![]() Patterns ranged from totally abstract compositions to bold, repeating designs organized around stylized images of familiar objects. Fabric designers looked to the work of painters such as Jackson Pollock, Joan Miró and Salvador Dalí for inspiration to create colorful, expressive patterns used in clothing, as well as upholstery fabric, draperies, area rugs, and wallpaper. ![]() Trends in the art world also provided fuel for igniting changes in the appearance of fabrics. Hemlines were also drastically dropped, and numerous yards of extra material – considered by many to be outrageous after the severity of earlier restrictions – were added to maximize the effect. Shoulder lines became more natural and rounded, bust lines were emphasized, waistlines were minimized, and hips were exaggerated to create “tulip” and “teacup” curves, completing the look. These shapes are similarly reflected in metal work, glass, and ceramics produced during the period.Ĭhristian Dior’s New Look translated these trends into clothing that enhanced the inherent beauty of the female body. In their designs for functional yet modern furniture and appliances, Charles Eames, George Nelson and others took advantage of unusual materials to emphasize shape and line including curves, tapered forms and hourglass shapes. The mobiles of Alexander Calder, with their moving, changing shapes, were especially popular. Essentially, the function of an object could be enhanced by a more adventurous expression of form, making it more visually satisfying.Īrchitects such as Frank Lloyd Wright and Aero Saarinen used curves and arches to express the creative potential of pure line. The basic concept of the New Look mirrored in many ways the concepts behind designs for architecture, sculpture and decorative arts of the late 1940s and 1950s. “Was he mad, this man? Was he making fun of women? How, dressed in “that thing,” could they come and go, live or anything?” – Coco Chanel “A dress is a piece of ephemeral architecture, designed to enhance the proportions of the female body.” – Christian Dior, 1947 Spreading quickly through the Allied nations, yet fraught with controversy, the New Look was immediately adopted by American designers and their eager clients. His collection was presented for the world to see in the February 1947 issue of Vogue magazine, complete with articles describing the features of his designs. ![]() By 1946, Christian Dior was sketching ideas for fashions that reintroduced the concepts of femininity and luxury in clothing. The end of World War II brought major changes to the industry. designers such as Claire McCardell and Gilbert Adrian focused on sportswear and ready-to-wear clothes with a fresh, yet functional “American Look.” ![]() Working within the limits of the War Production Board’s garment restrictions, U.S. In occupied France, the German-controlled fashion houses lacked the inspiration previously enjoyed – and often copied – by the industry. They’re quite wonderful, you know.” – Carmel Snow, February 12, 1947Īs early as the mid-1940s, with America at war in Europe and Asia, European designers were playing with the concept of a New Look. “It’s quite a revolution, dear Christian. These fashions allow us to visualize our own “new look” – a distinctive regional expression with a hint of southwestern flavor that reflects the diversity of our community, but affirms that we have always been tuned in to national and regional trends. We also express ourselves within the larger context of, and in response to, the events that shape our lives.įabulous! presents a story of fashion trends in the Duke City after the debut of Parisian designer Christian Dior’s New Look in 1947, through the Museum's photograph archives and memorabilia from local shops and department stores. Through fashion, we express ourselves – sometimes, in not so subtle ways – to those around us. Like a second skin that can be changed at will, clothing is a vehicle for metamorphosis, a way to convey who we are at any given time. ![]()
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