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Stars in Dior

“No Dior, no Dietrich,” Marlene Dietrich declared to Alfred Hitchcock in 1949, demanding a Dior wardrobe for her role in Stage Fright.

“Women could safely feel they had all the trappings of a fairy-tale princess to wear. A golden age seemed to have come again.”

From Marilyn Monroe to Sophia Loren, actresses donned Dior silhouettes, forging stylistic affinities with the Creative Directors of the House. Emblematic personalities adopted iconic pieces, such as Diana, Princess of Wales, and the Lady Dior bag, named in her honour. These pairings continue today with the loyal friends and muses of the House, such as Charlize Theron, Natalie Portman, Anya Taylor-Joy, and Rihanna.

Peter Lindbergh photographed some of the world's biggest stars wearing Dior. Like with all his subjects, he sought to break past their façades, keen to reveal their deepest emotions, which was really always his true objective: “Before I even grab my camera, there must always be a real exchange between me and the person in front of the camera. That’s when something can happen, and that’s what you photograph, rather than the person themselves.*”

* Manon Garrigues, “Hommage à Peter Lindbergh”, Vogue Paris, 4 September 2019.

Continue your discovery of the history of the house Dior…
13

Stars in Dior

“No Dior, no Dietrich,” Marlene Dietrich declared to Alfred Hitchcock in 1949, demanding a Dior wardrobe for her role in Stage Fright.

“Women could safely feel they had all the trappings of a fairy-tale princess to wear. A golden age seemed to have come again.”

From Marilyn Monroe to Sophia Loren, actresses donned Dior silhouettes, forging stylistic affinities with the Creative Directors of the House. Emblematic personalities adopted iconic pieces, such as Diana, Princess of Wales, and the Lady Dior bag, named in her honour. These pairings continue today with the loyal friends and muses of the House, such as Charlize Theron, Natalie Portman, Anya Taylor-Joy, and Rihanna.

Peter Lindbergh photographed some of the world's biggest stars wearing Dior. Like with all his subjects, he sought to break past their façades, keen to reveal their deepest emotions, which was really always his true objective: “Before I even grab my camera, there must always be a real exchange between me and the person in front of the camera. That’s when something can happen, and that’s what you photograph, rather than the person themselves.*”

* Manon Garrigues, “Hommage à Peter Lindbergh”, Vogue Paris, 4 September 2019.

Continue your discovery of the history of the house Dior…