Coined the ‘Golden Age of Couture’ by US Harpers Bazaar’s editor, Carmel Snow, and considered so by the man himself, Christian Dior created a ‘New Look’ for women’s fashion amid a depressed post World War 2 state. The new silhouette, broad shoulders, cinched-in waist and full hips, reflected a new femininity and optimism Britain held onto throughout the 1930s depression. Dior’s couture collection consisted of suits, for example the bar suit, dresses and coats, all of which used methods to emphasise the small waist and fuller bust with the use of padding and heavy fabric, causing outrage at the sheer amount of fabric used amongst continuous post war rationing. However, by 1949 Dior was providing 5% of Frances national export revenue after the previously flourishing industry, catering exclusively for the wealthy and private clients, was disrupted by the wartime occupation of Paris. The war and Dior’s collection also had an impact on the production of garments. Where fashion had previously been bespoke and couture (the wealthy, such as Countess Mona Bismarck, kept just one couturier whom they relied on), mass production of garments and sales to department stores and wholesalers, like nowadays, was introduced with ready-to-wear collections as couturiers sought new markets. I think the impact of the New Look was a big one, having influenced the attitudes of the nation post war to a more positive one, enabling society to move on by embracing a new silhouette. The V&A couture exhibition is an insightful look into Paris and London Fashion 1947-1957, both visually and informatively, providing archival garments from the era and accompanying interesting information.