LIFE With Dior: Rare Photos From the Birth of the ‘New Look’

Like all great revolutionists, Christian Dior is a creature of destiny. He did not create the New Look single-handed. But he appeared at the psychological moment as its man on plush horseback. As far back as the late 1930s Martha Graham’s modern ballet troupe was wearing the knee-covering, bosom-exposing garments currently featured as the New Looks. In 1941 Harper’s Bazaar solemnly warned its readers: ‘Watch your skirt length. If this longer skirt length looks right to you, you’re a woman of the future.’ Dior senses this situation (‘I know very well the women’). He also senses that the time was exactly ripe to convert these minority manifestations into a powerful mass movement. . . .

Although scarcely anyone had ever heard of him before last year, Christian Dior had been a minor league figure in Paris dress business, on and off, since 1936. About a year and a half ago, with backing from a French gambler and millionaire named Marcel Boussac, he left a job as one of Lucien Lelong’s numerous assistants to open his own dress shop — a fine old mansion on the Avenue Montaigne, a few steps away from the Champs Elysées. He plunged lavishly, staking everything on a single throw. For four months 85 decorators and painters labored to produce an atmosphere of discreet elegance unequaled in any existing Paris salon de couture. When the setting was ready, Dior retired to his little country house near Fontainbleau and meditated for a week. He returned from his lonely vigil, his pockets stuffed with 300 designs scrawled on odd bits of paper.

“I’m a mild man,” Dior says, “but I have violent tastes.” Violent tastes were precisely what the situation demanded. Dior went all-out for his new line. His narrow waists became as much as 2 inches narrower by means of specially installed corsets. His low necks were so low that they barely stopped at the waist. Other designers might sidle up to old-fashioned femininity and romance; Dior tackled it headlong.