4 - Musée Christian Dior

Dand smes yde Barbey d’Aurevilly 

à Christian Dior 

Les Rhumbs 

Musée Christian Dior 

Granville 

DOSSIER DE PRESSE 

exposition présentée 

du 1 er mai au 21 septembre 2008 

au musée Christian Dior à Granville-Normandie 

1808-2008

Dand isms 1808-2008 

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1 From Jules Barbey d’Aurevilly to Christian Dior, 

two centuries of dandyism 

2 From dandy to dandyism 

3 From Monsieur Dior to the House of Dior 

4 Kaleidoscope of dandyism 

5 Exceptional loans and prestigious lenders 

6 From the Villa "Les Rhumbs" 

to the Christian Dior Museum-Garden 

7 Events, catalogue and practical information 

8 List and captions of the photos 

from Barbey d’Aurevilly to Christian Dior 

Press Contacts 

Catherine Dufayet Communication 

phone (33)1 43 59 05 05 fax (33)1 43 59 05 02 

catherine.dufayet@wanadoo.fr 

Barbara Jeauffroy 

phone (33)1 40 73 53 74 fax (33)1 40 73 57 93 

bjeauffroy@christiandior.fr 

Anne Forest 

phone (33)2 33 61 48 21 fax (33)2 33 61 99 15 

aforest.museechristiandior@wanadoo.fr 

www.musee-dior-granville.fr

1 From Jules Barbey d’Aurevilly 

to Christian Dior, 

two centuries of dandyism 

by Jean-Luc Dufresne, head curator 

The exhibition Dandysmes 1808-2008, de Barbey d’Aurevilly à Christian Dior opens 

a new perspective for the Christian Dior Museum at Granville, after the success of the 

anniversary cycle 2005/2007 – commemorating the one hundredth anniversary of the 

birth of Christian Dior at Granville and the 60 year anniversary of the founding of the 

House of Dior Avenue Montaigne in Paris. In 2008, its status as a French National 

Museum is an invitation to our Museum to resituate Christian Dior within the 

history of the relationship between art and fashion. And this is what now enables us 

to renew and enrich our approach to exhibitions and their themes, ranging from the spotlighting 

of historical and contemporary figures and personalities to proper artistic exhibitions, 

particularly as the Christian Dior universe is so rich in links and in heritage. 

The bicentenary of the birth of Jules Barbey d’Aurevilly (1808-1889) enables us 

to unite the region’s most famous writer with Christian Dior himself, who admired 

him so much he included him in his 1956 “Bal des Artistes”; a ball that inspired John 

Galliano for Dior’s 60 year celebrations in 2007. Barbey d’Aurevilly is the author of a work 

of reference, Du Dandysme et de George Brummel, a real dandy manifesto published in 

1845. This link between Barbey and Dior, over a span of two centuries, gives us a new 

reading of dandyism from the 18 th to the 21 st century. 

The exhibition covers two centuries of fashion in an exchange between writing, 

images and objects. It really underlines the correspondences between masculine and 

feminine fashion particularly developed in leisure clothes in the 20th century. Feminine 

dandyism is certainly evoked by the Amazons but also by the way in which Haute 

Couture appropriates references from the “dandy” body, especially in Dior’s most stunning 

dresses by Christian Dior himself from 1947 to 1957 up to the very latest creations by 

John Galliano. Anglomania is also at the heart of this review, covering two centuries 

from Byron to Galliano via Cecil Beaton. The presence of numerous portraits and images 

fixing the attitudes and the postures of elegant life sets the tone for a playful scenography 

where dandyism, the art of avant-garde and off-beat elegance, is reflected in a veritable 

set of mirrors: the “icons”, that are the great figures of elegance, are brought together with 

a typological series of accessories, while the dress and the forms of the Old Regime 

before 1789 are brought face to face with the most recent designs. The scenography by 

