30 Avenue Montaigne
Enter the heart of 30 Avenue Montaigne, this “packed little beehive” where the Christian Dior legend was born 75 years ago!
Presentation salons
The salons where the collections were presented, situated on the 2nd floor overlooking avenue Montaigne, were real staterooms. Charles-Frédéric Worth, who is credited with the invention of Haute Couture, had the idea of providing sumptuously decorated and lit salons for his clients’ fittings to reproduce the conditions in which his dresses were to be worn.
12 February 1947, first presentation of Christian Dior Haute Couture collection.
Victor Grandpierre
Victor Grandpierre decorated and furnished 30 Avenue Montaigne in neutral colors that would set off the models presented: “He created the [Paul César] Helleu salon of my dreams,” said Christian Dior, “all in white and pearl gray, very Parisian with its shaded wall lights, crystal chandeliers and a profusion of Kentia palms.”
Fashion show of the Haute Couture Fall-Winter 1953 collection, Vivante line.
Empty salons.
Several days before the presentation of the collection, “rehearsals” were organized in these salons, during which a first series of 60 or so prototypes, illustrating the major theme of the collection, was reviewed amidst the light and luxury of the decor, and adjusted accordingly. Over the course of the fittings and rehearsals, some prototypes were added and others set aside until the collection acquired a unified whole. Finally, three days before the show, the dress rehearsal was held. The jewelry, scarves, gloves, and shoes that would lend the final touch to the silhouette were chosen at this time, while the hats, created by Mizza Bricard at the same time as the collection, were finally matched with each outfit.
Rehearsal for the fashion show Haute Couture Spring-Summer 1955, line A.
The Bar suit is one of the strongest looks of the Haute Couture Spring-Summer 1947 collection. It will remain the emblem of the New Look.
Trafalgar
The fashion show followed an order to which much thought was given during the rehearsals. It had to have a certain “sense of drama.” For this reason, the prototypes that would embody the new fashion were placed in the middle of the show. Known as “Trafalgars,” they would soon grace the covers of fashion magazines!
The red dresses are used as Trafalgar during the fashion shows.
The Jungle dress, Haute Couture Spring-Summer 1947 collection, En 8 line.
The Chérie dress was intended for success, this little shirt-dress has been one of the most sold looks of the first collection.
“I see suddenly that there are not enough chemise dresses or enough spectacular models for the magazines. We call them ‘Trafalgars.’ I feel I have to add a red dress.”
The presentation
The order of the show is also indicated on the charts; this obeys certain fixed laws of precedence. First come the suits, then the formal town dresses, then the more formal outfits, the cocktail dresses, the short evening dresses, and finally the long evening dresses and the ball gowns, which are generally spectacularly embroidered. The wedding dress ends the show.
Press release for the Haute Couture Spring-Summer 1954 collection, Muguet line. © Dior
Final moments
During these final moments, the entire House worked in an atmosphere buzzing with excitement. On the day of the fashion show, the salons were filled with flowers, perfumed with Miss Dior, and lit by the grand chandeliers. The chairs were arranged, and each given a small card bearing a number, ready to receive the guests.
An employee from the Christian Dior couture house making the final preparations before a fashion show, 1956.
| An employee of the House is busy placing guests before the Spring-Summer 1956 Haute Couture show, 1 January 1956. |
Christian Dior is dealing with the last details of the floral arrangement on the mantlepiece in the grand salon, circa 1954.
Madame Minassian, first saleswoman, supported by her assistants, reflects on the fashion show plans for nearly 350 customers.
The press office oversees the seatings of the guests in the grand salon, circa 1953.
An employee from the Christian Dior couture house making the final preparations before a fashion show, 1956.
| An employee of the House is busy placing guests before the Spring-Summer 1956 Haute Couture show, 1 January 1956. |
Christian Dior is dealing with the last details of the floral arrangement on the mantlepiece in the grand salon, circa 1954.
Madame Minassian, first saleswoman, supported by her assistants, reflects on the fashion show plans for nearly 350 customers.
The press office oversees the seatings of the guests in the grand salon, circa 1953.
“This first triumph could not have had a more suitable consecration than the one it received from Christian Bérard during a dinner at Marie-Louise Bousquet’s with Michel de Brunhoff, Boris Kochno and a few others. Bébé presented me with a pastel of the façade of Avenue Montaigne that I later reproduced on everything: scarves, Christmas cards, the collection programs…”
The drawing of 30, avenue Montaigne – offered by Christian Bérard to Christian Dior on the day of the presentation of his first collection – is a lucky charm. It now remains on the Grand Salon's mantelpiece.
