the most rustic, but also that the most successful artifice is a beguiling naivété.
This is a cropped version of my illustration that is dedicated to John Galliano. Please bring him back, he makes the fashion world much much more exciting.
Please, please bring him back!
Another excerpt from the book Queen of Fashion: What Marie Antoinette Wore to the Revolution by Caroline Weber.
This was taken from page 8 and is my favorite line in the entire novel.
” Indeed according to the biographer Carolly Erickson, shortly after the guillotine sliced it’s own bloody version of a necklace into the Queen’s throat, well-born women in Paris began tying “thin red ribbon around their necks as reminders of what they might soon suffer.”