Marc, who? Exactly. Walk into the new Dior exhibition - Christian Dior: Designer of Dreams - at the Victoria & Albert Museum and you’ll be wowed by a glamourous exhibition dedicated to one of the world’s strongest fashion houses. A few rooms in, there’s a recap of the previous Dior Creative Directors, in order, from after Dior’s death in 1957 up until the present designer, Maria Grazia Chiuri. All getting equal billing and space is Yves Saint Laurent, Marc Bohan, Gianfranco Ferrè, John Galliano, Raf Simons and Chiuri.
The least known, yet the longest there, is Marc Bohan. From 1958 to 1960, Bohan designed for the Christian Dior London line. In September 1960, Dior’s creative director Yves Saint Laurent was called up for military service and Bohan was promoted to replace him. He stayed at Dior until 1989 when he was replaced by Gianfranco Ferrè.
Left - Linda in Chanel. But, will we remember this in a few decades time?
Bohan’s career at Dior lasted over 30 years and yet he is almost forgotten about. Still alive, he didn’t create anything long lasting directly attributed to his hand at Dior. Or, that is widely known. And this is where I bring my comparisons to Karl Lagerfeld. He lead Chanel from 1983 up until his death. That’s a 36 year career, and yet in a few year's time, what direct influences will Lagerfeld leave on the French house? Will Karl Lagerfeld become the Marc Bohan of Chanel? #Discuss
Dr Kate Strasdin, Fashion Historian and Senior Lecturer in Cultural Studies at Falmouth University, says, “I think he will be remembered just because of the length of time he was at the helm and that his time coincided with the expansion of mass media. He talked about being a caricature of himself, creating his own distinctive self-image.
“As for Lagerfeld’s legacy, many people criticised his work as derivative. but actually I think he was astute at managing a heritage brand, treading that line between designs that were recognisably ‘Chanel’ and simultaneously relevant for over 30 years....I would argue that was his distinctiveness.” she says.
Looking at Lagerfeld’s Chanel, he brought the house’s tropes into the late 20th century, but they already existed. The tweed, the camelias, the quilting, the interlocking Cs and gold chains all existed within the archive. The most famous bag shape, the 2.55, was created in 1955 and is still a juggernaut today.
Benjamin Wild, Cultural, Historian, Writer and Lecturer, says, “For sure, there are many similarities between the men - longevity and the ability to contemporise classical styles, not least - but it is interesting to note the increasing number of voices that are coming forward to comment on Lagerfeld's less savoury social attitudes and comments. In a week where major fashion brands have withdrawn items from their Spring/Summer collections because of their perceived racism and insensitivity, it seems to be a sign of the times that Lagerfeld's character and creations are also being examined in a forensic manner as people recognise that person and portfolio cannot be - and should not be - so easily disentangled; if we are to understand Lagerfeld's contribution to fashion, we need to be frank about who he was, and this will, I think, leave for a more accurate, but disputed legacy.”
Lagerfeld’s tenure at Chanel was through the boom of designer brands and luxury clothes. Bohan’s was in a much smaller industry and no doubt had to design few collections than the six Chanel creates every year. Lagerfeld’s Chanel was much bigger, so it’s interesting that even fewer designs of Lagerfeld’s have stuck. But, also, today, there is now so much more competition.
It’s often what comes after and how good it is that really pushes a designer into the background. When Galliano created his Dior, it was a fantasy of couture, yet still managed to leave behind his strong DNA - the Masai neck, the saddle bag and the famous Dior newspaper print are all Dior signatures still attributed to him today.
Chanel is privately owned by Alain Wertheimer and Gérard Wertheimer, the grandsons of Pierre Wertheimer, who was an early business partner of Coco Chanel. After Lagerfeld’s death, Virginie Viard, fashion studio director and Lagerfeld's right-hand woman at Chanel, was announced as taking over the creative leadership. No doubt she’ll be in charge to offer a respectful gap to Lagerfeld’s legacy, but, ultimately, this is one of the plummiest jobs in fashion and many designers would kill to fill those shoes and offer their own take on Chanel’s future. Like many brands, it may take a few goes to find the perfect fit and I’m not sure anybody would stick around, or be allowed to stick around, for over three decades today.
