Though houses like Dior and Schiaparelli serve a rarefied few, they speak to a much larger audience.
Maybe the most curious contradiction about fashion right now is its status as a pillar of popular culture—something that anyone can follow or even participate in, like sports—and the simultaneous obsession among the culture at large with couture, the most rarefied niche of the industry. Right now, Balenciaga is trending on Twitter .
On the other hand, the bigger players at Paris Couture have taken a much quieter route. Over the past three or so years, Virginie Viard, at Chanel, and Maria Grazia Chiuri, at Dior, have made subtler and subtler collections. The most obvious logic here is that clothing that resists the algorithm, that doesn’t scan bombastically on social media, is the most rarefied stuff of all.But there’s something else going on here, too—at Chanel, certainly, Viard has doubled down on her pursuit of daywear.
The designer has slowly and steadily built a case since 2016 that craftsmanship is an almost divine female art form, tapping into a larger conversation about the value of pursuits deemed lesser because they are performed or embraced by women. What I like so much about a collection like this one is that it doesn’t merely exist to provoke and point out that this unfortunate standard exists–it disproves it, through a demonstration of total and absolute beauty.
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