Christian Dior

Brand History

The New Look (1947)

In 1946, Christian Dior opened his own couture house with the hope of “[allowing] women to rediscover joy, elegance and beauty” (LVMH). The designer is responsible for the New Look, which changed the way women dressed by emphasizing the female figure. Dior has successfully created timeless collections that focus on elegance, femininity and sophistication. In 1957, Christian Dior unexpectedly suffered a fatal heart attack. This left his beloved couture house without a head designer. Dior’s design assistant at the time, Yves Saint Laurent, was appointed as artistic director of the brand. During his time at Dior, Laurent set out to “[relax] his predecessor’s body-restrictive reign” (Burney, Vogue Australia). Marc Bohan replaced Laurent once he left the maison in 1960. Bohan was known for the ‘slim look’ which was an adaptation of the iconic Dior silhouette. Next in line was Gianfranco Ferré, who brought an architectural aesthetic to the couture house. He was later replaced in 1996 with John Galliano. Galliano “let loose intricate beading, bias cuts and drama” in his designs (Burney).

When Galliano was dismissed from the brand in 2011, Bill Gaytten stepped up to lead the house until designer Raf Simons was named creative director in 2012. Simons is well-known within the industry. He has made a lasting impact on the brand by “[cementing] the label with his contemporary cool – attracting celebrities such as Rihanna to updated versions of Dior classics, including the Bar jacket” (Burney). In 2016, Maria Grazia Chiuri was the first woman to be named creative director of Christian Dior. It is safe to say that she has “invigorated the label with a magnetic modernity” and has created a buzz around the brand with her progressive displays of feminism (Burney).

Current Status

Christian Dior has seen many unique creative directors and has survived and thrived during different eras and leadership changes. Thankfully, the brand’s mission and essence has always persisted. Chiuri is able to exude Christian Dior’s dream and incorporate his many inspirations into today’s collections. LVMH declares that along with “[Christian Dior’s]childhood, he had many other influences: flowers, colors and art all helped, in their own way, to build a legacy that the House of Dior upholds, and its artistic directors reinterpret today, in order to preserve this timeless and inimitable attitude” (LVMH).

Today, Chiuri faces negative critics (like every good designer at a major house) and maintains a loyal customer base within the luxury market. In a Business of Fashion article, the designer is said to have “offered up plenty of Dior clichés. But her re-working of the house codes with an easy-to-wear, modern twist, alongside savvy marketing and merchandising strategies, has been a success” (Guilbault). She has revived classics within the brand such as the bar suit and the saddle bag, and knows exactly what women want. By having her finger on the pulse of society and understanding the cultural zeitgeist, Chiuri has “produced cleverly merchandised collections” that has “increased relevance and desirability for the brand” (Guilbault).

Future Development

Ever since Maria Grazia Chiuri’s takeover of Dior, the brand has listened to the customer’s desire for easy-to-wear separates by producing casual garments and fun accessories. While it is still a high-end luxury brand, Dior has become a favorite for a younger demographic consisting of both men and women. Christian Dior’s biggest competitors would have to be Louis Vuitton and Gucci, as these two brands have young creative directors who know their target customer and know how to strategically promote their product in this ever-evolving, digital age. Christian Dior needs to look to their customer for signs of where to take the band next. Creativity, youthfulness, versatility and originality are all characteristics that are valued in today’s industry.

I think Chiuri should take the brand’s transparency and relatability to the next level. Although she has been one of the few designers to embrace this openness, I think the brand can develop their communication channels to create an intimate community with its customers. Society also is obsessed with the idea of ‘nostalgia.’ Bringing back old styles and silhouettes with a twist, and creating new classics that will be the next “it” item is what Chiuri should continue to do. The last idea for development would be to address sustainability. How will Dior take on the new challenges and expectations of sustainability and ethical practices within their design house? Will it be through donating and pledging their support to organizations, creating collections that shed light on current times, or changing the way their product is made. Continuously reshaping, adapting, and innovating Christian Dior’s traditions, values, and beloved silhouettes will be the key to its future success.

Sources:
Burney, Ellen. “The Designers Who Have Helped Shape Dior through the Decades.” Vogue Australia, 5 Dec. 2018, www.vogue.com.au/fashion/news/the-designers-who-have- helped-shape-dior-through-the-decades/image- gallery/fad98ffa9b9a259286346e53be12fa25.

Guilbault, Laure. “Despite the Critics, Maria Grazia Chiuri's Dior Is a Success.” The Business of Fashion, BOF, 24 Sept. 2019, www.businessoffashion.com/articles/professional/despite- the-critics-maria-grazia-chiuris-dior-is-a-success.

LVMH. “Christian Dior, Haute Couture and Ready-to-Wear - Fashion & Leather Goods.” LVMH, www.lvmh.com/houses/fashion-leather-goods/christian-dior/.

Sowray, Bibby. “Christian Dior.” British Vogue, Vogue, 15 Aug. 2019, www.vogue.co.uk/article/christian-dior.