Figure 2 - ‘Une Dimanche après-midi a L'ile de la Grande Jatte’ by Georges Seurat (1884). The Dress in this painting is almost identical to Dior’s New Look.
If you look closely at Georges Seurat’s ‘Une dimanche après-midi a L'ile de la Grande Jatte’ (1884), you will notice the strong correlation between the way that the women are dressed to Dior’s ‘New Look’ which was released in 1947. Christian Dior was enchanted by the Impressionist movement, meaning it has become a point of inspiration for numerous collections.
This is just one example of the interbreeding bond between fashion (particularly Haute Couture collections) and art, two forms which have continually bounced off each other throughout history. The likes of Marc Jacobs, Yves Saint Laurent and Alexander McQueen have all been seen to create art-inspired collections. These have been hugely successful and have proved to be a means of collaborating some of the most talented creatives in history. The Impressionist Movement (1865-1885) was initiated by a group of Parisian painters (Monet, Renoir, Degas etc.) who were seen to be inspired by natural forms, the shape of the woman and the interaction of light and colour. Their work was distinguished by it’s bright colour and hurried brush strokes. As a young boy, Dior has been mesmerised by the flowers in his mother’s garden in Granville. This was reflected in a number of the silhouettes in his collections which often mirrored the shape of flowers.
Figure 4 - Dior's Helvétie Dress from Spring Summer 1956 Haute Couture Collection and Boudin's 'Woman in a Blue Dress' (1865)
If you look through the archives of the House of Dior (and as shown below), it is evident that some of the haute couture pieces are almost a direct copy of those painted in impressionist paintings. To some extent this suggests a level of unoriginality yet also highlights the importance of the history of dress on contemporary fashion day. At a time where photography was very much primitive, paintings (particularly portraiture) were the dominant means of observing changes in fashion. Consequently, with the majority of fashion today reflecting upon revivals of clothing in history - we see the significance that it plays in the design process in fashion.
Through the images shown in this piece, it is clear that the colours, prints, embellishments and embroideries of Dior’s designs have echoed impressionist styles and scenery. The florals and old-fashioned elegance have consequently become a part of the Dior heritage. This is something that has been carried on by Saint Laurent, Marc Bohan, Gianfranco Ferré, Galliano, and Simons - but each with their own individual take on it. Take Simons’ collaboration with the artist Sterling Ruby, although not technically an impressionist painter - the colours and brush strokes reflect the Impressionist style yet had more of a contemporary feel. Following the announcement yesterday of Simons’ sudden departure as creative director - there is much anticipation for the future of the brand yet it is likely that the brand’s bond with impressionism will stay a strong part of it.
Figure 5 - Dior's Haute Couture Collection A/W 2007 and Renoir's 'The Parisian (La Parisienne)' (1874)
Figure 6
Figure 7 - Simon's collaboration with artist Sterling Ruby
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