This is the Dior ‘Bar’ suit,
and it’s one of the most iconic pieces in the collection.
1960年 在塞西尔·比顿的帮助下 它来到了博物馆
It came into the museum in 1960 with the help of Cecil Beaton.
Christian Dior in Paris was approached for an example of the ‘New Look’.
They came back and said the Bar suit was a little bit worn
and would make us a new one.
The curator hastily replied and said, ‘No.’
‘We would like an original.’
And this is what arrived.
This suit is very typical of Dior’s ‘New Look’,
and it was so different from the boxy shapes of utility wear,
and it was feminine, full of fabric,
and a completely different shape that flattered the figure.
The first thing I noticed about the jacket is that it doesn’t have a Dior label.
It does have a label that sewn into the side seam that says ‘Bar’.
It could have been thought for a fashion show or to show clients.
It may have been the jacket worn in the famous Willy Maywald photo.
The jacket does show signs of wear.
Here, on this seam,
and also some of the buttonholes,
have been restitched in some way,
and the buttons also have been moved near the edge.
It’s made in a very traditional way,
The jacket is cut with ten panels,
this the front, the side front,
side, side back and back.
It has a teacup shape.
When you look inside, you can see that it goes round in a semicircle
three times the measurement of the waist.
There’s no pads at the back, but there’s pads at the front.
But those pads at the front they’re made out of a cotton, the net fabric.
They’re quite firm,
the net gives the shaping to the front of the jacket,
so that it actually stands out.
It has princesse line seaming down here,
so all the darts shaping is in these seams
so that it can be shaped into the waist and then flare out at the hip.
It’s made from Chantelle silk.
the revere and the collar is hand stitched,
the under collar is cut on the cross.
It sits on the body very easily without there being any creases.
It has five covered buttons and so,
and five bound button holes.
It’s got two welt pockets, fully functional.
and then on the sleeve
there’s also two buttons and button holes.
Looking at the back of the jacket,
you can see the panel’s fit closely to the body,
and the way it tapers in to the waist,
and then flares out again to the hips.
This is the skirt of the ‘Bar’ suit,
which is incredibly heavy.
The yoke is very stiff to take
the weight of the skirt,
so it’s made up of two layers of horsehair canvas,
a layer of linen, and there’s also a layer of stiff net.
You can see the stitching,
where they quilted it together to make the yoke.
The pleats are held in place by hand stitches,
but they don’t move under the jacket
and it holds its shape.
There are two the actual depth of the jacket,
so they’re not seen from the front
When you look at the skirt,
you can see how it rises up
and this is because underneath are layers of net
so that it stands out at the hip.
The skirt is made out of black crepe fabric
It’s a piece that would’ve been around 90 centimeters long,
about five and a half meters of fabric in the skirt.
The knife pleats are four centimetres deep.
When you think of wartime and the restrictions,
If we look under the skirt,
you can see the first silk lining,
the lines of stitching,
and this is to hold the net in place.
You can see the bottom of the tears of net,
which give it its plumpness at the sides.
It’s just so nice.