The collection’s many prints (of which there was one too many of Yohji’s face) were influenced by art books dating from the Middle Ages to the current day. She told me the whole set was dark apart from a light on the stage and it made me think of contrasting darkness and light together.” “My daughter went to a Bob Dylan concert that I couldn’t go to because of back pains,” said Yohji Yamamoto backstage. Against a background of aggression by a murderous megalomaniacal male-run state, that hope looks more poignant-yet more vital-than ever.Bright gray and white fabrics were paired with black to represent the contrast between light and dark. The artistic concept symbolically looks forward to a time when women will take over the running of the world and do it in a better way. Chiuri transferred the appellation of the artist’s work “The Next Era” to her own collection, with the artist’s permission. The environmental ambience was created by the Italian feminist artist Mariella Bettineschi, who reimagines the objectified female subjects of “Old Masters” as women and girls with their own agency and ability to perceive things outside of patriarchy and colonialism. There were passages of skirt suits with asymmetric hems, substantial daywear with checked tweeds and dissected trenches to add to all this, followed up with diaphanous chiffon for evening. Ditto the delicate sunray pleats of another midi dress, where the intersecting strands made the skirt swirl transparently in the light. Light years from a cozy sweater, a beautifully fine cobwebby lace bodice on a fluffy tiered skirt was entirely knitted by computerized machine. What came over best was some amazing knitwear-again due to new Italian industrial technology. 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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