![]() She took the same clever approach to de-boning and un-fussifying the grandeur of the off-the-shoulder Dior ballgown, using artfully creased satins, in slate gray, liquid silver, or pale gold. A third of the way in came an outstanding gold cloque midi suit, the jacket recalling the iconic 1947 Bar jacket, but structured, sans corsetry to skim the body rather than nip. Definite moments of green-room looks, with silver tap-pants or structured lingerie, but covered up with velvet dressing gown coats. There were shimmery Deco-like beaded shifts that somehow recalled flapper dresses, for sure. “More clean, less volume, more my attitude.” Her project, as she sees it more generally at Christian Dior, is “to renovate” and render the classical canon of the house to be lighter and easier to wear-and especially, now, to answer the growing requests from couture customers for daywear. “The line in this collection is more ’20s,” she said. She dedicated the spring haute couture to her, and surrounded the show with a gallery of portraits commissioned from Mickalene Thomas featuring a new pantheon of similarly ground-breaking Black and biracial Hollywood actors and models of the 20th century, with Josephine Baker at its center. “She was really an incredible, empowered woman,” Chiuri said in a preview at Dior headquarters. What an inspiration for the creative director to relate to-especially after the discovery that Baker had been a client of the house. In World War II, she joined the French Resistance, and in 2021 was finally honored as one of the greats of the French nation when her name was inscribed at a solemn ceremony at the Pantheon in Paris. The shining American-born French Black star and civil rights activist came to perform in Paris in 1925, becoming a leading light of the Jazz Age cabaret and a French citizen. We have to see something.” Movement, after all, is freedom.Maria Grazia Chiuri came across archive pictures of Josephine Baker performing in Dior couture in New York in 1951 in New York. “Only to see antiquities, not the sea,” she clarified, laughing. She first visited on an educational tour with friends after graduating high school, and more recently three years ago on a holiday with her husband. We worked to show how important this time was, not least for the 20th century.” That approach matched her personal history with the country. “Everybody thinks of Greece and Italy in terms of holidays… But our research was really big in terms of the history of Greece. And Atelier Tsalavoutas Dior-ified caps worn by the fishermen of Hydra since the 19th century.Īsked if Greece and its ancient silhouettes weren’t ideal references for a cruise collection, Chiuri smiled. The Soufli-based factory Silk Line interpreted Dior’s houndstooth in silk leggings and shorts using its signature jacquard loom. ![]() The tailor Aristeidis Tzonevraki created a Book Tote and a Bar Jacket using a unique method through which the items are structured by way of embroidery. She found her answer in the community collaborations that traditionally weave through her destination shows, inviting a string of local artisans to work on the collection. As part of the exhaustive studies that underpin Dior shows like these, she toured sites from Knossos to Delphi in search of authentic approaches. ![]() Tackling her destination show, Chiuri said she wanted to avoid Greek clichés.
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