Frédéric Beauclair, who has just taken part in the exhibition “Quand Versailles était 

meublé d’Argent” at the Château of Versailles, and the graphic work of Emmanuel Pierre 

underline the importance of the relationship between image and object as well as the 

parallels between the different dandy attitudes. The poses of the models are particularly 

noteworthy, as is the amalgamation of masculine and feminine and the party spirit that 

animated Christian Dior and Cecil Beaton defending a “defiant fashion”. For the first 

time, a room in the Museum is especially created around the Dior family who lived 

in the Villa “Les Rhumbs”. Finally, the exhibition proposes some unexpected 

enlightenment on several precise points: the dandyism of “Christian Dior Monsieur” 

to “Dior Homme” and “beauty care” that is treated in a new and original way, this 

theme rarely ever having been the object of study or presentation before. The catalogue, 

a gathering of viewpoints on the various themes tackled, comprises a kaleidoscope 

of images. A cycle of conferences and projections also will be proposed from May 

to September. This exhibition is part of the national celebration of the bicentenary 

of the birth of Jules Barbey d’Aurevilly in 2008. 


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Anne Forest 

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2 From dandy to dandyism 

by Jean-Luc Dufresne, head curator 

The dandy came before dandyism. Originally, the dandy gave body to a way of 

being that became dandyism, a concept which rests on a paradox: although certainly 

embodied by a generational group and personified by very real people, it was also 

theorized by the always fugitive and abstract figure of the “ideal dandy”. 

Jules Barbey d’Aurevilly (1808 – 1889), for whom the Christian Dior Museum at 

Granville is contributing to the celebration of the bicentenary of his birth, has partly 

escaped this paradox thanks to his book Du Dandysme et de Georges Brummel (1845), 

in which, as it happens, Georges Brummel was the very personification of dandyism. 

Moreover, the longevity of Barbey d’Aurevilly’s life enabled him to link the generation 

that invented dandyism with the one that resuscitated it at the end of the 19 th century. 

Thus, Barbey had never been so intriguing than when, a half-century later, he sported 

the elegant attitude and apparel of his romantic youth. 

The exhibition’s set purpose is precisely to link the generations of dandies through 

a gallery of emblematic characters. 

Firstly, with elegant Englishmen and the figure of Beau Brummel whose radical posturing 

and silhouette already crystallized what goes to making a dandy today. During that 

same era, Balzac also wrote at great length about elegance. Alfred de Musset and George 

Sand formed an iconic couple. Anglomania was vindicated by this generation which was 

more especially embodied by the dashing figure cut by the horseman and the personality 

of the Comte d’Orsay, who spent his life between London and Paris. 

The following generation saw Baudelaire theorize a dandyism that would be linked 

to nostalgia. The poet affected a stylishly neglected “artist’s” appearance and personified 

a culture of retreat which announced the spirit of the turn of the century. The generation 

of Robert de Montesquiou, Jean Lorrain and Pierre Loti showed a detachment from 

the industrial society. Dandies and decadents seemed to become synonymous, their 

refinement and ambiguity setting them against the threat of the new barbarians. This 

association of the dandy spirit with a reaction to modernity and vulgarity is wittily 

summed up by the circle around Oscar Wilde. Robert de Montesquiou (1855-1921) 

was a model of Being and Seeming, of Reality and Appearance – an “inspiring model” 

Christian Dior would have said – and who, in fact, inspired Huysmans and Proust. The 

famous portrait of Montesquiou by Boldini, one of the key pieces in the exhibition, 

and the various documents that surround it help us to define the dandy of the Edwardian 

era: a true master in the art of posture and gesture, who comes close to Wilde’s famous 

epithet: “make one’s life a work of art”. 

At the beginning of the 20th century, after the decadent dandy period, came that of 

the innovative dandies. The importance of elitist sports as a sign of distinction brought 

about the fashion for the golfing suit, for instance. 

After the hardships of the Second World War, Cecil Beaton – of whom an outstanding 

collection of photographs is presented in the exhibition – and Christian Dior engaged 

in a real combat to sustain the exigency of elegance. 

England – yet again – in the 1960s saw the appearance of new dandies, true icons 

of the “Pop Culture” such as David Bowie, the very personification of dandyism today. 


