One such was Christian Dior’s Zemire, from his autumn/winter 1954 collection. I only knew it from photographs: posed in front of the Eiffel Tower; grainy footage I found in an obscure digital archive; part of a lineup of gowns shown to Princess Margaret at a charity event in Blenheim Palace in 1954 (Dior loved to dress The Queen’s sister—her feminine, hour-glass shape perfectly suited his New Look). I’d read the description in Vogue, which explained the fabric was grey silk, with fox-fur trimmed cuffs. I’d even seen Dior’s original presentation charts with a snippet of the silk pinned to it, a tiny sketch and the name of the house model who was to wear it: Renée, Dior’s favourite.
هذه القصة مأخوذة من طبعة November 25, 2020 من Country Life UK.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة November 25, 2020 من Country Life UK.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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