![]() That went right down to the shoes-Roger Vivier’s original ’50s Louis heels for Dior, but with technical “anti-twist” ankle straps, and vividly collaged beading. We are used to expecting it in very practical things: washing machines, but not fashion.”Ĭhiuri liked the challenge of finding co-habiting synergies between Dior’s sober gray suiting and feminine chiffon dresses and technical biker jackets, football shoulder pads and protective racing gloves. “We use technology more for communication, and think less about how it can help us to live better. ![]() ![]() “We have this idea that technology is something just a little bit unreal,” Chiuri contended before the show. With a side-nod to Dune, and, of course, Chiuri’s underpinning framework of female empowerment, courtesy of her relationships with feminist artists. But still: this collection was her most daring bid yet to engage Christian Dior-and its Bar jacket, corset and New Look swirly midi-with advancing modernity and technology. The images of protection and hinted-at derivatives of armor which immediately surfaced to the naked eye in the collection cannot have had anything directly to do with how Maria Grazia Chiuri had planned out the spirit and execution of her fall show months ago. That tension was the unintended consequence of the toxic twist of timing. The atmosphere radiated an equivalent of the double-consciousness of an audience looking at fashion while anxiously checking its phones for news of the war in Ukraine. The walls of the set featured images of women with two sets of eyes. A wired woman walked out first at the Dior show, her bodysuit outlined in light-up-in-the-dark fluorescent green.
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