The 'golden
age' of couture
The launch of Christian Dior's New Look in 1947 marked the
beginning of a momentous decade in fashion history, one that Dior himself
called the 'golden age'. Celebrating the end of war and the birth of a new era,
it set a standard for dressmaking and high fashion that has rarely been
surpassed.
In Paris, couture houses such as Balenciaga, Balmain and
Fath attracted worldwide attention for elegance and glamour. London was
renowned for formal state gowns by court dressmakers and impeccable tailoring
by designers like Hardy Amies.
The production of couture was important to the prestige and
economy of both France and Britain. While traditionally catering for wealthy
private clients, the couture houses also sought new markets. As the decade
progressed, they created perfumes, opened boutiques and licensed their designs
to foreign manufacturers. By the late 1950s, the leading couture houses had
become global brands.
Dior's death in 1957 brought this golden age to an end. With
the changing social and economic climate fashion moved from the fitting rooms
and ateliers into the streets and boutiques. Yet its legacy of artistry and
craftmanship survives in the remaining grand houses of Paris and the bespoke
workshops of Savile Row.
Post-war and the Théâtre de la Mode
In 1939, there were seventy registered couture houses in
Paris, including the grand establishments of Chanel, Schiaparelli and
Balenciaga. This flourishing industry was disrupted by the wartime occupation
of Paris. Private clients dispersed, international sales almost ceased and many
couturiers closed. The Germans planned to move couture to Berlin but Lucien
Lelong, president of the Chambre Syndicale de la Couture Parisienne, objected,
saying, "It is in Paris or it is nowhere".
In 1945-6, the Paris couturiers created the Théâtre de la
Mode, a touring exhibition of nearly two hundred dolls in sets, created by
artists such as Christian Bérard and Jean Cocteau. The Théâtre brought together
a community that even as late as 1946 was still suffering hardship:
"Beautiful models huddled around little stoves. Skilful midinettes
(seamstresses) bulged with sweaters...there was still not enough electric
current to run all the machines or to burn the lights long". The Théâtre
toured to Britain, Scandinavia and the USA, raising funds for war victims and
promoting French fashion.
The ‘New Look’
Dior launched his couture house on 12 February 1947 and
became an overnight sensation. His voluptuous collection was the antithesis of
masculine wartime fashions. Instead, the designs featured sloping shoulders, a
full bust and a cinched-in waist above full, long skirts. It was christened on
the spot by Carmel Snow, editor of American Harper's Bazaar, as the 'New Look'.
London couturier John Cavanagh described the style as 'a total glorification of
the female form'.
The amount of fabric required to create a New Look garment
caused outrage in London, as rationing was still in place. The collection was
shown in secret to Queen Elizabeth II and other members of the royal family at
the French Embassy in London. Although initially condemned by the British Board
of Trade, the New Look gained widespread popularity, particularly after
Princess Margaret adopted it, attracted by its femininity and youth.
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