For dior 's latest couture show, Maria Grazia Chiuri beautifully studied the contrast between minimalism and decoration, but not in a clinical, academic way.
A giant, gnarled tree, its faux-ancient trunk, branches and protrusions twisting up the stairwell of Dior’s recently vacated, soon-to-be renovated headquarters. The tree anchored an intense, enchanting enclave, all fantastical yet derived from the natural world, created by artist Penny Slinger as the backdrop for Maria Grazia Chiuri’s fall couture show.
Chiuri dove in and came out with rich inspiration. It made for a typical preview conversation as she distilled some of his motifs. “He did anthropological research into why humanity change their bodies, because they find the body boring. They want to use fashion to change their body. That is dysfunctional sometimes.“The idea is that the clothes are a project, a project for the house for your body,” the designer said.
Then Slinger, present during the preview, added some thoughts on her own work. “We’re trying to celebrate and memorialize this feminine spirit, the muse…and so she is embodied in this whole work in different forms and combined and mutated with all the different elements, and so we brought the Tree of Life right into the center of the house.”
In answer, Chiuri beautifully studied that contrast between minimalism and decoration, but not in a clinical, academic way. Rather, the mostly exquisite collection looked proudly and passionately couture. The qualification “mostly” applies because Chiuri’s haute daywear remains unresolved. Not that it was unattractive; in fact, it often looked quite lovely. But with their sweeping proportions and dense-looking fabrics , several looks projected too self-conscious a grandeur for today.
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