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At the Paris museum, which has never before devoted both sides of its nave to a single exhibition in its 112-year history, the curatorship is also divided in two between Olivier Gabet, the Director of the Arts Décoratifs, and Florence Müller, Curator of Textile Art and Fashion at the Denver Art Museum in America.

Art was a continuous source of inspiration for the couturiers: in the Artistic Affinities room is a display of (Left to right) Painting by André Derain, Arlequin à la Guitare, 1924; Black and red diamond coat, Christian Dior by Gianfranco Ferré Haute couture 1995; Pastel harlequin outfit, Michaela Kocianova inspired by Picasso, Christian Dior by John Galliano Haute Couture Autumn/Winter 2007; Painting by Giovanni Boldini, Portrait de Madame R.L., 1901; Madeleine, Christian Dior by John Galliano Haute Couture Autumn/Winter 2005.

Adrien Dirand

Gabet leant towards the artistic side.

“We wanted to show the universe of the Maison Dior and how his inspiration is extremely sophisticated and cultivated,” he said. “What is important is that you have everything at the same level – a piece of couture and a great painting. You have to put them on the same scale and you soon have this line of art. Even before Galliano imposed himself as an artist, Mr Dior had created a visual culture, including 18th-century painting, Surrealism and Art Nouveau.”

So the museum, on its left side as you walk in, is devoted more to art history than to the endlessly promoted ‘Bar’ jacket that kicks off the second part of the exhibition. That fitted jacket and flaring skirt is now so entrenched in the Dior history that Melania Trump turned up in a Maria Grazia version during the recent presidential visit to Paris.

Melania Trump wearing Christian Dior during her recent state visit to Paris

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The show starts with a curvy, full-skirted red Diablesse dress from 1947 and an informative but dull visual history of the founder, on loan from the Dior museum in his birthplace Granville, Normandy. But it soon comes to life as we are introduced to the young Christian Dior, who apparently ignored the family business of farm fertilisation (shown on an advertising poster from the pre-war era) and hung out instead with his arty friends who included Christian Bérard, Georges Braque, Jean Cocteau and even Pablo Picasso himself.

Dior's father gave him money for investment on the condition that the family name was not included in the title of his art gallery. And although this dilettante period came to an abrupt end with the beginning of the Depression era, the museum has devoted a room to modernist art linked to Christian's own statement, “We were just a simple gathering of painters, writers, musicians and designers under the aegis of Jean Cocteau and Max Jacob.”

Alongside these pieces are other signs of fashion encompassing art in connection to photographers. They include Cecil Beaton's 1951 photograph of a luscious young Princess Margaret and the famous Richard Avedon Dovima with Elephants, Cirque d'Hiver, Paris, August 1955.These are displayed as digital projections which then fade to show the actual dresses behind.

Several windows hold a series of objects in a selection of colours, Christian Dior: Designer of Dreams, Musée des Arts Décoratifs, Paris

Adrien Dirand

Fine art, interspersed with vignettes of Dior's creations and those from the later designers are interspersed with ‘Colouramas’. They are visions, actual size or petite, of clothes and accessories, including distinctive high heeled shoes, displayed to promote a single colour. The result is both charming and artistic.

The Dior Gardens section of the exhibition Christian Dior: Designer of Dreams at the Musée des Arts Décoratifs in Paris

Adrien Dirand

Significantly, the clothes from the later designers at Dior are within this introductory area. They are deliberately selected to fit in to the earlier Christian themes. This applies in particular to examples of the founder's love of gardens and flowers, especially his roses and favourite Lily of the Valley. A different around-the-world theme rather underscores the disparity between Dior's style and the urgency of Galliano’s designs or the modernism of Raf Simons’s work in conjunction with American artist Sterling Ruby.

Round the World in Dior section of the exhibition Christian Dior: Designer of Dreams, Musée des Arts Décoratifs, Paris

Adrien Dirand (责任编辑：admin)