Christian Dior (English Wikipedia)

Radieva, Krasimira (1 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 169–173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. S2CID 213675775. Retrieved 5 May 2023.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. In his Trompe l'oeil collection, Dior used all sorts of tricks to make busts look wider...[H]e put flying panels or pleats on nearly every skirt; when standing still, the figure looked slender and lean, but with movement the panels fluttered and flew.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior's Autumn Collection was called the Mid-Century look. The new Dior dresses and suits were softly bloused on top with tiny belted waists and pencil skirts...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The first new look of the fifties was Dior's Vertical Line....Dior was aiming at...the look of a straight line between shoulder and hip...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior stayed with geometry for his...Oblique line. There were...asymmetrical necklines and bodices...[T]ucks and seams spiraled around the body.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Oval line[:]...[e]very edge was rounded: suits hugged the body...; shoulders...smoothed into sleeves...; and hips and breasts were gently molded. Sleeves...curved at the top...Dior...used a simple mandarin neck-band – and jackets were rounded off at the front....He introduced a new, snug bolero jacket that...stopped just below the bust.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Long line was soon christened the Princess line...[F]or the Princess line, the waist...stayed where it was...[T]he illusion of a high waist was given by...putting short bolero jackets...over dresses, or by placing a seam under the bust..., or by attaching a half-belt high up across the back...Skirts were fractionally longer to emphasize this long line...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...the Sinuous line: soft, fluid clothes that moved with the body...The sweater look consisted of...a soft cardigan jacket, a simple little top...and gentle skirt.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Profile line...was sharper and more defined...[T]he clothes were simpler...and cut to outline the body in a dramatic way....[H]e invented a...skirt...constructed to jut out over the hips.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior called his Autumn Collection the Cupola, or Dome, line; there were wide, barrel-shaped coats and jackets with exaggeratedly round shoulders,...dresses with full busts and bell skirts, and a...rounded 'bustle' back for evening dresses...Princess dresses...with waists less marked...He raised the hemline by two inches...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. [Dior] called [his spring collection] his Lily of the Valley line. There were relaxed...suits with pleated skirts and short, sailor-collared jackets....The waist was less emphasized than ever before.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The A line and its predecessor, the H line, were revolutionary. They marked a complete U-turn in fashion away from the nipped-in waists and full skirts of the New Look to a sleeker, almost waistless shape...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Y line...was defined as a slender body with a top-heavy look....The Y could be upside-down too: long tunics with deep slits up the sides. These were...waistless and easy...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Arrow line...showed two new versions of the high waist that he had loved since his Princesse line....[T]here were...jackets...chopped off above the waist to show the belt of the dress underneath, and...loose cut jackets caught in with a belt or sash well above the waist and worn over slim skirts.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[Dior] produced daytime suits with skirts as long as those of an Edwardian lady. The new line was called Aimant, or Loving...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...Dior based much of his Libre line on two classic items of clothing[:]...the vareuse, or fishermen's smock,...and...the khaki bush jacket{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)

academie-cinema.org

"Awards – Académie des Arts et Techniques du Cinéma". Academie-cinema.org. Archived from the original on 18 October 2014. Retrieved 12 February 2017.

americanantiquarian.org

1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved 29 February 2024.

archive.org

Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New (1st English language ed.). New York: Arcade Pub. p. 207. ISBN 1-55970-340-7.
Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New. Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 62, 72, 74, 80, 102. ISBN 978-1-55970-340-6. Robert Piguet.
Sereny, Gitta (2002). The Healing Wound: Experiences and Reflections, Germany, 1938–2001. New York: W. W. Norton & Company. pp. 15–16. ISBN 0-393-04428-9.
Sinclair, Charlotte (2012). Vogue on Christian Dior. Internet Archive. London : Quadrille. ISBN 978-1-84949-112-9.{{cite book}}: CS1 maint: publisher location (link)
Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New. Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 90–92. ISBN 978-1-55970-340-6.
Sinclair, Charlotte (2012). Vogue on Christian Dior. Internet Archive. London : Quadrille. ISBN 978-1-84949-112-9.{{cite book}}: CS1 maint: publisher location (link)
Martin, Richard (Richard Harrison) (1996). Christian Dior. Internet Archive. New York : Metropolitan Museum of Art : Distributed by H.N. Abrams. ISBN 978-0-87099-822-5.

bafta.org

awards.bafta.org

"1967 Film British Costume Design – Colour | BAFTA Awards". Awards.bafta.org. Retrieved 12 February 2017.

