Journal of the Korean Society of Costume (복식)

The Korean Society of Costume (한국복식학회)
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A Study on the Succession and Reinterpretation of Christian Dior's 'New Look'

크리스티앙 디올 '뉴 룩(New Look)'의 계승과 재해석에 관한 연구

  • Choi, Jinhee (Dept. of Clothing and Textiles, Chonnam National University.Dept. of Clothing and Textiles, Chonnam National University) ;
  • Lee, Misuk (Human Ecology Research Institute, Chonnam National University)
  • 최진희 (전남대학교 의류학과.전남대학교 의류학과) ;
  • 이미숙 (전남대학교 생활과학연구소)
  • Received : 2016.12.23
  • Accepted : 2017.02.17
  • Published : 2017.02.28
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Abstract

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

Keywords

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