It is all a dialogue between fabrics and bodies, cuts and shapes. Like visual poems that Maria Grazia Chiuri composes for Dior inspired by the work of Lucia Marcucci, the feminist of word collages. It is a docu-film by the director Alina Marazzi on the Florentine artist precedes the show “enclosed” in large stained glass windows installed at Tuileries. Twelve choristers sing funeral music and the models (more than eighty) march almost liturgically with their capes, their tunics, their relaxed jackets, chiffon longs, chemisiers and fluttering suits, all regardless of the rules of cuts and constructions constricting. Because this new conversation of the Italian designer has a specific goal: that the clothes fit the body. And not vice versa. A reflection that contains within itself the principles of two thoughts in fashion: the French and the Italian. The first who has always preferred the tailoring of work on mannequins and who, once finished, imposes his rules in dressing; the second that, strong in industry and design, has chosen to create adaptable garments. «It was a shock for everyone when I arrived in Paris – explains the designer -, for them and for me. My culture was and is this: I want to make clothes where all the bodies are fine and never like now is the feeling of life ».
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Dior, dresses that adapt to the body: the photos of the fashion show
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Chiuri is aware of the good fortune of having had carte blanche in Dior, between curiosity and trust, and certainly does not take advantage of it: the archives respect them. Only, he chooses: a jacket that Monsieur Dior designed for the Japanese market (therefore without the classic constricting constructions) in ’57 or a Saint Laurent coat of ’59 when the sixties were near and the young Yves was already beginning to free women. Then the studies and early fixations, for Nanni Strada and his writings on three-dimensionality and the relationship with the body. And the muses of all time, protagonists of an ideal Cenacle: poetesses and writers and intellectuals. Virginia Wolf or Susan Sontag or Simone de Beauvoir, immortalized in the mood of inspiration with an enveloping shirt or coat. Pieces, collages, which are then found on the catwalk filtered by the Dior style.
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Maria Grazia Chiuri at the end of the Dior fashion show, spring-summer 2021 (photo Afp)–
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A different comfort
«It was a hard start, very tiring, there always seemed to be hope and instead everything was more complex. And what was happening around convinced me about softer shapes because in this precise historical moment the relationship with clothes has definitely changed – he adds reflections to reflections -. The dress lives in a more intimate space and requires a different comfort and attitude ». Again the dialogue «which is less public and more private. And I could not ignore it, hence the comparison with the work of Nanni Strada for example ». And the cuts accordingly, inspired by other words, this time by Germano Celant: «The cut structures the language, but also the dress. It intervenes on the traditional conventions of figuration and vision of a body or thing and produces a new sensation ».
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The Dior shirt for next spring-summer 2021–
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The accessories
Knits (experimented with different techniques) and soft fabrics (linens and cottons and mousseline and chiné) are the necessary means to complete the work: a patchwork of delicate beauty where a more or less loose belt is enough to be different, in every moment: “A sort of uniform that is however personal”. Accessories that follow: the new patchwork totes, satchels, ballet flats, sandals. «When I start – confesses Maria Grazia Chiuri – I never know where to go. Then I am confident that everything will take shape, even with the help of my long dialogue with women ».
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Dior spring-summer 2021–
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29 September 2020 (change September 29, 2020 | 21:39)
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