Dumbarton House Lecture and Dior Resort 2010

Last night's lecture by Mary Doering at Dumbarton House was excellent and a wonderful accompaniment to the current exhibit there, Preparing for the Ball (see these previous posts). Mary discussed a number of interesting topics relating to the development of textile design and production, trade, women's and men's fashion, women's and men's everyday dress, and hygiene. I ended up feeling sad that it was only an hour long. I would have loved to hear her delve more into menswear and the shift from visual ostentation to luxury defined by quality of material and construction, which began in the eighteenth century and became a definitive change after the French Revolution. Mary did not focus solely on the United States, but explored the trade network that surrounded America and western Europe during this time (England, France, India, China, the Carribean as a port, etc.). Textile trading and manufacturing really drove global trade and technology in many ways: the British, for example, tried to create a cotton weaving and printing industry to rival India's, but struggled to make their dyes colorfast (a trick the Indians had mastered by understanding mordants, the metallic compounds added to many dyes that make them bond to their substrate textiles). Every garment and textile from this time period is a mystery to interpret, since they could have been woven in one place, printed in another, sewn in yet another, and then sold somewhere else.

On a different topic, I am very enamored of John Galliano's Resort 2010 collection for Dior. While I'm not crazy about the model's hair, the clothing is very reminiscent of traditional 1950s Dior daywear. It may not be the most avant-garde of collections, but I would love to wear pretty much everything in it. Some of the pieces could be interpreted as a little mature, but I think it's all downright classy.

What do you think? Do you like the collection or is it too stodgy for you? What fashion events are you planning on attending this summer?

Oscar Goes Vintage

Did anyone else notice that Miley Cyrus' Zuhair Murad gown for the Oscars was heavily inspired by Dior's Junon Dress from Fall/Winter 1949/50? I've been trying to figure out why I like the Dior dress so much more than the Murad. I think the drape of the petals is softer, and the embroidery (probably by the famed Lesage firm) is more delicate- there's an ethereal feel, true to the dress' name (meaning Juno, the goddess), that the Murad piece lacks. Also, Cyrus' seashell belt seems very "little mermaid."

The late forties to mid-fifties were present in full force at the Oscars this year, what with Sarah Jessica Parker's Dior gown (although I think Monsieur Dior would have cringed at what this does to her breasts...), Marion Cotillard's Dior (beautifully true to his fifties designs) and Penelope Cruz's stunning vintage Balmain. I'm impressed it's in such good shape, especially in that color and with that much embellishment. I need to do more research, but I'd say the dress is somewhere in the 1949-54 range.

The difference between the vintage Balmain and the retro Diors is in the bodice fit- they're all built over plenty of interior structure, for sure, but the Balmain is very close to the ribcage until just under the bust (similar to the Junon dress), while the two Diors have a more continuous curve from bust to waist.

There's plenty more I could say about the Oscars (Marisa Tomei's Erte-esque dress was #1, too much pepto-bismol pink, I loved Heidi Klum's dress but wish it fit her up top, what is it with men and pre-tied bow ties) but I'd better stop here.

Do you think structure and fullness are coming back into fashion? Are boned bodices and petticoats the wave of the future, or are we going to go the way of the grecian gown? What year do you think Cruz's Balmain gown is from?

(Photograph of Pierre Balmain and Ruth Ford by Carl Van Vechten, November 9, 1947)