Maria Grazia Chiuri integrates her feminist sensibilities into Christian Dior’s female House. On the one hand, its mission is very high, but on the other hand it is realistic and grounded. The distinctive version of Dior is not exactly “democratic” – because it is a French Luxury House – but is meant to be accessible to the younger ages.
There are no longer lovable and ladies ladies in pastel cocktail costumes and tight tall stilettos. Instead, the girls of Chiuri were walking in a closed Mary Janes with a low heel or netting black boots up to the knee. They wore everything from the 70s from jeans with patchwork to denimi jumpsuits, from black pants to glittering mini skirts with glitter and transparent dresses.
Still, the shoes were the items that really stole the show. Based on her accessories (learned earlier in Valentino), Chiuri is an expert in depositing and repeating the shape of a shoe until it becomes the only thing you see. It does not remove the proportions from the conceptual ether. Fact: Young girls do not like or wear high heels. They can not and will not walk in them. This is a socially well-observed, commercial event of a new fashion reality, with Dior having a fantasy.
Every fashion brand on earth is anxious about the attractiveness of young people. What Chiuri is slightly different about is that she is a woman more informed than many talking to the generation that “woke up” – with people who are at the age of her own children – and respects their minds. It leaves the door open for an educated audience. Sasha Pivovarova, the first model, once a student of art – wearing a marriner sweater with the words: Why have not there been Famous Women Artists? (Why Have There Been No Great Women Artists?).
The answer lies in the intense exhibition of historical art Linda Nochlin, which unfolds all the systemic reasons women have been excluded from the art institute throughout history – with Chuiri having the text in her show. Her interest in the celebration of female artists is well known. She paid tribute to Georgia O’Keeffe in the Cruise collection. With this collection, he discovered a connection with the French-American artist Niki de Saint Phalle – a beautiful, disrespectful and ruined young aristocrat whose photographs are deposited in the Dior archive – for once he became Marc Bohan’s model in the early 1960s. De Saint Phalle became an artist after a nervous breakdown, and with the garden the Tarot of Tuscany, full of Tuscan sculpture-filled Tarot Garden of bulbous, colorful figurative feminine figures, formed the background of the show’s scene, inspiring the symbols in mini dresses / blouses informing the glittering broken mirror with embroidery at the end of the collection. Still the message will arrive? Of course, customers can get it – or they could just get Mary Janes. But at this time, fashion brands have to stand on more than a nice product and Chiuri is determined that Christian Dior gives a positive signal to the reality he believes in.