#DIor

[fashionsfromhistory]

Dress worn by Molly Roebuck to her daughter Elaine’s Bat Mitzvah in 1957

“Grand Marriage” from the Épée collection by Christian Dior

Autumn/Winter 1956

Royal Ontario Museum (Object number: 2013.68.11)

[zegalba]

Christian Dior autumn/winter 1997

[history-of-fashion]

ab. 1948 Black coat dress in the style of the "New Look" by Christian Dior (France)

black silk, faille; lining: black faux silk taffeta

(Kunstgewerbemuseum Berlin)

[natalinaofficial]

www.instagram.com/officialnatalina

[theoriginalsupermodels]

Christian Dior - Spring 2000 RTW

[cherry-lipgloss]

[diorsiren]

[daicla]

[mimicofmodes]

I want to start by saying that I’m not opposed to inaccurate historical fiction. There are a lot of great things that can be done with inaccuracies in historical fiction: highlighting figures who never got their due, crossing a modern story with a setting that imposes un-modern limitations. I love Our Flag Means Death, one of the least accurate works of historical fiction out there. However. The possibilities for wrongdoing are there as well, and the effects of the writer’s choice of inaccuracies on the audience’s view of the period or particular people in it are important. This is about Chanel, of course.

[fashionsfromhistory]

Essence d’Herbier

House of Dior

Spring/Summer 2017

National Gallery of Victoria

[texaschainsawmascara]

Shirley Mallmann, Dior Spring Couture 1998 by John Galliano

[natalinaofficial]

www.instagram.com/officialnatalina

[theoriginalsupermodels]

Christian Dior - Spring 2000 RTW

[countess--olenska]

Dior ‘Flamant Rose’ gown, 1948

[cherry-lipgloss]

red bows౨ৎ