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For the 60th anniversary of the New Look in 2007, John Galliano revisited it for his Spring-Summer collection for Dior. Fellow designer Coco Chanel remarked, 'Only a man who never was intimate with a woman could design something that uncomfortable.' Despite such protests, the New Look was highly influential, continuing to inform the work of other designers and fashion well into the 21st century. There were several protest groups against the designs including, the League of Broke Husbands, made up of 30,000 men who were against the costs associated with the amount of fabric needed for such designs. Feminists in particular were outraged, feeling that these corseted designs were restrictive and regressive, and that they took away a woman's independence. Some considered the amount of material to be wasteful, especially after years of cloth rationing. Not everyone was pleased with the New Look, however. Examples include Vivienne Westwood's Ready-to-Wear Fall/Winter 2011 and Alexander McQueen's Ready to Wear Fall/Winter 2011 (Jojo, 2011). Dior's evening dresses from that time are still referred to by many designers, and they have been seen in different wedding themed catwalks with multiple layers of fabric building up below the small waist (Jojo, 2011). Dior's designs from the 'New Look' did not only affect the designers in the 1950s, but also more recent designers in the 2000s, including Thom Browne, Miuccia Prada, and Vivienne Westwood. According to Harold Koda, Dior credited Charles James with inspiring The New Look. The New Look was welcomed in western Europe as a refreshing antidote to the austerity of wartime and de-feminizing uniforms, and was embraced by stylish women such as Princess Margaret in the UK. As a result, Paris, which had fallen from its position as the capital of the fashion world after World War II, regained its preeminence. The New Look became extremely popular, its full-skirted silhouette influencing other fashion designers well into the 1950s, and Dior gained a number of prominent clients from Hollywood, the United States, and the European aristocracy. Dior retained some of the masculine aspects as they continued to hold popularity through the early 1940s, but he also wanted to include more feminine style.

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The collection overall showcased more stereotypically feminine designs in contrast to the popular fashions of wartime, with full skirts, tight waists, and soft shoulders. The silhouette was characterized by a small, nipped-in waist and a full skirt falling below mid-calf length, which emphasized the bust and hips, as epitomized by the 'Bar' suit from the first collection. 'We were witness to a revolution in fashion and to a revolution in showing fashion as well.' Along with that, the New Look brought back the spirit of haute couture in France as it was considered glamorous and young-looking. When the collection was presented, the editor in chief also showed appreciation by saying 'It’s quite a revolution, dear Christian!' The debut collection of Christian Dior is credited with having revived the fashion industry of France.

However, the new collection went down in fashion history as the ' New Look' after the editor-in-chief of Harper's Bazaar Carmel Snow exclaimed, 'It's such a new look!' The New Look was a revolutionary era for women at the end of the 1940s. Originally, the two lines were named 'Corolle' and 'Huit'. The show of '90 models of his first collection on six mannequins' was presented in the salons of the company's headquarters at 30 Avenue Montaigne. On 12 February 1947, Christian Dior launched his first fashion collection for Spring–Summer 1947. 'Bar' suit, 1947, displayed in Moscow, 2011 Dior's creativity also negotiated him a good salary. Nevertheless, Dior was allowed a then-unusual great part in his namesake label (legal leadership, a non-controlling stake in the firm, and one-third of pretax profits) despite Boussac's reputation as a 'control freak'. The company was really a vanity project for Boussac and was a 'majorly owned affiliate of Boussac Saint-Freres S.A. Its capital was at FFr 6 million and workforce at 80 employees.

The new couture house became a part of 'a vertically integrated textile business' already operated by Boussac. Boussac had originally invited Dior to design for Philippe et Gaston, but Dior refused, wishing to make a fresh start under his own name rather than reviving an old brand. Dior was financially backed by wealthy businessman Marcel Boussac. However, the current Dior corporation celebrates '1947' as the opening year. The House of Dior was established on 16 December 1946 at 30 Avenue Montaigne in Paris. 5 Plagiarism and cultural appropriation controversies.1.5 Dior without Christian Dior: 1957 through the 1970s.1.4 Expansion, and death of Christian Dior.