Dior and His Decorators

Name: Dior and His Decorators
Brand: The Vendome Press
Price: 64.5 AUD

Victor Grandpierre, Georges Geffroy and The New Look

By: Maureen Footer, Hamish Bowles (Foreword by)

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Hardcover | 1 December 2018

At a Glance

Hardcover
272 Pages

Dimensions(cm)
28.6 x 23.6 x 3

Hardcover

RRP $100.00

$64.50

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Dior and His Decorators is the first work on the two interior designers most closely associated with Christian Dior. Like the unabashedly luxurious fashions of Dior’s New Look, which debuted in 1947, the interior designs of Victor Grandpierre and Georges Geffroy infused a war-weary world with a sumptuous new aesthetic—a melding of the refined traditions of the past with a wholly modern sense of elegance.

Author Maureen Footer recounts the lives and work of this influential trio, illustrated with a trove of evocative vintage photographs. Grandpierre designed Dior’s first couture house, creating not only the elegantly restrained look of the salons but also the template for the Dior brand, including typeface, logo, and packaging. Both Grandpierre and Geffroy (who worked independently) designed the interior of Dior’s townhouse.

After the couturier’s untimely death in 1957, Grandpierre and Geffroy went on to design salons for other couturiers, as well as homes for the likes of Yves Saint Laurent, Marcel Rochas, Gloria Guinness, Daisy Fellowes, and Maria Callas.

Industry Reviews

"To hear Maureen Footer tell it, Paris in the late 1940s mirrors America of late. "Society was polarized, people felt like they were losing their identities, and outside influences threatened what was considered the French way of life," the style historian says on the eve of publishing her new book, Dior and His Decorators: Victor Grandpierre, Georges Geffroy, and the New Look (The Vendome Press, $60). But instead of snarking on Twitter, she continues, couturier Christian Dior and two friends--the charming Grandpierre, a former photographer; the melancholic Geffroy, an ex-fashion designer--went about making French classicism great again, though they stirred in English furniture, Finnish carpets, and Middle Eastern bronzes. The modish result was revolutionary, Footer says, "in a streamlined but cosmopolitan manner that answered, as design often can, the big questions of the time: Who are we? Where are we now? Where are we going?"-- "Architectural Digest"

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