Hollywood was horrified to find their latest


films were out of style


below the knee. Many people living in recently occupied France reacted against the new aesthetic for its display of prof ligacy after the trauma and deprivations of war time living. Then there was the issue of the expense, a key factor in couture for inspiring desire, but which here was interpreted as a re-cementing of a class distinction that some thought had been eroded during the collective f ight. Many others, however, saw the New Look as a joyful return to luxury and a celebration of the female form, as well as a much- needed rejuvenating factor for the failing Paris couture industry. Despite its detractors, the New Look had a huge inf luence on the fashion world, with many delighted to see such a depar ture from what had come before, making Christian Dior a celebrity couturier. Such was the impact of Dior’s new silhouettes that Hollywood studio executives were horrif ied to f ind that their recent f ilms, made just months previously, were suddenly very obviously out of style. From any perspective, Christian Dior’s clothes were incredibly beautiful, and the recurring hourglass look was one that persisted across the industry, from top to bottom, for many years to come.


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