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Anne Forest 

phone (33)2 33 61 48 21 fax (33)2 33 61 99 15 



3 From Monsieur Dior to the House of Dior 

by Barbara Jeauffroy-Mairet and Vincent Leret, co-curators 

Within this genealogy, and within this theatre that is dandyism, Christian Dior 

compels recognition simultaneously as an actor, a decorator and even more notably 

as a director, in fact, a veritable demiurge. The grand couturier frequented the front 

stage as much as the backstage, illustrated by his taste for disguise since his earliest 

childhood and by his friendships and acquaintances with musicians, designers, painters 

and writers, such as his early friendship with the decorator and theatre costume designer 

Christian Bérard. Thus, the couturier willingly indulged in his predilection for fancy 

dress at the great balls of the era, metamorphosing himself into the Animal King at the 

ultimate “Bal des Rois et des Reines” given in 1949. For the “Bal des Artistes” on the 14 th 

of February 1956, organized by the Viscount and Viscountess de Noailles in their sumptuous 

town mansion on the place des États-Unis in Paris, the couturier came dressed 

as Barbey d’Aurevilly. However, the great couturier always knew how to contrast 

the showiness of these grand occasions with the most classic everyday apparel, 

although imbued with an indubitable style. Indeed, amongst the emblematic accessories 

of dandy dress, the tie was one of Christian Dior’s firm favourites. Thanks to the 

installation of his famous “Colifichets” (trinkets) Boutique at the foot of the 30 avenue 

Montaigne stairway in 1947, then by the granting of licenses for stockings and ties in 1949 

and 1950, Christian Dior was to appeal to both a male and female clientele with 

what are now two universal and must-have accessories. The tie has now become the 

accessory that symbolizes and highlights men’s attire. Today, Kris Van Assche, Artistic 

Director of Dior Homme, pursues the tradition with a seven-day set of ties worn by 

Monsieur Dior entirely created from archive photos. We know that Christian Dior 

attached a lot of importance to the quality of his grooming and dress through personal 

belongings that have been passed on to us, like his watch, his gold cigarette case with his 

initials engraved on the inside, his diary, his made to measure hats from chez Gelot and 

his Louis Vuitton luggage. 

With regard to fragrances, Eau Fraîche by Christian Dior, launched in 1953, was the 

very first unisex fragrance with its design highlighted by a little dandy touch, a black 

ribbon looped into a bow around the stopper. Fond of these parallels between feminine 

and masculine, Christian Dior chose the houndstooth pattern, a fabric usually reserved 

for male elegance, to dress up Miss Dior. This tradition of mixing and crossing made 

a strong statement in 1966 with Eau Sauvage which marked a major turn in the 

history of fragrances for men. For the first time, a perfumer shook up the conventional 

recipes for Colognes by adding a very floral note. Eau Sauvage is the emblem of the spirit 

of an era leaning towards the liberalisation of moral standards and the cross-over of 

genders, symbolized by the bottle’s fluting evoking a dress pleat and its stopper recalling 

a thimble. This fragrance invited men at long last to get out of the olfactory rut of the 

first half of the 20 th century and to entertain a new and complex-free relationship 

with flowers. The great Dior men’s fragrances often use unprecedented floral facets: 

violet for Fahrenheit in 1988 or Iris from Tuscany for Dior Homme in 2005. Christian Dior 

Parfums has always been close to dandy refinement, as much through its olfactory expertise 

as through the determination of its creators to impose a new reading of masculine 

fragrances. 


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4 Kaleidoscope of dandyism 

extracts from the catalogue 

including John Galliano and Kris Van Assche 

Balzac called elegant women the small sex. 

As the term is not our own, we can paraphrase it. 

Elegance is the small sex of beauty. 

Barbey d’Aurevilly, De l’élégance, 1843 

Dandyism is like a setting sun; like the falling star, 

it is superb, without warmth and full of melancholy. 

Charles Baudelaire, Le Peintre de la vie moderne, 1863 

Idleness is the condition for perfection. 

The objective of perfection is youth. 

Oscar Wilde, Aphorismes, 1890 

Byron is a sybarite but a Spartan sybarite, 

who adores truffles and champagne but who, nonetheless, 

likes black bread and fresh water. 

Gabriel Matzneff, La diététique de Lord Byron, 1984 

The dandy is only fecund in the imagination of others. 

He puts all his dynamics into the quest for an ideal 

he cannot attain. 

