Mirza
Haute Couture Spring-Summer 1951, Naturelle line
“They bring charm, elegance, casualness, and are always in fashion,” this is how Christian Dior described the polka dot motif in his Little Dictionary of Fashion. Yet, in the history of fashion, they were almost exclusively the prerogative of men’s accessories, worn on bow ties, ties, or pouches.
Christian Dior introduced the motif in his first collection, and in subsequent ones. It was a testament to the very close collaboration with the fabric supplier Coudurier. Over the course of the collections, the couturier took ownership of the motif, as a painter would with his colors. Polka dots punctuated the fabrics, like the constellations in a starry sky.
The Mirza dress is the archetype of Christian Dior’s use of polka dots. This afternoon dress from the Spring-Summer 1951 Naturelle line was made of blue silk twill printed with white polka dots and lined with velvet.
This line followed the natural curves of a woman’s body, fitted at the waist. “Flexible yet not loose, simple yet not dry, the fashion of 1951 is all about nuance,” outlined the collection notes sent by the couturier.
The polka dot, which had been used in several collections, became one of the House’s distinguishing features. The Porto Rico dress, which was presented on the model Victoire during the Spring-Summer 1954 show, symbolises the use of polka dots.
This motif was used in every form possible by Christian Dior and his successors.
© Laziz Hamani ; © Serge Balkin/Vogue/Condé Nast ; © Association Willy Maywal/ADAGP, Paris 2022 ; © Guy Marineau