books.google.com

Marly, Diana de (1990). Christian Dior. London: B.T. Batsford. p. 12. ISBN 978-0-7134-6453-5. Dior designed three collections while at Piguet's, and the most famous dress he created then was the Cafe Anglais
Grainger, Nathalie (2010). Quintessentially Perfume. London: Quintessentially Pub. Ltd. p. 125. ISBN 978-0-9558270-6-8.
Picken, Mary Brooks; Dora Loues Miller (1956). Dressmakers of France: The Who, How, and why of the French Couture. Harper. p. 105.

businessoffashion.com

"Christian Dior (1905-1957)". The Business of Fashion. 23 November 2015. Retrieved 14 May 2023.

crfashionbook.com

"The History of the House of Dior". 20 November 2018. Archived from the original on 22 September 2020.

dior-finance.com

"- Christian Dior Finance". www.dior-finance.com. Archived from the original on 7 November 2008.

doi.org

Radieva, Krasimira (1 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 169–173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. S2CID 213675775. Retrieved 5 May 2023.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. In his Trompe l'oeil collection, Dior used all sorts of tricks to make busts look wider...[H]e put flying panels or pleats on nearly every skirt; when standing still, the figure looked slender and lean, but with movement the panels fluttered and flew.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior's Autumn Collection was called the Mid-Century look. The new Dior dresses and suits were softly bloused on top with tiny belted waists and pencil skirts...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The first new look of the fifties was Dior's Vertical Line....Dior was aiming at...the look of a straight line between shoulder and hip...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior stayed with geometry for his...Oblique line. There were...asymmetrical necklines and bodices...[T]ucks and seams spiraled around the body.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Oval line[:]...[e]very edge was rounded: suits hugged the body...; shoulders...smoothed into sleeves...; and hips and breasts were gently molded. Sleeves...curved at the top...Dior...used a simple mandarin neck-band – and jackets were rounded off at the front....He introduced a new, snug bolero jacket that...stopped just below the bust.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Long line was soon christened the Princess line...[F]or the Princess line, the waist...stayed where it was...[T]he illusion of a high waist was given by...putting short bolero jackets...over dresses, or by placing a seam under the bust..., or by attaching a half-belt high up across the back...Skirts were fractionally longer to emphasize this long line...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...the Sinuous line: soft, fluid clothes that moved with the body...The sweater look consisted of...a soft cardigan jacket, a simple little top...and gentle skirt.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Profile line...was sharper and more defined...[T]he clothes were simpler...and cut to outline the body in a dramatic way....[H]e invented a...skirt...constructed to jut out over the hips.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior called his Autumn Collection the Cupola, or Dome, line; there were wide, barrel-shaped coats and jackets with exaggeratedly round shoulders,...dresses with full busts and bell skirts, and a...rounded 'bustle' back for evening dresses...Princess dresses...with waists less marked...He raised the hemline by two inches...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. [Dior] called [his spring collection] his Lily of the Valley line. There were relaxed...suits with pleated skirts and short, sailor-collared jackets....The waist was less emphasized than ever before.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The A line and its predecessor, the H line, were revolutionary. They marked a complete U-turn in fashion away from the nipped-in waists and full skirts of the New Look to a sleeker, almost waistless shape...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Y line...was defined as a slender body with a top-heavy look....The Y could be upside-down too: long tunics with deep slits up the sides. These were...waistless and easy...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Arrow line...showed two new versions of the high waist that he had loved since his Princesse line....[T]here were...jackets...chopped off above the waist to show the belt of the dress underneath, and...loose cut jackets caught in with a belt or sash well above the waist and worn over slim skirts.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[Dior] produced daytime suits with skirts as long as those of an Edwardian lady. The new line was called Aimant, or Loving...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...Dior based much of his Libre line on two classic items of clothing[:]...the vareuse, or fishermen's smock,...and...the khaki bush jacket{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)

dsfantiquejewelry.com

"Christian Dior - The Story of the "Emperor of Fashion"". DSF Antique Jewelry. Retrieved 2 November 2024.

fashionsizzle.com

"Christian Dior – Fashionsizzle". fashionsizzle.com. 12 January 2014. Retrieved 2 November 2017.

fundinguniverse.com

"History of Christian Dior S.A." FundingUniverse. Retrieved 29 May 2025.

harpersbazaar.com

Ranscombe, Sian (7 November 2017). "An exclusive interview with the nose behind the new Miss Dior perfume". Harper's Bazaar. Retrieved 18 February 2024.