Françoise Dolto, Splendeurs et misère du dandysme, 1986 


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4 … 

» The dandy dream by John Galliano 

» 

“One should either be a work of Art, or wear a work of Art’, wrote the iconic 

English dandy Oscar Wilde. I am thrilled to be part of this exhibition 

on ‘Dandyism’ at the Dior museum. Granville is the perfect location to celebrate 

the 200th anniversary of writer Jules Barbey d’Aurevilly and bring together an eclectic 

collection of dandies. Dandies at Dior and dandies who inspire Dior; there is 

such a rich source to choose from. Dandies have led and inspired the arts world since 

they first flounced onto the 18th century scene in England. It’s only fitting that 

Dior can salute this group of decadent dreamers and arbiters of style(…) 

The dapper dandy is a chameleon that moves with the times and trends 

and isn’t afraid to give their own extreme take on luxury. Style is conviction 

after all, and they live the dream… now who does this sound like to you? 

Frivolity and frock coats aside, I hope that this exhibition, or a biography of these 

featured heroes, will show you there is more to the dandy than simply being 

a dedicated follower of fashion and a catwalk finale! To make a mark on history 

you have to turn a few heads. This exhibition brings together some of the most iconic 

and inspiring dandies. From Cocteau to David Bowie, Baudelaire to Beaton 

and Mr. Dior’s grand costume balls, the dandy motto must be ‘dress to impress’. 

You will see every detail, every accessory and every line of poetry is perfect 

for the mood and the moment (…) 

I have worked with, and been inspired by, many dandies, just as Mr. Dior 

himself was. Dandies are dreamers who dared. To live as art, or to wear art, 

has inspired me personally, as well as professionally (…) 

I hope to be a modern day dandy – to live the dream and to feed the dreams of 

others. Life is a work of art – so wear it and wow in it! Why run away from adventure? 

Live it, love it and enjoy the dandy dream! 

John Galliano, Paris, the 25th of February 2008 

Dandyism by Kris Van Assche 

“I entertain a complex relationship with Dandyism. 

Dandy… This essential figure of the 19th century, taken out of its historical context, 

seems a far cry from our Modernity. And yet today, it is constantly invited 

to signify masculine elegance, to characterize the quest for a subtle elegance. 

But what is the real heritage of this founding movement? Considering the origin 

of this movement, Dandyism speaks to me when it reflects on a different 

lifestyle where Appearance is not frivolous but profound and courageous. 

Then I rediscover what is important to me, this search for a radical sophistication, 

for a new nobleness of soul. It is in this sense that I admire those new “dandies” 

that are in my eye, the painter Jacques Monory or the pop star Justin Timberlake. 

They perpetuate with panache that attitude which aims at the perfect equation 

between Being and Seeming, between Reality and Appearance. They embody 

Modernity and at the same time have inherited from dandyism that essential 

attitude which constructs them in the eyes of others. 

Kris Van Assche, Paris, the 14th March 2008 


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(These quotes are extracts from the 

catalogue for the exhibition “Dandysmes 

1808-2008 de Barbey d’Aurevilly 

à Christian Dior”.) 

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Anne Forest 

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5 Exceptional loans 

and prestigious lenders 

On the occasion of the “Dandyisms” exhibition, the Christian Dior Museum 

at Granville has brought together an exceptional set of exhibits composed partly 

by works of art, rare and precious objects and fashion designs from the collections 

of public and private lenders and partly by emblematic pieces from the Dior heritage 

belonging to the Granville Museum and to the collections of Christian Dior Couture 

and Christian Dior Parfums. 

Moreover, the Christian Dior Museum at Granville has made a series of acquisitions 

of costumes and documents that allows it to present, for the first time, elegant children’s 

clothes, very rare men’s fashion magazines and a unique bequest dedicated to the history 

of perfumes and cosmetics. 

Leading French Museums have also committed themselves to this exhibition with the 

Christian Dior Museum at Granville by loaning some prestigious works: 

- the Museum of the Châteaux of Versailles and Trianon has accepted to loan the 

most famous portrait of Barbey d’Aurevilly, by Emile Lévy, for an unprecedented 

presentation outside of its walls. 

- the famous great portrait of Montesquiou by Boldini will be loaned by the Orsay 

Museum accompanied by various documents evoking this Proust-like figure. 

- the Palais Galliera, the City of Paris Fashion Museum, has selected some typological 

elements from the 19th century for us. 

