I am a thoroughly modern girl who loves minimalist design. My fashion tastes run towards the understated as well. But I know to give credit where credit is due, and the current “Christian Dior: Designer of Dreams” show at the Brooklyn Art Museum certainly deserves it. It is, as the title of this post suggests, dreamy.

“My dresses make a princess out of every woman.” — Christian Dior

The show which opened at The Brooklyn Art Museum in early September and runs through February traces the 70+-year history of the House of Dior through a brilliant experiential extravaganza full of gowns, videos, photos, sketches and accessories.

Upon entry, you’re treated to the early days of Dior. Larger-than life illustrations, 1950s dresses and suits, newspaper clippings commemorating the opening of the designer’s first New York City outpost at 730 Fifth Avenue. Weaving through the early designs, I was struck by how timeless and imminently wearable the “high fashion” was at the time. It’s not that difficult to imagine picking an outfit or two and trying them on, even today.

DIOR THROUGH A PHOTOGRAPHER’S LENS

Next stop on the journey made the photography lover in me jump for joy. The curators have compiled an outstanding collection of Dior’s advertising campaign photographs. A veritable who’s who of fashion photography, including Lillian Bassman, Louise Dahl-Wolfe, Arthur Elgort, Horst P. Horst, William Klein, David LaChapelle, Annie Leibovitz, Gordon Parks, Irving Penn, Herb Ritts, Cass Bird and Tyler Mitchell. And the arrangements are amazing. Richard Avedon’s iconic “Dovima With Elephants, Evening Dress by Dior” photograph from 1955 is set against the actual Dior haute couture gown it pictures. Another iconic photograph, Bert Stern’s Marilyn Monroe’s 1962 “The Last Sitting” is just a few steps away.

“THE PROMENADE”

FCC33102-0679-45F4-8FB5-9C6424408AA0 2.JPG

86CA0510-FFD3-4DB3-A1E3-998A4F9A8122 2.JPG

But all of this is just the appetizer preparing you for the main course that is the “promenade” of sorts that walks you through the brand’s history, one creative director at a time. Step by step, you are here to discover the personalities, the colors, the detail, the focus. From the relatively simple “New Look” of the early years, the architecturally refined pieces by Gianfranco Ferrè that followed, to the fantastical over-the-top creations by John Galliano, the modernity of Raf Simons and finally, to Maria Grazia Chiuri who, as the first female creative director in the history of the brand, is both bringing the brand back to its more classical roots while also infusing it with a bit of feminism.

THE ENCHANTED GARDEN

Just when you feel you’ve seen it all, the curators pull another rabbit out of the hat. Welcome to the “Enchanted garden.”

The museum’s 10,000-square-foot Beaux-Arts Court has been transformed into an enchanted garden filled with spectacular embroidered and flower-covered dresses that surround you at every step. Some line up in several “catwalks”. Others assemble in trios that “guard” the corners of the court. And many others encourage you to tilt your head up in admiration, as gown after gown have been arranged vertically all the way to the ceiling in one dizzying display after another. With clouds and flowers projected onto the background and subtle music playing around you, the garden steals your heart and helps you lose yourself in the feeling.

RED CARPET EXIT

Delighted by your garden experience, you might be floating on cloud nine. But, Monsieur Dior is not done with you yet. For his “adieu”, he’s got one more trick up his sleeve. Dresses that were seen the world over, worn by the most talented actresses at the pinnacle of their acting careers and being recognized for their art. So take a breath, and walk through this last award ceremony gown hall. Only then you will feel you’ve completed the mission and can return to the reality. Merci, et au revoir, Monsieur Dior!