hautecouturenews.com

Zotoff, Lucy (25 December 2015). "Revolutions in fashion: Christian Dior". Haute Couture News. Archived from the original on 14 October 2022. Retrieved 14 October 2022.

minneapolisfed.org

1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved 29 February 2024.

newyorker.com

Du Plessix Gray, Francine (27 October 1996). "Prophets of Seduction". New Yorker. Retrieved 14 October 2022.

nytimes.com

Morris, Bernadine (29 July 1976). "A Revolutionary Saint Laurent Showing". The New York Times: 65. Retrieved 16 March 2022. [T]he collection Christian Dior showed in 1947 ... was Edwardian
"Christian Dior Cuts Skirt Length in Move Disrupting Couture World". The New York Times: 28. 10 February 1948. As in 1900, horizontal strips of tucked lawn, lace insertion and Valenciennes ruching alternate from décolletage to hem...
"Cardin First Struck Gold with Suit Made for Dior". The New York Times: 22. 27 August 1958. Retrieved 5 April 2023. Cocteau and Berard...introduced...Cardin to [Dior,] who was...preparing his first fashion collection...Cardin designed, cut, and made a coat and a suit. He showed them to Dior, who...enrolled him on his team....Cardin spent three...years at Dior...
"Cardin First Struck Gold with Suit Made for Dior". The New York Times: 22. 27 August 1958. Retrieved 5 April 2023. ...Cardin...designed one of the most successful models...a suit called 'Bar,' which buyers the world over bought.
Morris, Bernadine (14 April 1981). "How Paris Kept Position in Fashion". The New York Times: B19. Retrieved 4 April 2022. Dior's bombshell brought manufacturers as well as store buyers rushing back to the City of Light as they sought to interpret his inspirational designs for their own clients....Throughout the 1950s, Paris was acclaimed as the source of fashion, and Dior's success helped stave off the development of other independent style centers for at least a decade.
"Dior: Fashion's Ten-Year Wonder Leaves Couture Leadership a Question". The New York Times: 41. 25 October 1957. 1951: He revives his oval line, emphasizing it chiefly in the cut of sleeves and shoulders. He favored spencer jackets, an invention prophetic of future lines.
Inglis-Jones, Kay (3 February 1956). "Fashion Trends Abroad, Paris: Christian Dior's 'F' Line". The New York Times: F20. ...[W]ith his new 'Ligne Fleche' (Arrow Line)[,...t]he letter 'F,' standing for 'fleche' and 'femme,' takes the place of last season's 'Y' line. The new line is straight and high-waisted, with arrow points giving new cut, new draping and interest to sleeves, sleeve mountings and high bust detail. The big news is that princess lines have disappeared, replaced by the two-piece dress...
Blanks, Tim (18 August 2002). "The Last Temptation of Christian". The New York Times. Retrieved 14 October 2022.

rom.on.ca

Palmer, Alexandra (Spring 2010). "Dior's Scandalous New Look". ROM Magazine. Royal Ontario Museum. Retrieved 6 November 2015.

sciencespo.fr

Nowinski, Elodie (10 August 2015). "Christian Dior: A Passion for Beauty". Sciences Po. Retrieved 18 February 2024.

semanticscholar.org

api.semanticscholar.org

Radieva, Krasimira (1 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 169–173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. S2CID 213675775. Retrieved 5 May 2023.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)

telegraph.co.uk

fashion.telegraph.co.uk

Pithers, Ellie (12 November 2013). "Who was the original Miss Dior?". The Telegraph. Retrieved 18 February 2024.

telegraph.co.uk

Picardie, Justine (11 September 2021). "How superstition and clairvoyants influenced fashion designers from Christian Dior to Coco Chanel". The Telegraph. Retrieved 28 September 2023.

theguardian.com

Grant, L. (22 September 2007). "Light at the end of the tunnel". The Guardian, Life & Style. London. Retrieved 11 November 2013.

time.com

"Died. Christian Dior, 52". Time. 4 November 1957. Archived from the original on 12 October 2007. Retrieved 7 March 2008.

vanityfair.com

Cooper, Leah Faye (1 July 2022). "How Christian Dior Pioneered 75 Years of Feminist Fashion". Vanity Fair.

vogue.co.uk

Sowray, Bibby (5 April 2012). "Biography: Christian Dior". Vogue. Retrieved 28 February 2024.
Sowray, Bibby (5 April 2012). "Christian Dior". British Vogue. Retrieved 4 June 2020.

