Paris Gao Ding Zhou Dior: Black And White Symphony Orchestra

"I can write a whole book about black," Christine Dio (Christian Dior) said in 1954. 65 years later, Maria Grazia Chiuri played a high symphonic symphony with black and white musical symbols, and turned Dior's words into reality. Chiuri has always been partial to Gothic. When it comes to this great show, she says happily, "I belong to the black generation."

At this time, Chiuri is wearing a black kimono that a Japanese friend gave her, which is quite consistent with her great show theme. She pointed out that the word "Abito" is derived from the verb abitare (life). Clothes are your first house. It's just like fashion designers have their own fashion houses. Chiuri made a point with a gorgeous work before the end of the show: the model appeared on the model of Montaigne road 30, which is the headquarters of Dior.

Chiuri's three years in Dior are full of controversy, but it is obvious that Dior has made her realize the true meaning of life. Everyone will make all kinds of mistakes in this process. Of course, the hypocritical mob of the fashion world is impatient with her growth, but she keeps getting close to the truth.

As usual, she has a great master to guide her in completing the new series. This season, she studied Bernard Rudovsky, an architect and a historical sociologist. In 1947, the year when Dior first launched the New Look fashion series, Rudovsky held a costume in New York modern art museum called "modern clothes?" Exhibition. Rudovsky has a lot of criticism about fashion, especially high heels. He prefers simple and free style of toto gowns in ancient Rome, and matches a pair of flat sandals to make people more natural.

Although it seems paradoxes to apply this anti fashion argument to the Gao Ding series, Chiuri thinks that in the last series of Dior released in 1957, the design of the "Gago gown" style actually has similar tendencies. So she was inspired and tried this style. Speaking of her own creative process, she said: "with the structure and fabric, coupled with light and delicate embroidery, classical modeling can produce a sense of modernity."

Chiuri believes that in order to create modernity, we must reduce tailoring and simplify the structure. Day and night are intertwined in the big show. "I particularly like the concept of comfort," she explains. Through understanding Rudovsky, I also have a deeper understanding of myself. My inspiration comes from the southern part of Italy, where everything is beautiful and elegant but effortless. You know, after she joined the Dior, the first thing was to deconstruct the brand logo bar jacket. She used a lot of bar jacket elements, but was no longer bound by tradition. She designed a pair of sandals made of nylon stockings and played the "simplicity" to the utmost. Do you want high heels? Dior has low heel Kitten Heels.

Regardless of Christine Dio's recognition of the black line, Chiuri admits that a large number of black elements in the new series may be related to her background and preferences. However, black is not entirely black. If thick black eyeshadow, tight bun and veiled face show restraint, all kinds of black descriptions (deep and shallow, full of texture, as well as glossy black paint), different degrees of sexuality can also coexist with solemnity. Dior's works over the years have inspired the new series of women's skirts necklines, arms or short skirts. Everything will be covered at all.

The single shoulder gin evening dress, the gold thread in the skew cut black skirt, or the feathers wrapped around the long skirt with a small shawl are all cluttered, and the black velvet dress with the textile brand Fortuny embossed pattern has even a glimpse of decadence. The short hair model with a look of expression is like a girl who spent all night in a Venice night club in 1920s.

These works are particularly unusual for a designer who turns Dior into a feminist position. But don't forget, Chiuri regarded Gao Ding fashion as a building and regarded every dress as a personal decoration. The headquarters of Montaigne Avenue 30 will soon be renovated, and Chiuri will seize the opportunity to cooperate with Penny Slinger, a feminist and surrealist artist. They paid tribute to every Dior related woman, including the rich guests and the seamstress who made the clothes for them. Slinger has created a mysterious and organic atmosphere. The roots of the roots are like the hobbits of the hobbits, and there are several seemingly female columns coming from ancient Greece. These pillars can not only decorate the environment, but also have load-bearing functions.

Chiuri also noticed the metaphor of "pillar", which is also her way of working in Dior. "Fashion is my analyst," she laughs. "The fashion is even more so." What's more, the more personal her work is, the more resonant it seems to be.