璁㈤槄

              澶氬钩鍙伴槄璇?/p>

              寰俊璁㈤槄

              鏉傚織

              鐢宠绾稿垔璧犻槄

              璁㈤槄姣忔棩鐢甸偖

              绉诲姩搴旂敤

              鐢熸椿

              杩ゥ涓撶敤妯$壒瑕佷粈涔堟潯浠讹紵鑵板洿涓嶅埌涓€灏哄洓

              韬綋鏉′欢浼樼锛屽嵆浣夸笉浼氳娉曡锛屼篃浼氳杩ゥ褰曞彇銆?

                            璁㈤槄

                            鐢熸椿

                            杩ゥ涓撶敤妯$壒瑕佷粈涔堟潯浠讹紵鑵板洿涓嶅埌涓€灏哄洓

                            韬綋鏉′欢浼樼锛屽嵆浣夸笉浼氳娉曡锛屼篃浼氳杩ゥ褰曞彇銆?

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                            璇戣€咃細鍐赴

                            瀹℃牎锛氬鏋?/p>

                            Before there were supermodels, there were 鈥渕annequins鈥濃€攍iving, breathing women who played an active role in designing haute couture by standing very, very still. Designers and artisans would pin, prod, or tuck fabric and toiles to the mannequins to bring sketches and ideas to life.

                            In 1950, one such mannequin, the British model Jean Dawnay, went to work full-time in Paris at the fashion house of Christian Dior. This contract alone was enough to earn her newspaper coverage in Britain at the time, but she also wrote a book about her experiences. 鈥淢odel Girl,鈥?published in 1956, went behind the scenes of fashion shows, couture houses, and photoshoots, lifting the veil on the hard work that goes into glamour.

                            Now Dawnay's daughter, Katya Galitzine, is re-releasing a section of the memoir as 鈥淲orking for Christian Dior鈥?(Zuleika Books) to coincide with the 鈥淐hristian Dior: Designer of Dreams鈥?exhibition at the V&A Museum in London.

                            Galitzine says her mother arrived in France on the way back from a modeling job in Venice and spent a few days knocking on designers' doors, asking for work.

                            鈥淪he only went to the Houses whose perfumes she knew, because that was how she knew the names, and every single one of them wanted her, so she must have had something,鈥?Galitzine says. 鈥淚 mean, she did have something. But she was very beautiful, she was very elegant. She adapted very well to whatever people wanted, and she had an 18-inch waist.鈥?/p>

                            Although she spoke no French, Dawnay's cold calling paid off, and she accepted a contract at Dior's atelier.

                            鈥淭hey had to clock in, like in a factory, at 9 o'clock, and then she would stand, literally stand and be pushed around and shoved around and pricked and pinned,鈥?her daughter explains.

                            Galitzine found one Dior dress hidden at the back of a wardrobe after her mother died in 2016.

                            鈥淭here was this beautiful, wool worsted tight-waisted dress that's called 'Nonette' that was original Christian Dior, numbered. If you did a test on it, it would probably have his DNA dust on it because he actually made it on my mother in 1950,鈥?she says. 鈥淎nd it was the dress that she wore at the original Savoy show that brought Christian Dior to London in spring 1950.鈥?The dress is part of the V&A show.

                            In footage of the Savoy Hotel show, Dawnay wears a white debutante dress called 鈥淚nnocence,鈥?a white embroidered dress 鈥淢uguet de Mai,鈥?a silk coat called 鈥淩avel鈥?and a dinner dress made of straw lace.

                            After Dawnay left Dior, her celebrity status continued to rise.

                            In 1951, Vogue took the unusual step of sending her and several other models to an event in Australia, Galitzine says. 鈥淐lothes had been sent to locations, but once the clothes got there, they'd find pretty local girls, local models, to be the model. To actually pay on an aircraft for five girls and put them up in a hotel鈥攖hat was enormous. So those five girls became 鈥榮upermodels.鈥欌€?/p>

                            Dawnay wrote her memoir in Majorca, where she socialized with Prince Rainier and Grace Kelly, who were there on their honeymoon.

                            鈥淪he'd spend all day writing her book and then not have to worry about food because she'd go to this fantastic yacht and have dinner,鈥?Galitzine says. In photos of her mother and Kelly from that period, she says, 鈥渢hey looked so similar actually. They're very much that '50s style with the scarves and their pointed glasses.鈥?/p>

                            The comparisons didn't end there: Dawnay also went on to marry a prince鈥攁 Russian emigre to Britain. She became Princess George Galitzine.

                            In later years, she wrote another book about modeling, made regular appearances on quiz shows, advised stores on fashion, and did charity work.

                            In an interview with The Associated Press at a Dior 50th anniversary exhibition in 1997, Dawnay recalled the excitement of those days: 鈥淎fter the war, with the austerity and clothes rationing, coupons, when Dior came on the scene, it was such a sensation鈥攖hese incredibly feminine, romantic, beautiful clothes with so much material.鈥?/p>

                            鎴戞潵鐐硅瘎

                              鏈€鏂版枃绔?/p>


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