- the Maison de Balzac is loaning the mythical “turquoise cane” belonging to the author 

of “The Human Comedy” 

- the Carnavalet Museum is loaning three paintings: le Pavillon d’Armenonville, soir de 

Grand Prix by Henri Gervex, portrait of Jean Lorrain by Antoine de La Gandara and 

a self portrait of the Comtesse de Greffuhle. 

- the Musée des Arts Décoratifs of Paris, is loaning rare and precious objects having 

belonged to illustrious dandies: Barbey but also Alfred de Musset or the Baron de Redé. 

- the mood of elite society at the turn of the 20 th century will be rendered by the portraits 

of elegant writers (Paul Morand, Jean Cocteau) by Jacques Émile Blanche and elegant 

sportsmen by Boutet de Monvel (Museums of Rouen and Boulogne-Billancourt) 

- the Barbey d’Aurevilly Museum has been willing to loan Barbey d’Aurevilly’s wardrobe, 

some amazing caricatures as well as a set of manuscripts relative to the writing 

of the book Du Dandysme et de Georges Brummell 

- numerous pieces will come from private collections of accessories and perfumes (Musée 

national du Château de Malmaison, Baccarat, Guerlain, Louis Vuitton, Patrimoine 

Lanvin) or loaned by enlightened amateurs of the “dandy” phenomenon 

(Anouschka, Didier Ludot, Alexis Mabille, Georges Stam, Gilbert Segas, 

Falbalas, Joseph Avrilleau, Merlin Hollande, Oscar Wilde’s grandson, 

Franck Salle) and galleries (Talabardon et Gautier). 


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6 From the Villa “Les Rhumbs” 

to the Christian Dior Museum-Garden 

19 20 21 

Born on the 21 st of January 1905 in Granville, a seaside resort on the Channel, 

Christian Dior spent his early childhood years at “Les Rhumbs, a pink and grey 

villa overlooking the sea. The Diors were a prominent family of industrialists in the 

region: the main business, located at Granville, being the biggest fertilizer factory in the 

west of France. Christian Dior’s mother, Madeleine Martin, brought to this family of 

entrepreneurs all the traditions of a refined upper class lifestyle with her stylishly elegant 

taste and clothes. It was she who transformed the house into a villa surrounded by a 

garden that she had arranged like an English park. Like a lot of upper class children 

born before 1914, Christian Dior would feel a great nostalgia for this Edwardian lifestyle. 

He inherited his mother’s passion for gardens and developed his taste for parties and 

fancy dress costumes, secret alcoves and old styles. Then, because of the diplomatic 

career wished for by his parents - a career at odds with his own desire to study the Fine 

Arts - he went to live in Paris and enrolled at the School of Political Sciences. However, 

he was more motivated by the arts and music and met, amongst others, the musician 

Henri Sauguet, the painter Christian Bérard and the historian Pierre Gaxotte. 

After his military service in 1927, Christian Dior decided to open an art gallery 

where he exhibited Picasso, Matisse, Dufy, Bérard, Dali… In 1935, he became a fashion 

illustrator for the Figaro. He was employed by Robert Piguet as a designer in 1938 then 

by Lucien Lelong in 1942 and it was in 1946 thanks to the Boussac group, that he 

opened his own fashion house at 30 Avenue Montaigne. The house of Christian 

Dior was created and caused the New Look revolution with his first show on the 

12 th of February 1947. 

40 years after the creation of the Fashion House, Jean-Luc Dufresne proposed the 

transformation of the villa “Les Rhumbs” into a Museum in the aim of evoking the career 

and personality of the couturier. Acquired by the town of Granville in 1938, following 

the great reversal in fortune of Christian Dior’s father, the domain had been transformed 

into a public garden. 

Since 1991, supported by the association “Présence de Christian Dior”, the villa 

has alternated construction work and exhibitions. As from 1997, each floor has been 

refurbished like a fashion museum: costumes and accessories are presented in roomshowcases. 

The Museum’s collections regroup numerous souvenirs of Christian Dior 

(portraits, mementos such as the couturier’s star, scissors, diary and watch), collections 

illustrating the history of fashion and reconstituting the artistic and cultural context of 

the couturier as well as Dior Haute Couture and Ready-to-Wear styles. There are also 

numerous accessories such as shoes, hats, jewellery, perfume bottles, a bequest of documents 

including photographs and fashion designs or even artists’ works dating from 

the years between the two world wars. 


