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1947 New Look. Dior.

On February 12, 1947, Christian Dior stormed the fashion scene and with a single collection, ended the war and its aftermath monotonous. The models paraded down the hall of the pristine site of number 30, Avenue Montaigne, looked very different from that offered women in the audience. With skirts that required several yards of fabric for clothing, models walked the catwalk lulled by the fru-fru of petticoats.

With a flurry of stiff nylon, woven recent discovery, Christian Dior, a man of fifty years had been in front of the square-shouldered military silhouette created by Schiaparelli, who reigned for thirteen consecutive years. Preparation techniques were extremely complex, some Victorian look and other newly emerging. The skirt burst into folds, some stitched on the hip or expand it vigorously under the plastic sleeve of the bottom of the jacket. Skirts cast their whisper to a foot and a half storey, the models wore nylons very transparent, very thin-toed shoes and high heels.

Paris newspapers the next day were paralyzed by the strike, which made the foreign press was the first to proclaim the triumph of what became known as the New Look immediately. In just one afternoon, Dior restored confidence in the world in Paris as a fashion leader.

Coco Chanel learned of the event by the Swiss newspapers. Driven by curiosity and indignation, he traveled to Paris where at the time of entering the Ritz bumped Christian Bérard, who had illustrated the New Look in Vogue, and accused him of causing the ruin of French couture.

The success of Dior had more than just clever advertising. The fashionable women of Paris is liberated, in addition, the traumas of war. Balenciaga, Lelong, Fath and had Rochas collections were far more sumptuous than those offered previously.

Women five years had been deprived of everything, so jumped at the fashion-hungry as beasts Emmita remember the Marquise de la Falaise.

from racks Chanel witnessed significant change experienced by the French fashion: the emergence of men in postwar designers . Between 1920 and 1940, the couture house had always been more influential in women's hands. Besides Chanel, Lanvin, Vionnet and Schiaparelli also Nina Ricci and Czereskow Alix (Madame Grès) had successfully steered their companies. Now the fashion design was increasingly in the hands of men.

Lucien Lelong, Marcel Rochas, Jean Patou, Edward Molyneux, and Cristobal Balenciaga Mainbocher had already opened their businesses before the war, and were followed by James Marcel Taffin Hubert de Givenchy, Pierre Balmain Pierre Cardin.

The men worked in another way. Used paper, made sketches of ideas Instead of casting on mannequins or live models. His designs tend to be more daring than their colleagues designers, perhaps because they had to wear dresses they created. For them the practical considerations have passed a secondary, were situated behind the spectacular effects. "Design is a sublimation of desire to put women's clothes," said Jacques Lenoir, the elegant owner of the clothing brand clothing Chlöe. "Designers do not love or hate women, they rarely fall in love with someone ..."