The Golden Age of Couture: Paris and London 1947-1957

by Claire Wilcox

In 1947, Christian Dior’s “New Look” was greeted with both shock and delight, making headlines around the world. Accompanying the exhibition opening at the Victoria and Albert Museum in September 2007, this lavish book focuses on Parisian and British couture between 1947 and 1957, the decade Dior hailed as fashion’s “golden age.”

The “New Look” symbolized a new femininity. The full skirts and hourglass silhouettes were considered highly decadent, synonymous with luxury and prosperity, in marked contrast to the austerity of the WWII years. Nevertheless, the “New Look” caught the public imagination and ushered in a period of remarkable creativity. The Golden Age of Couture features stunning gowns and exquisite tailoring from Dior as well as from such designers as Balenciaga, Balmain, and Givenchy, along with evocative photographs by the likes of Richard Avedon and Cecil Beaton.

This beautifully designed book reveals the skill and craftsmanship of haute couture along with the inner workings of the exclusive design houses, and the inspiration behind some of the most famous styles of all time.

EXHIBITION

Victoria and Albert Museum, London, September 27–January 6, 2008

Genres: Fashion, Nonfiction, History, Art, Fashion History, Sewing, Design

224 pages, Hardcover

First published September 1, 2007

About the author

From Wikipedia: Claire Wilcox (born 1954)[1] is senior curator of fashion at the Victoria and Albert Museum.[2] She received an honorary doctorate in art and design from Middlesex University in July 2017.[3] She sits on the editorial board of the journal Fashion Theory.[4] She is professor of fashion curation at the London College of Fashion. She won the 2021 PEN/Ackerley Prize for Patch Work.[5]

(Not to be confused with American economist https://www.goodreads.com/author/show...

Reviews

[Claire]

If you missed the glorious 2007 V&A exhibition that this title accompanies, then fear not as this is the next best thing. A multi-faceted book, it covers all the key players of the time. These include designers such as Dior and Balenciaga, photographers (Richard Avedon – who I adore) and even glimpses into the fashion houses themselves during this magical period of fashion history. As with all V&A books there are some exquisite photographs and illustrations, showing evening and day wear in original photo shoots and designs, as well as items given to the museum. There is a fascinating insight into the sociological and historical context of fashion at this time, which certainly gave me a broader picture of how the industry evolved. The only downside to owning a bible such as this is that it certainly makes you think about your own wardrobe a little differently…I think mine needs a spring clean!

[Charlie]

A wonderful in-depth, beautifully illustrated guide to ten particular years of fashion history, published to accompany a Victoria & Albert Museum exhibition. The fact that it only covers 1947-1957 makes it sound very limited, but it's a comprehensive history of a peak period in fashion design (kicking off with the New Look) which doesn't neglect what came before or after, including what happened to the couture world during World War II. Most important, for me, is the high quality of the essays, which told me more about how the couture world actually functioned - right down to who supplied the buttons - than any fashion book I've ever read. There are nine chapters:

1. Introduction
2. Dior's golden age and the post-war renaissance of couture
3. Inside Paris Haute Couture
4. London Couture
5. Textile manufacturers and haute couture
6. Dior and Balenciaga and their different approaches to the body
7. Cecil Beaton and his anthology of fashion
8. The visual culture of couture
9. The legacy of couture

These chapters are interspersed with one page essays on topics like Balenciaga's tailoring and Richard Avedon's fashion photography.

A wonderful and useful book for anybody interested in fashion history.

[Kate]

Overall a great read, even well after the exhibit has closed. All in all, lovely photos and lots to learn. Much of it was well contextualized, not just in history but societally, geographically, and technologically. One of the last chapters, on photography, was a bit abstract for me in regards to my personal comprehension. The page on Lurex sent me running to the industrial professionals when it failed to elaborate on why gold and silver yarns, with their silk cores, could only be used in the weft and not the warp. Very frustrating! It's because the yarns were too fragile for the tension exerted when in the warp position; the silk was prone to breaking, and the metal would flake off. I was also flabbergasted to hear Mary Brooks Picken called a journalist. Her work as an educator and writer (of books) has a reach only understood when you work in an area that still, today, is using her books.
But I loved the levels of context as well as the big glossy photos. I would say my favorite part was talking about the suppliers that supported the French and English couture houses, like Lasage and Paris House.

[Bree]

There are some truly gorgeous gowns in this book. Beautiful photography & artwork.

[Ray]

Let's be clear, this is a "exhibition book", not a glossy coffee table book. These types of books published in conjunction with museum exhibits are never what u hope for. They tend to be more museum style writing and pictures of the clothes are a lot of backs or closeups. That said, this is truly a wonderful peek into a time when couture was at its most beautiful and truly changed the world of fashion. There are amazing pictures. Well worth it.

[Jen]

The exhibition is currently being held in Bendigo, Australia, which I was luckily enough to attend today! It's on until March, so anyone who's nearby don't miss out!

On a more related front, this book is a great companion to the exhibition, but I'll have a more detailed review when I've perused it thoroughly.

[Bill]

This lavishly illustrated book is a series of essays about haute couture from 1947-1957 the year Dior died. These tell of the fashion houses of the period, of the people who wore the clothes, the fabric, the photography and magazines that displayed them to the general public. The book was published to complement the Victoria and Albert Museum's extensive holding of couture clothing.

[Jaimie]

As interesting as this book could have ben, I found it impossibly dull to read. The quality and pacing of the writing is so drab and unremarkable that I quit reading after only 60 pages and decided to just look at the photographs. The couture dresses are pretty much the whole point of a coffee table book like this so I don't feel bad at all!

[Anita]

Great little introduction to the world of Couture back then. I particularly like the chapter on the textile manufactures and their place in the system. It's not discussed often so it was great to read those insights

[Heila]

Looked at the photos. Interesting - liked it (: The author works at the V&A museum in London. I didn't know that The New Look was related to having more (or less) fabric for use, because of restrictions during WWII. Ok, so I read some of the text!

[Krista Jeanne]

I saw this exhibition...fabulous. I want the book because you couldn't take pictures of the fabulousness.

[Muffy Kroha]

Hurt your feelings fucking painfully good highly structural clothes- make you cry out from inspiration

[Kristen Northrup]

For a massive glossy museum exhibit book, it didn't have nearly enough pretty pictures, which was really the extent of my interest.

[Joanne Mcintosh]

I have always loved this time in fashion. The pictures are beautiful. I found the writing to be informative and interesting.

[Peta]

Beautiful book and very informative, but very wordy, I struggled to get engaged. I read about half way but then just went to the pictures.