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7 Animations, catalogue 

practical information 

The events and animations around the exhibition 

“Dandyisms 1808-2008, from Barbey d’Aurevilly 

to Christian Dior” 

Perfume workshops 

The workshops take place in the Dior family’s former reading room 

located in the garden (left corner) every Wednesday between the 

4 th of June and the 17 th of September 2008, at 3, 4 and 5 pm for 

small groups (maximum 10 people) on reservation. 

Museum Night and French Patrimony Days 

On the occasion of the Museum Night, the 17 th May 2008, 

The Christian Dior Museum will be free to the public from 

8.00 pm to half past midnight. During the French Patrimony 

Days, on the 20 th and 21 st of September next, the Christian 

Dior Museum will propose entrance tickets at half price, 3 € . 

Rendezvous in the gardens 

In partnership with the town of Granville, the Christian Dior 

Museum and Garden will take part in the Rendezvous in the 

gardens, a national operation mounted by the Ministry of Culture, 

on the 30 th and 31 st of May and the 1 st of June 2008 and will set 

up a program of free events on the theme of exotic plants. 

Permanent information about the garden’s history is currently 

being developed. 

Light shows 

Every Friday, Saturday and Sunday evening during the months of 

July and August, the Christian Dior Museum and Garden will be 

illuminated at dusk. 

Program of conferences and projections 

A monthly cycle of conferences and projections on Barbey 

d’Aurevilly’s universe and dandyism in general, including the 

films Le rideau d’Alexandre Astruc, 1953 and Une vieille maitresse 

by Catherine Breillat. 

The authors-conference givers invited are: Daniel Salvatore 

Schiffer, Marguerite Champeaux-Rousselot, Farid Chenoune, 

Marie-Christine Matta, Philippe Thiebaut… 

The museum’s shop will present a selection of books including 

the essay by Barbey d’Aurevilly Du Dandysme et de Georges 

Brummel and the book Philosophie du Dandysme : une esthétique 

de l’âme et du corps by Daniel Savatore Schiffer, published in 

march 2008 by PUF. 

For more details concerning the calendar and the themes log onto 

www.musee-dior-granville.com 


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Publications 

- The exhibition’s book-catalogue (17 x 24 cm) in four-colour 

printing, bound and co-published by the Christian Dior Museum 

and Editions Artlys, 96 pages, 19,50 € - Under the direction of 

Jean-Luc Dufresne in collaboration with Marguerite Rousselot, 

Barbara Jeauffroy, Erwan de Fligues and Vincent Leret, with 

texts by John Galliano and Kris Van Assche. 

- Le guide du musée et jardin Christian Dior co-published by the 

Christian Dior Museum and Editions Artlys 32 pages 8 € . 

Opening times and entrance fees 

- The museum is open from the 1st of May to the 21st of September 

2008, everyday without interruption from 10 am to 6.30 pm. 

Open visit. Boutique inside the museum, a tea room and audiovisual 

space (free access) outside 

- The garden is open all year round and is free with open access 

from September to June, from 9 am to 8 pm except in July and 

August open till 9 pm 

- Entrance fee: normal: 6€ / reduced (handicapped visitors, 

unemployed, students: 4€ / family (minimum 4 people): 18€ 

Free for all members of the association “Présence de Christian 

Dior”. 

Conditions for group visits 

- Group entrance fee: 3€ per person for 20 people upwards. 

Reservations (compulsory) at 02 33 61 48 21. On arrival there is 

an introductory presentation of the exhibition lasting about 15 

minutes then an open visit inside the museum (45 minutes for 

the Museum; 1h30 for the Museum and Garden). 

How to get there 

- A13 Motorway Paris/Caen then the A84 between Caen and 

Granville direction Rennes/ Le Mont Saint- Michel (3 hours) 

- Granville SNCF railway station, daily links with Paris 

(Montparnasse /Vaugirard), Caen and Rennes. 