Morning show
The morning show, organized for 10:30 a.m., was for the press. The attendees received a program featuring the name of each prototype accompanied by a brief description. An excited crowd filled the great salon, then the landing and the staircase, peopled by the last guests and a lucky few members of the House’s employees. At the last minute, right at the top, the apprentices slipped in for a glimpse of the spectacle.
Invitation to the Christian Dior Haute Couture Spring-Summer 1957 fashion show, for the model Victoire.
Some last guests attending the fashion show on the staircase.
Marie-Louise Bousquet, Richard Avedon and Carmel Snow attending the Christian Dior Haute Couture fashion show.
Marie-Louise Bousquet, Richard Avedon and Carmel Snow attending the Christian Dior Haute Couture fashion show.
The Duchess of Windsor at the Christian Dior Haute Couture show.
Audrey Hepburn is invited to the Christian Dior by Yves Saint Laurent, Haute Couture Autumn-Winter 1959 show.
Lauren Bacall and Humphrey Bogart are assisting to the Christian Dior Haute Couture show, circa 1951.
Marie-Louise Bousquet, Richard Avedon and Carmel Snow attending the Christian Dior Haute Couture fashion show.
Marie-Louise Bousquet, Richard Avedon and Carmel Snow attending the Christian Dior Haute Couture fashion show.
The Duchess of Windsor at the Christian Dior Haute Couture show.
Audrey Hepburn is invited to the Christian Dior by Yves Saint Laurent, Haute Couture Autumn-Winter 1959 show.
Lauren Bacall and Humphrey Bogart are assisting to the Christian Dior Haute Couture show, circa 1951.
Announcers
At the entrance to the salon, a first announcer, often a second seller, called out the name of the prototype and its number, in French and in English, which were next repeated at the second salon and then to the audience on the landing. At the time, the fashion show was a two-hour stage production, “with no plot and no interval,” which took place in silence, punctuated only by bursts of applause.
Christian Dior Haute Couture fashion show in the grands salons.
The last guests trying to find a seat in the salons, 1953.
"Hidden behind the gray satin curtain that divides me from the salon, I listen to my dresses coming to life: for this is the moment of their true debut.”
Christian Dior surrounded by his collaborators who are congratulating him on his success, 1948.
Congratulations
After the show, all the guests would get up and gather excitedly in the grand salon. Kisses and congratulations abounded. Later on, Christian Dior would go back to the fitting rooms to celebrate the event with the models and the premières.
Actress Marlène Dietrich congratulates Christian Dior at the end of his Haute Couture Autumn-Winter 1955 collection show.
Christian Dior receives the guests first impressions after the presentation of his collection, circa 1950.
Christian Dior hugs one of his collaborator in the fitting room after the presentation of a collection.
Christian Dior hugging one of the guests after the presentation of the Haute Couture Autumn-Winter 1955 collection.
Christian Dior greets Carmel Snow (the editor-in-chief of American Harper's Bazaar) after a fashion show.
Actress Marlène Dietrich congratulates Christian Dior at the end of his Haute Couture Autumn-Winter 1955 collection show.
Christian Dior receives the guests first impressions after the presentation of his collection, circa 1950.
Christian Dior hugs one of his collaborator in the fitting room after the presentation of a collection.
Christian Dior hugging one of the guests after the presentation of the Haute Couture Autumn-Winter 1955 collection.
Christian Dior greets Carmel Snow (the editor-in-chief of American Harper's Bazaar) after a fashion show.
Professional buyers
At 3 p.m., the second presentation took place, for professional buyers from around the world. The most important were the representatives of the large American department stores, who had paid dearly for their places by leaving a down payment on their future purchases. In charge of the American buyers, Madame Luling and Madame Yvonne Minassian had carefully prepared their room. In the salons, three or four people hired by the House were assigned to detect the slightest attempt at sketching the designs.
Before this “gathering of specialists” with their “photographic eye” the atmosphere of the show was calmer. When it was over, the buyers would make appointments with their saleswoman to place orders. The prototypes were looked at, measured, turned around, for hours on end! Only the following day could the salons welcome the private clients.
Invitation card for Miss E. Stanley, buyer for the department store William Filene's Son Co. at Boston, invited by Mrs. Minassian to assist to the Haute Couture Fall-Winter 1949 collection show.
A prospective client coming from New York examining the Victorine dress, from the Haute Couture Fall-Winter 1953 collection.
The model France presenting a look to Japanese customers, circa 1950.