One of at least three exhibitions about the couture house of Christine Dior touring simultaneously in 2019, this exhibition originally was staged at the Royal Ontario Museum in 2017–2018. The curator, Dr. Alexandra Palmer, is an acknowledged authority on the subject, having written two previous books about the designer and the dissemination of his couture into North America. While the Glenbow has hosted exhibitions about film costumes, needlework, and even motorcycle jackets in recent years, this was the first display dedicated to elite fashion at the museum. The citizens of Calgary, known for their love of western casual clothing, nevertheless seemed to appreciate the well-known brand, and many brought out their floor-length fur coats, designer handbags, and red-soled shoes to the preview and curator’s lecture events. The exhibition concentrated on the classical period of the couture house from 1947 to 1957 when Christian Dior himself was at the helm. Most of the material on display was drawn from the impressive collections of the Royal Ontario Museum, whose gowns had belonged to local socialites. The modest scale—only two galleries—may have been missing the color-coordinated walls of couture at the Denver Art Museum (Dior: From Paris to the World, Denver Art Museum, November 19, 2018–March 17, 2019) or the celebrity appeal of Princess Margaret’s twenty-first-birthday dress (Christian Dior: Designer of Dreams, Victoria and Albert Museum, February 2–September 1, 2019), but this exhibit enabled visitors to have a more intimate encounter with these iconic dresses. While the exhibition never explicitly answered the question of why customers preferred the aesthetic and allure of Dior dresses over those designed by his contemporaries, it went beyond the mystique of marketing to go inside the seams, fostering an appreciation of the skill and labor that went into each garment and accessory. Through a combination of extensive text, archival photographs and films, pattern diagrams, reproduction toiles, fabric and trim samples, and publicity material, Palmer painstakingly reconstructed the production system that enabled Christian Dior to achieve such significant market penetration and lasting recognition.

中文翻译：

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迪奥

2019 年，克里斯汀·迪奥 (Christine Dior) 时装屋的至少三个展览同时巡回展出，其中之一，该展览最初于 2017 年至 2018 年在安大略皇家博物馆举办。策展人亚历山德拉·帕尔默博士是该领域公认的权威，之前曾写过两本关于设计师及其时装在北美传播的书籍。虽然近年来 Glenbow 举办了有关电影服装、针线活甚至机车夹克的展览，但这是博物馆首次专门展示精英时尚。以热爱西式休闲服装而闻名的卡尔加里市民似乎对这个知名品牌很欣赏，许多人带着他们的及地皮草大衣、名牌手袋和红底鞋参加了预展和策展人的讲座活动. 展览集中于 1947 年至 1957 年期间由 Christian Dior 亲自掌舵的时装屋的古典时期。展出的大部分材料来自皇家安大略博物馆令人印象深刻的藏品，其礼服属于当地社会名流。规模适中——只有两个画廊——可能已经错过了丹佛艺术博物馆（Dior：从巴黎到世界，丹佛艺术博物馆，2018 年 11 月 19 日至 2019 年 3 月 17 日）时装色彩协调的墙壁或名人玛格丽特公主二十一岁生日礼服的吸引力（Christian Dior：梦想设计师，维多利亚和阿尔伯特博物馆，2019 年 2 月 2 日至 9 月 1 日），但这次展览让参观者与这些标志性礼服有更亲密的接触。虽然展览从未明确回答为什么顾客更喜欢 Dior 连衣裙的美感和魅力而不是他的同时代人设计的服装，但它超越了营销的神秘性，深入到了接缝中，培养了对进入的技巧和劳动的欣赏每件衣服和配饰。通过大量的文字、档案照片和电影、图案图、复制品、面料和装饰样品以及宣传材料，帕默精心重构了生产体系，使克里斯汀·迪奥获得了如此显着的市场渗透率和持久的认可。培养对每件服装和配饰的技能和劳动的欣赏。通过大量的文字、档案照片和电影、图案图、复制品、面料和装饰样品以及宣传材料，帕默煞费苦心地重建了生产体系，使克里斯汀·迪奥获得了如此显着的市场渗透率和持久的认可。培养对每件服装和配饰的技能和劳动的欣赏。通过大量的文字、档案照片和电影、图案图、复制品、面料和装饰样品以及宣传材料，帕默精心重构了生产体系，使克里斯汀·迪奥获得了如此显着的市场渗透率和持久的认可。