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Another introduction in this inexhaustible exhibition is to the witty furs of designer Frédéric Castet. His lush coat with an Eiffel Tower image, more like the leaning tower of Pisa,is inconceivable in modern times, but an interesting peek at how far the Dior offering stretched.

The Dior "Colouramas" in Christian Dior: Designer of Dreams, Musée des Arts Décoratifs, Paris

Adrien Dirand

Sidney Toledano, Chief Executive of Christian Dior Couture was eager to point out that among many recent Dior exhibitions at home and abroad, this was the most important and ambitious presentation of the art,life and history of the designer. “For Paris, we have pushed the heritage to the limit with many new dresses and by displaying them with works of art,” said Toledano.

Would it have been enough if Christian Dior: Designer of Dreams had ended with the respectful addition of the satellite designers and a heart-warming look at the origin of the Miss Dior perfume? It was named for Christian's sister Catherine, who had worked for the French resistance, was captured and only escaped from imprisonment at the end of the war.

A letter written in April 1945 by Christian to his father concerning his sister's release from the Ravensbrück concentration camp is both moving and insightful, suggesting a depth of anguish behind the flower-strewn exterior.

19 April 1945 letter from Christian Dior addressed to his father concerning his sister Catherine who had just been released from the concentration camp in Ravensbrück. A translated excerpt reads, "My dear father... We must be courageous and patient... Two or three days after the liberation of the camp, half of the deportees, almost all women, were sent to Czechoslovakia... I kiss you both very tenderly, and in spite of our crushed hopes we must remain optimistic. Tian"

Adrien Dirand

When a designer label moves from the personal vision of its founder to a brand, there is inevitably a change of tone. Crossing the nave from family to the ‘school of Dior’ replacements, the display is less convincing as museum-worthy – especially as it ends with a ‘ballroom’ display of dresses that includes both those worn to the mythic 1951 event organised at the pinnacle of society by Charles de Beistegui
and gowns worn in the more recent celebrity era. Think of Princess Diana's Galliano dress at the Met Museum ball in 1996 or the pink gown worn by Jennifer Lawrence to the Oscars in 2013, when she famously trippedup.

A room dedicated to The Dior Grande Ball, Christian Dior: Designer of Dreams, Musée des Arts Décoratifs, Paris

Adrien Dirand

The overall effect of the ‘The Dior Ball’, is dramatic, dynamic and sometimes steeped in social history – but it is more about entertaining the public than offering any suggestion of how and where Dior will move forward.
So, what is this mighty exhibition aiming to say? That Christian Dior today has grown from the roots planted by one poetic soul seven decades ago? That however different and disparate the aims of the following creators, it all comes back to Monsieur Dior?
There are many unanswered questions. Is this overall system of designer replacement, which Dior has lead, good for fashion? Or does it cream off emerging talents and oblige them to design according to an ever-more-distant master's voice?

As an increasing number of big names stagger on beyond the normal time of retirement, will their ultimate departures create a gulf which will need to be filled with yet more upcoming designers – when they should be free to create personal visions?

The show is stunning in many ways. But I left this huge display under the umbrella name of ‘Dior’ with more questions than in-depth answers about the legacy of the founder and where fashion goes, in the 21st century, from here.