For further information 

Christian Dior Museum and Garden, Villa “Les Rhumbs”, 

rue d’Estouteville - 50400- Granville 

e-mail : museechristiandior@wanadoo.fr 

www.musee-dior-granville.com 



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8 List and captions of the photos 

Cover: 

Gisele Bündchen inspired by Irving Penn 

HC AH 2007-2008 © Christian Dior Couture 

Dandys, drawings and collages by 

Emmanuel Pierre 

© copyright musée Christian Dior 

1 Emile Lévy, Jules Barbey d’Aurevilly 

(1808-1889) novelist, 1881 Versailles, 

Châteaux de Versailles et de Trianon 

© RMN/Christian Jean / Hervé 

Lewandowski 

2 Giovanni Boldini, Le Comte Robert 

de Montesquiou (1855-1921), writer, 

1897 

© RMN/ Hervé Lewandowski 

3 Christian Dior disguised as Barbey 

d’Aurevilly at the Bal des Artistes 

in Paris, on the 14th of February 1956. 

© André Ostier 

4 Bastien Lepage, 

Portrait de Jeune Garçon 

© Galerie Talabardon et Gautier 

5 Jacques-Émile Blanche, 

Étude pour le portrait de Jean Cocteau, 

1923, H/T, 91,5 x 72,7 cm. 

Musée des Beaux-Arts de la ville 

de Rouen. 

Photo Catherine Lancien 

© Catherine Lancien 

6 Box for Parfums d’Orsay depicting 

Le chevalier d’Orsay dessinant 

le portrait de Byron, 

by Jean Cocteau, 1956 

© ADAGP 

7 Golfing suit, around 1930. 

Tweed jacket with pointed lapels, 

half-belt and darts in the back, 

houndstooth wool knickerbockers, 

check patterned socks. 

Collection Falbalas, Photo L. Le Guyader 

© musée Christian Dior 

8 Christian Dior as the Animal King 

Photo Keystone © Keystone 

9 Christian Dior in a white suit 

sitting on a low wall 

© DR 

10 Eau Noire, Cologne Blanche 

and Bois d’Argent, exclusive Colognes 

made for Christian Dior Parfums 

under the direction of Hedi Slimane 

in 2004. 

© Christian Dior Parfums 

11 Dandys, drawings and collages, 

by Emmanuel Pierre 

© musée Christian Dior 


y 

PRESS KIT 

12 John Galliano by Paolo Roversi 

© Paolo Roversi 

13 Kris Van Assche by Jeff Burton 

© Dior 

14 Bow ties, Alexis Mabille, 

Impasse 13 

© DR 

15 Gloves belonging to 

Barbey d’Aurevilly, 

Musée Barbey d’Aurevilly 

© DR 

16 Oscar Wilde in a fur coat leaving 

for the United States in 1881 

Photo Elliot and Fry © DR 

17 Back view of dressing gown in floral 

brocaded light blue satin with 

6 gold and silver petals, 

around 1825, Musée de la Mode 

de la Ville de Paris, Galliera 

Photo L. Le Guyader 

© Musée Christian Dior 

18 Turquoise cane belonging to Balzac, 

Le Cointe 1834, Maison de Balzac Paris 

© Maison de Balzac / Roger Viollet 

19 Villa “Les Rhumbs” the current 

Christian Dior Museum, Granville 

Stereochrome 1930. 

Photo Vasseur Dior 

© Christian Dior Museum 

20 Villa “Les Rhumbs”, 


Photo Anne Forest 


21 Villa “Les Rhumbs” 


Photo Vincent Leret 


22 Christian Dior and his sister Jacqueline 


23 Christian Dior and his brothers 

and sisters in 1920 


24 Perfume workshop 

at the Christian Dior Museum 

Photo Anne Forest 


25 Illumination of the Villa “Les Rhumbs” 

Photo Thierry Seni 

© town of Granville 

26 Gisele Bündchen inspired 

by Irving Penn HC FW 2007-2008 

© Christian Dior Couture 


The photos on the back cover will be available 

on the museum’s website. 



phone (33)1 43 59 05 05 fax (33)1 43 59 05 02 



phone (33)1 40 73 53 74 fax (33)1 40 73 57 93 


Anne Forest 

phone (33)2 33 61 48 21 fax (33)2 33 61 99 15 


www.musee-dior-granville.fr 

26

Portrait de Jean Galliano © Photo par Jean-Baptiste Mondino 

conception _ atelier Juliane Cordes _ cordes.juliane@gmail.com

4 - Musée Christian Dior

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