Did you know that before online magazines, before the printed ones and before the discovery of photography, dolls used to divulge trends among the courts?
The so-called poupée de mode of the late eighteenth century had the function of spreading the ideas of Parisian fashion in the rest of Europe.
But Maria Grazia Chiuri was not inspired by them for the creation and communication of the Haute Couture FW 20/21 unveiled a few days ago.
She was rather inspired by the miniatures of the postwar from the Théatre de la Mode staged the 27th of March 1945 which symbolized the French revival.Chiuri hopes for a rebirth after the lockdown, with her collection made of miniatures that will travel the world inside a trunk. A trunk with the shape of the house in Avanue Montaigne with the miniatures and canvases inside that will become Haute Couture garments on request.
“… The collection was made in miniature to be easily shipped to customers around the world. “We cannot ignore the present: it is important to adapt to it and move forward, always” says Chiuri.
Other two Italian excellences join forces for the creation of the short film for the digital presentation, the director Matteo Garrone and the musician Paolo Buonvino.It is from that trunk that the award-winning director starts to seduce those who usually seduce. Main characters are the mermaids and the nymphs of an enchanted forest who renounce their nakedness to give in to the beauty of Dior garments. The collection made of 37 proposals is a mix of references from the classical mythology, to a fantastic nature, to the New Look of Monsier Christian Dior.
Draped and pleated skirts and meticulous embroideries for the bustier . The palette is metallic and neutral, main characters are the workers. Great ideas behind a great job, we could not have been expected differently, but at ThEye Magazine we are surprised by the lack of inclusivity in the choice of the casting of the short film. An inclusivity so praised by the black squares of the Black Lives Matter at the beginning of June of which no trace has been seen in this collection.
By Pamela Romano