web.archive.org

"The History of the House of Dior". 20 November 2018. Archived from the original on 22 September 2020.
"- Christian Dior Finance". www.dior-finance.com. Archived from the original on 7 November 2008.
"Died. Christian Dior, 52". Time. 4 November 1957. Archived from the original on 12 October 2007. Retrieved 7 March 2008.
Zotoff, Lucy (25 December 2015). "Revolutions in fashion: Christian Dior". Haute Couture News. Archived from the original on 14 October 2022. Retrieved 14 October 2022.
"Awards – Académie des Arts et Techniques du Cinéma". Academie-cinema.org. Archived from the original on 18 October 2014. Retrieved 12 February 2017.

worldcat.org

search.worldcat.org

Cunningham, Bill (1 March 1988). "Fashionating Rhythm". Details. VI (8). New York, NY: Details Publishing Corp.: 121. ISSN 0740-4921. Each of the major fashion changes that mark a season is the result of a series of creative designers adding essential elements to the overall picture. The eventual credit for the genius is often given to the designer who articulated the look with commercial success, such as Dior achieved with his 1947 New Look, although it had been seen in small prototypes at Balenciaga in the early Forties and at other Paris houses just before the war.
Radieva, Krasimira (1 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 169–173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. S2CID 213675775. Retrieved 5 May 2023.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. In his Trompe l'oeil collection, Dior used all sorts of tricks to make busts look wider...[H]e put flying panels or pleats on nearly every skirt; when standing still, the figure looked slender and lean, but with movement the panels fluttered and flew.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior's Autumn Collection was called the Mid-Century look. The new Dior dresses and suits were softly bloused on top with tiny belted waists and pencil skirts...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 170. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The first new look of the fifties was Dior's Vertical Line....Dior was aiming at...the look of a straight line between shoulder and hip...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior stayed with geometry for his...Oblique line. There were...asymmetrical necklines and bodices...[T]ucks and seams spiraled around the body.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Oval line[:]...[e]very edge was rounded: suits hugged the body...; shoulders...smoothed into sleeves...; and hips and breasts were gently molded. Sleeves...curved at the top...Dior...used a simple mandarin neck-band – and jackets were rounded off at the front....He introduced a new, snug bolero jacket that...stopped just below the bust.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Long line was soon christened the Princess line...[F]or the Princess line, the waist...stayed where it was...[T]he illusion of a high waist was given by...putting short bolero jackets...over dresses, or by placing a seam under the bust..., or by attaching a half-belt high up across the back...Skirts were fractionally longer to emphasize this long line...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...the Sinuous line: soft, fluid clothes that moved with the body...The sweater look consisted of...a soft cardigan jacket, a simple little top...and gentle skirt.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 171. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Profile line...was sharper and more defined...[T]he clothes were simpler...and cut to outline the body in a dramatic way....[H]e invented a...skirt...constructed to jut out over the hips.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. Dior called his Autumn Collection the Cupola, or Dome, line; there were wide, barrel-shaped coats and jackets with exaggeratedly round shoulders,...dresses with full busts and bell skirts, and a...rounded 'bustle' back for evening dresses...Princess dresses...with waists less marked...He raised the hemline by two inches...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. [Dior] called [his spring collection] his Lily of the Valley line. There were relaxed...suits with pleated skirts and short, sailor-collared jackets....The waist was less emphasized than ever before.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The A line and its predecessor, the H line, were revolutionary. They marked a complete U-turn in fashion away from the nipped-in waists and full skirts of the New Look to a sleeker, almost waistless shape...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. The Y line...was defined as a slender body with a top-heavy look....The Y could be upside-down too: long tunics with deep slits up the sides. These were...waistless and easy...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 172. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[T]he Arrow line...showed two new versions of the high waist that he had loved since his Princesse line....[T]here were...jackets...chopped off above the waist to show the belt of the dress underneath, and...loose cut jackets caught in with a belt or sash well above the waist and worn over slim skirts.{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...[Dior] produced daytime suits with skirts as long as those of an Edwardian lady. The new line was called Aimant, or Loving...{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)
Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior". Artte. 7 (3): 173. doi:10.15547/artte.2019.03.002 (inactive 11 July 2025). ISSN 1314-8796. Retrieved 23 May 2023. ...Dior based much of his Libre line on two classic items of clothing[:]...the vareuse, or fishermen's smock,...and...the khaki bush jacket{{cite journal}}: CS1 maint: DOI inactive as of July 2025 (link)