By christian dior
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Extra info for Christian Dior and I
But it is an error to believe that fashion varies according to the dictates of commerce: I swear that any fashion inspired by would have no chance of survival, considerations of this kind 39 CHRISTIAN DIOR AND I of development or success. In fact, M. Boussac gave absolutely free hand to design as I pleased. still less me an In December, 1946, as a result of wartime uniforms, women still looked and dressed like Amazons. But I designed clothes for flower-like feminine busts, and Such a skirts. struction.
From 1900 to 1914 decoration i la Louis XVI was all the rage in the "new" houses in Passy: white woodwork, white enameled furniture, gray hangings, glass doors with square panes and bronze light brackets with small lamp shades. The classical, unobtrusive and very Parisian elegance of this period still survives rooms of the Ritz and Plaza hotels, and I felt would be the ideal background for the display of my collections. I was determined that my interior decoration should not distract the eye from my clothes, which after all were to be the focal point of the proceedings.
I suppose subconsciously trying to halt the invasion of the commercial spirit into the artistic atmosphere which means I so much At it am to me. the finishing touches were put to the dresses. Now that there was no further opportunity to alter them, I suddenly felt a strange calm come over me. I had only one last thing to say about my collection: I thought it "would do"; that is, I thought it would please and satisfy the clientele at which it was aimed. Fortunately the desire to receive my mind off my actual collection.