The New Look, as US Harper’s Bazaar dubbed Christian Dior’s debut collection in 1947, remains one of the most instantly identifiable fashion moments to this day. Emerging after WWII, the former art gallery owner turned fashion designer burst onto the scene with a sharp, monochromatic palette, A-line skirts that extended from diminutive waistlines and pert hats. This look completely dominated the 1950s and ushered in a fresh era for women’s fashion.
Indeed, he was inspired by architecture, stating, “A dress is a piece of ephemeral architecture, designed to enhance the proportions of the female body.” The US-wide women’s club, The Little Below The Knee Club took exception to the New Look, protesting the restrictive styles in Chicago with banners exclaiming, “We Won’t Revert to Granma’s [sic] Skirt.”
But celebrations will mark the 70th anniversary of the prestigious Parisian fashion house, with a display
of over 140 garments destined for Australian shores. Remarkably, this country was the first location outside of Paris to see a complete collection of Dior pieces in 1948, and so it does feel a little like the homecoming of a noble family member.
The exhibition also tracks the contributions of successive designers at the helm of Dior, including the incredibly young Yves Saint Laurent who took over after the founder’s rather sudden death in 1957. In a move that might have been approved by the Little Below the Knee Club, Maria Grazia Chiuri was ordained the first female head designer a year ago. As a nod to the shift in direction, in her Spring collection earlier this year, Chiuri sent models down the runway with t-shirts emblazoned with the instantly viral “We Should All be Feminists,” referencing an essay by Nigerian writer Chimamanda Ngozi Adichie.
The House of Dior – Seventy Years of Haute Couture
NGV International
27 August – 7 November
Until 2026, Wanneroo Regional Art Gallery will be showing 53 original artworks by one of the most famous artists of the 20th century: Andy Warhol. Andy Warhol ICONS includes famous works such as Elvis (1963), Campbell’s Soup Cans (1968) and Marilyn (1967).
For the 24th Biennale of Sydney, Paris-based Fondation Cartier has commissioned 14 new works by Indigenous artists across the globe, curated by renowned Kuku Yalanji artist, Tony Albert.
From revamped industrial sites to brand new spaces in Sydney, to openings in Adelaide, Melbourne, Cottesloe and Darwin—across Australia there’s a flurry of new and reopening gallery activity.
Known for her beguiling, stained canvases, and her evocation of matrilineal Indigenous histories, Waanyi artist Judy Watson is now embarking on a 40-year survey at the Queensland Art Gallery.
White Rabbit Gallery’s latest multimedia exhibition, A Blueprint for Ruins, explores the ongoing destruction and renewal of urban spaces in modern China, with works from over 20 contemporary Chinese artists.
Congratulations to Marikit Santiago, who has won the 2024 La Prairie Art Award for her two works A Seat at the Table (Magulang) and A Seat at the Table (Kapatid).
