"I wanted my dresses to be constructed, moulded upon the curves of the feminine body, whose sweep they would stylize," Christian Dior proclaimed in his autobiography. This concept was the Paris designer's aim when, in the spring of 1947, he launched a new line of women's clothing that stunned and delighted the rest of the fashionable world.

It was Dior's belief that women were fed-up with the uniforms and unadorned clothing of WWII. A new lady-like charm was being adopted by post war women--who were mimicking screen idols such as Grace Kelly. The New Look took women back to the more simple, traditional days of their great-grandmothers; Vogue described The New Look as being "from the era of Madame Bovary…wasp-waisted Gibson Girl shirtwaists, pleated or tucked…slow-sloped, easy shoulders…wrapped and bound middles--barrel (almost hobble) skirts--longer, deeply shaped shadow-box décolleté-padded hips…" And while Dior's New Look was received with excitement by post-war women, the Look didn't last past Dior's death in 1957--perhaps because the design proved impractical for the growing number of women; however, the look of the 1950s can certainly be looked upon as a less extreme version of Dior's New Look.

Dior's famous 'Bar' suit

Original sketch of the 'Bar' suit

Once essential ingredient needed for New Look fashions is a corset-though the fashion magazines of the period preferred to call them the more exotic term "guepieres."

Dior's own corset (famous for taking inches of the waist) was named "the waspie;" this new version of the Victorian corset was five or six inches deep, made of rigid fabric with elastic inserts, and contained boning and back-lacing. Generally, all corsets of the era were described by fashion magazines as "super-light weight" and were advertised as containing feather boning. Such corsets were worn well cinched at the waist, and were usually worn over a panty- or roll-on girdle.

In addition to the use of corsets, Dior frequently lined the waists of his skirts and dresses with feather boning. For women who  could only afford to buy the mass-produced version of The New Look, Vogue suggested the use of a "waist-liner," which was a strip of muslin or seam binding with boning sewn into it, which Vogue said gave "a thin strip of indentation about [the] waist, and could be sewn into each…dress…"

Dior's suits contained padding at the hips to achieve an ever more exaggerated hour-glass look. Dior added flounces or peplums (usually made of gathers or tucks) to the back of all his suit tops. Further, nearly all his skirts had built in back flounces (similar to the smaller built-in bustles of the Victorian era); these were usually pieces of taffeta, organza, or some other stuff fabric gathered tightly at one end and sewn to the centre back of the skirt at the waist.

Separate bustle or farthingale-like garments could also be worn to further enhance the figure. These were also made of stiff material and gathered tightly, although they were often made of several layers and were worn all around the waist-not just at the back. Such garments were frequently sewn to a fabric belt and buttoned at the waist.

The "waspie" and other New Look corsets also accentuated the bust somewhat, but most women wearing The Look also used push-up bras to help fill out their bust line. Some of these newly invented push-up bras also contained rubber padding. Women who needed further help were told by fashion magazines to sew a taffeta or acetate ruffle to the bust line of their bra.

The number one item Dior used to make his long (twelve inches or less from the ground) skirts stand full was another borrowed Victorian item: The New Look petticoat, reminiscent of early Victorian petticoats. Most New Look petticoats were made of stuff nylon, taffeta, or horsehair net. Most often they had a fitted hip yolk leading to several smooth layers of netting that ended with a few ruffles. In order to avoid snags in nylon stockings, Dior ingeniously softened the bottom ruffles of his petticoats with eyelet.