![]() ![]() ![]() ![]() Nuclear weapons were being developed, the Cold War was brewing, a counterculture was forming, and McCarthyism was in full force.īazaar rebounded from the uncertainty of the war years with a vengeance. There was also a burgeoning interest in the existentialist writings of Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus, and the American Beats like Jack Kerouac and William S. But in the wake of World War II, a lot of the old mythologies about what to desire and how to live were breaking down. And more designers were following in the footsteps of Chanel and Schiaparelli, and branching out into fragrances, boutiques, and licensing deals.īack in the United States, the country was awash in a wave of prosperity. It was a boon for couture, as Paris reclaimed its place as the seat of high fashion the houses of Balenciaga, Balmain, and Fath were all flourishing. Dior makes a skirt 45 yards wide,” Bazaar raved in the October 1947 issue, marveling at Dior’s quasi- libertine use of material, coming as it did on the heels of wartime fabric rationing. It was an era that Dior himself helped jolt into being with the unveiling, in February 1947, of his “New Look.” “Swirling skirts. © THE RICHARD AVEDON FOUNDATIONīy the early 1950s, Harper’s Bazaar was well into what Christian Dior would refer to as “the golden age” of fashion. Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955. ![]()
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