Large Christian Dior Glass For Barovier & Toso

When Christian Dior launched his couture house, in 1946, he wanted nothing less than to make “an elegant woman more beautiful and a beautiful woman more elegant.” He succeeded, and in doing so the visionary designer altered the landscape of 20th century fashion. Vintage Dior bags, shoes, evening dresses, shirts and other garments and accessories are known today for their feminine and sophisticated sensibility.

Dior was born in Granville, on the Normandy coast, in 1905. His prosperous haute bourgeois parents wanted him to become a diplomat despite his interest in art and architecture. However, they agreed to bankroll an art gallery, which Dior opened in 1928 in Paris with a friend.

This was the start of Dior’s rise in the city’s creative milieu, where he befriended Pablo Picasso and Jean Cocteau. After seven years as an art dealer, Dior retrained as a fashion illustrator, eventually landing a job as a fashion designer for Robert Piguet, and in 1941, following a year of military service, he joined the house of Lucien Lelong. Just five years later, with the backing of industrialist Marcel Boussac, the ascendant Dior established his own fashion house, at 30 avenue Montaigne in Paris.

Just two years after the end of World War II, the fashion crowd and the moribund haute couture industry were yearning, comme tout Paris, for security and prosperity, desperate to discard the drab, sexless, utilitarian garb imposed by wartime deprivation. They needed to dream anew.

And Dior delivered: He designed a collection for a bright, optimistic future. “It’s quite a revolution, dear Christian!” exclaimed Carmel Snow, the prescient American editor-in-chief of Harper’s Bazaar, famously proclaiming, “Your dresses have such a new look.” The press ran with the description, christening Dior’s debut Spring/Summer haute couture collection the New Look. “God help those who bought before they saw Dior,” said Snow. “This changes everything.”

Dior’s collection definitively declared that opulence, luxury and femininity were in. His skirts could have 40-meter-circumference hems, and outfits could weigh up to 60 pounds. They were cut and shaped like architecture, on strong foundations that molded women and “freed them from nature,” Dior said. Rather than rationing, his ladies wanted reams of fabric and 19-inch waists enforced by wire corsets, and the fashion world concurred. The debut got a standing ovation.

In the subsequent decade, Paris ruled as the undisputed fashion capital of the world, and Christian Dior reigned as its king. With the luxuriously full skirts of his New Look, suits and his drop-dead gorgeous couture dresses and ball gowns worthy of any princess, Dior gave women the gift of glamour they’d lost in the miserable years of war.

On 1stDibs, find an exquisite range of vintage Christian Dior clothing, jewelry, handbags and other items.

Partnerships come and go within the community of glass-making artisans on the Venetian island of Murano, where business relationships seem as complex as the shifting alliances in the notoriously acrimonious Italian parliament. Formed in 1942 by members of families with centuries of experience in the craft, Barovier&Toso has proven to be one of the most enduring and prosperous Italian glass manufactories of recent decades. Under the nearly 50-year artistic directorship of cofounder Ercole Barovier (1889–1974), the company created buoyant traditional pieces such as chandeliers, sconces and other lighting fixtures, and it pioneered an array of innovative modernist glass designs with bold colors, patterns and surfaces.

The Barovier dynasty began in 1295, when Jacobello Barovier, mentioned in historical documents as a master glassblower, began pinching, cutting, blowing and twisting a molten mixture of sand and minerals into incandescent works of art. It remained entirely family-owned until the mid-20th century, when it merged with another glassworks to become Barovier&Toso.

To appeal to gentler, more conservative tastes, Barovier&Toso produced a range of lilting, sinuous lighting pieces that are often described as embodying “Liberty Style” — the Italian term for Art Nouveau, taken from the name of famed London department store Liberty & Co., which promoted 19th-century organic textile designs and Arts and Crafts-style furniture in the manner of William Morris. The hallmarks of the style in Barovier&Toso works are elements of glass in the shape of thick leaves, fronds and flower petals, deployed along with other naturalistic ornament in sconces, pendants and chandeliers.

Ercole Barovier began his personal aesthetic transition toward modernism in the 1930s with his Primavera series of vases and animal sculptures — idiosyncratic milky-white and clear glass filled with tiny bubbles and hairline interior fissures that he produced for Artisti Barovier, a firm headed by his father and uncle. Later, with Barovier&Toso, he would explore such novel styles as the mosaic-like Pezzato glass; fluid Spiral patterns; the pebbly textured Barbarico line and the complex, layered and highly colored abstractions of the Oriente series of vases and bowls.

Traditional or modern, Barovier&Toso — still under family control — has produced one of the finest and most diverse catalogues of Murano glass in the last 100 years.

Find antique Barovier&Toso chandeliers, serveware, decorative objects and more on 1stDibs.