This was not a total waste of money for the Norwegian fashion houses. The payment served as a kind of deposit, guaranteeing that the companies would purchase products equivalent to the amount of the admission fee. This amount did not buy them a complete collection, however. The sum included one original Dior creation, two samples in cotton – so-called toiles – or three paper patterns. The test samples and patterns allowed buyers to produce their own copies, so-called licenced versions, also referred to as bonded couture models. Since the original outfits were often too small for Norwegian customers, the Norwegian buyers preferred toiles and paper patterns. Toiles also had the advantage of demonstrating both construction and seams, as well as the various fabric layers.

This form of licencing was an attempt by Dior to prevent piracy by offering original designs to European and American fashion houses. Having the rights to the licenced copies also conferred great prestige on the buyers.

Licenced production of Parisian fashion was common in Norway between 1950 and 1970. Later, the fashion industry faced fiercer competition from manufacturers of mass-produced garments, and the Norwegian companies closed down what were referred to as their model salons. This is where they had produced tailor-made clothing according to French and in-house designs. Over time, this chapter in Norwegian fashion history ended up in the museum.