The worlds of modern art and high fashion came together as one unified concept on the ramp in Paris as Maria Grazia Chiuri unveiled her latest Dior couture collection as an ode to Surrealism.
“Because haute couture is a dream of fashion,” the designer mused in her show notes.
“It’s a place where there are no limits to pushing boundaries and experimenting with technique, material and form.”
The Christian Dior show that took place on Monday afternoon at the Musée Rodin in Paris, transformed into a gallery for the rare occasion with enormous casts of body parts suspended from the ceiling and a monochrome colour palette that provided the basis of an offering which sought to weave the unique twentieth-century movement into wearable art.
Though the show at times was elaborate with domino-polka dot evening coats or gowns that were floor-sweeping with a matching feathered cape, at times it was also very subtle with fishnet stocking slipped over the top of a shoe.
Birds, symbolising freedom, were also a reoccurring theme, from the earrings and to the ensembles to the peacock feathers depicted onto bejewelled and fringed gowns.
However, it was Argentinian surrealist painter Leonor Fini – an artist renowned for her depictions of powerful women and who held her first exhibition in Christian Dior’s gallery in the 1930s – who provided the house’s first female designer with this season’s heroine, heading the show notes with her quote; “Only the inevitable theatricality of my life interests me.”
Models were crowned in dramatic headwear and veils- created in collaboration with British milliner Stephen Jones. Some may say that this haute couture lived up to its expectations in hosting their guests just about right, but do people want to see imagery that relates to female suppression and encourages slogan couture?
An interesting post that caught our attention and raises a thought-provoking question is- so when and how can one pull of these masks in everyday life?
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