Shall We Dance?

Bejewelled 124 November 2013 November 2013 125 PHOTOS CECIL BEATON STUDIO ARCHIVE AT SOTHEBY’S, DR PHOTOS LOOMIS DEAN/TIME LIFE PICTURES/GETTY IMAGES, DR Paris is a strange,en am our ing world, where a million glamorous illusions are created. The 1920s is considered the golden age of this enchanting city. It was the time when the French began to leave behind their painful memories of war and recreate the ambience of the 17th century socialite cafés. Many writers and artists have longed to travel back in time to the sizzling Paris of the ’20s, to sip absinthe or dine on garnished sauerkraut. What entices all are the flamboyant fêtes and exclusive dos of the era where the crème de la crème of the city, like Guillaume Apollinaire, Max Jacob, Jean Cocteau, the Fratellinis, Jean Weiner, Raoul Dufy, Francis Picabia, Erik Satie, Paul Poiret and Marcel Duchamp, among others, made an appearance. All of these were people from legendary families and celebrities from different domains, who came together at the Paris Opera, at the theatre or at the city’s majestic ballrooms.

These parties adhered to certain guidelines laid down by Pierre Celeyron, the legendary French specialist in luxe soirées and hedonistic pleasures. The only lighting permitted at these dos was candlelight, with the thought that it made women appear more beautiful. The music never stopped because that would mean killing the party. Dance, and not the firework display, had to be the high point of the revelry, for the latter only marks the beginning of a good party. And flowers needed to enhance the décor. It must also be noted that these soirées traditionally had certain charitable objectives; they were often thrown to raise funds for different organisations and committees.

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The subject of chic Parisian balls is incomplete without the mention of Comte Étienne de Beaumont. A leading figure in Parisian society, he was famous for his extravagant parties and masquerade balls. Assisted by his wife Edith, he hired many of the leading avant-garde artists to decorate his apartment and garden for these events, and designed many of the masquerade outfits himself. In March 1949, the Count and the Countess entertained guests at their Royal Ball, hosted at their Parisian home. The Count, dressed like a dignified chamberlain, welcomed his guests at the entrance. The elite of Paris arrived at his doorstep, clad in disguises. Socialite Madame Leonor Fini came dressed as a ferocious and seductive devil-woman, Valentine Hugo was the king of rabbits, Christian Bérard and Jacques Fath came dressed as kings Henri VIII and Charles IX respectively. Christian Dior made a head-turning appearance as the king of the animal kingdom. The designer was already an eminent figure in the social circle and had recently gained fame for giving a new meaning to haute couture. Through his clothes, he had instilled in women a desire to please. He was invited everywhere as a guest of honour or as a costume designer. In September 1953, upon the invitation of the 1. ‘Dior VIII Grand Bal’ Resille 33mm watch, automatic movement model in black ceramic and diamonds. ‘Dior Inversé 8¾ Calibre’.

2. ‘Dior VIII Grand Bal’ Plissé 38mm, automatic movement model in white gold, white ceramic, diamonds and mother-of-pearl.

‘Dior Inversé 11½ Calibre’.

Limited edition of eight pieces.

(Left) Daisy fellowes in Dior at the ‘Century Ball’ hosted by Charles De Bestegui, in Venice, in 1951.

(Below) Christian Dior at the ‘Century Ball’ hosted by Charles De Beistegui, in Venice, in 1951.

Bejewelled 126 November 2013 Developed by the Atéliers Horlogers Dior, situated in La Chaux-de-Fonds, and the Swiss manufacturers Soprod,a new Dior In versé8¾ calibre was released this year, to appear in the 33mm model. It is part of the Dior VIII Grand Bal Resille (fishnet) model and is the smallest watch complication for women.This stunning piece also has feathers of mother-of-pearl and diamonds,which complement the rose gold of the bezel.

Whether it’s by chance or by coincidence, the name Dior VIII has eight characters. Not one more, not one less, as if to highlight Monsieur Dior’s lucky number. The number ‘8’ recalls the date of the creation of his couture house, on October 8, 1946, the name of his collection baptised En Huit (In Eight) or even the VIII arrondissement of Paris where Dior’s Haute Couture Atéliers are located.

Timeless in design, Dior VIII firmly establishes itself as the reflection of an haute couture wardrobe where, hour after hour and season after season, the tributes to Christian Dior’s work meet and intermingle. And in the Parisian lifestyle, where every minute is a quest for pleasure, where society news creates a buzz and is forgotten so quickly, every second ticking on a Dior VIII Grand Bal watch is a veritable invitation to experience pleasure… and to dance.

Baroness de Cabrol, president of a charitable association working with abandoned children, a group of costumed guests came to the Amar circus, which was completely booked for the party and decorated by Jacques Dupont. Many of the guests’ costumes bore labels of Balmain, Givenchy, Schiaparelli, but most of them were designed by Dior.

The highlight of this festive spirit and socialite life came in 1952, when the designer dressed Daisy Fellowes for the legendary Century Ball, held in Venice by the Mexican art collector and patron,Charles de Be is tegu i. Monsieur Dior later wrote: “This was one of the most beautiful parties I had ever seen in my life. I will never see something similar.” Launched in 2011, the Dior VIII Grand Bal collection seeks every bit of its inspiration from the tradition of such lavish Parisian balls. Every watch in this collection features the Dior Inversé mechanisms, which are small complications allowing the automatic movement to be housed above the dial. Though the explanation is very technical, it is poetic: the delicately perforated oscillating part is studded with diamonds in a fishnet pattern. The stones are placed by hand on a gold base, complemented by elements of jade or opal. When put together, it represents the graceful twirling of a ball gown. Inspired by the balls and parties in the after-war period, Christian Dior was invited as a guest of honour and costume designer to countless parties. Seen here, before a fashion show, in 1957. Bal’ Plume 38 mm, automatic movement model in rose gold, white ceramic, diamonds and feathers. ‘Dior Inversé 11½ Calibre’.

Limited edition of 88 pieces.