“I think to get the best out of Chanel, it now needs to push the brand boundaries - not in a Balmain or Balenciaga ‘sell out’ begging-for-attention from the Instagram generation manner, but it needs to become more relevant. I feel Chanel has sunk into a comfort zone that rich women seeking affirmation or middle class basic bitch types aspire to.” says Katie Chutzpah, Fashion Blogger.
Lagerfeld is, of course, respected for his prolific and long career, but, what left is distinctively “Lagerfeld”? You have to separate the man and his designs. When his domineering character is quietened by his death, it will be his designs and collections which will have to fight with what went before, and what will, now, come after.
“If Karl Lagerfeld had just concentrated on Chanel, then I think he would've been forgotten, but his influence was so pervasive across popular culture. Despite his work at Chanel, he was actually a modernist and early-adopter of technologies. From fashion to art, photography, product design, and even music, he was always there at the edge, and I think that will be his true legacy, not reinventing a tweed jacket every three months.” says Lee Clatworthy, Fashion Writer.
This isn’t about trashing Lagerfeld’s career, it’s an unemotional look at the things we can directly attribute to him. Clearly, Chanel has been a huge success under his guidance, but it had very strong foundations on which to build. In a few decade's time, will Lagerfeld’s chapter at Chanel be remembered as vividly and fondly?
It turns out Christian Dior liked English food. Clearly a charmer and a man who knows his audience, Dior had a strong relationship with London and the British royal family. Many of you probably saw snippets of this exhibition on people's Instagrams when it was in Paris last year. This is the same, but with an added room explaining his relationship with London. The Victoria & Albert museum did the same with Alexander McQueen's Savage Beauty.
This giant Dior exhibition, the largest ever in the UK, charts the miraculous growth and influence of Christian Dior up to the present day.
The staging and room sets are stunning. The lighting and displays make everything look sumptuous. The only negative is, the space will quickly become congested, as there isn't much room to move, so I would recommend visiting this early or later in the day.
This is pure fashion escapism and is a visual feast, illustrating womenswear from the second half of the 20th century.
From the "New Look" of 1947 to Maria Grazia Chiuri's present incarnation of Dior, every Creative Director is covered.
John Galliano steals the show and illustrates how he took Dior couture to the maximum of its creative possibilities. It leaves you wanting a solo Galliano exhibition.
Everything in the exhibition is couture and handmade and there's a beautiful rainbow display showing all the accessories and costume jewellery.
Dior is one of the biggest brands in the world, today, and while this is a fantastic display, I didn't leave knowing anymore about the man himself. The exhibition is fairly light on information, but I guess the idea is for crowds to flow and for the museum to really pack in the numbers.
Dior sent the benchmark for mid-20th century femininity and it's fascinating how the brand continued to grow even though he died just over a decade after the company was established. Dior is one of the most coveted of French fashion houses and, while the last two creative directors haven't been particularly inspiring, it's interesting to see how that shape of 1947 continues to resonate.
Christian Dior: Designer of Dreams - Until 14th July 2019 - £20
While you're at the V&A, you could visit the Mary Quant exhibition.
Okay, okay, for you discerning fashion gents out there this does have something of the Neil Barrett's about it, albeit with more colour. (He's moved onto lightning strikes anyway!)
Valentino are knocking it out of the park at the moment. They've lucked out on their Creative Directors, Maria Grazia Chiuri and Pierpaolo Piccioli, who are creating both commercial and beautiful items while keep all the different layers of fashion consumers happy.
If you're a ChicGeek reader then you're obviously part of the most sophisticated layer and nothing gets more sophisticated than this. Definitely a 'fashion' piece, it still has legs to become something of a timeless classic. The design is said to draw inspiration from the work of Australian artist Esther Stewart. A detectable blue sheepskin collar allows it to venture into deeper winter territory and despite keeping you warm, nothing looks cooler.
Left & Below - Valentino - Panelled Bomber Jacket With Shearling Collar - £1715