dior great protagonists of its Haute Couture collection

 Madrid - Scarcely three weeks after signing the return of its public to the house shows with that dazzling presentation of its Cruise 2022 collection at the Panathinaikó in Athens, the Maison Dior is now doing the same again on the occasion of this High Week Costura de Paris, within which it unveiled its Haute Couture collection for the upcoming Autumn / Winter 2021/2022 season early in the afternoon yesterday.

Designed by Maria Grazia Chiuri, creative director of the the house's women's collections, the collection saw the light during a parade, with an audience, organized at the Rodin Museum in Paris, attended by well-known figures such as Monica Bellucci, Jessica Chastain, Nicole Garcia, or the model Cara Delevingne, and which was broadcast, live, through the official channels of the House and the official platform of the Fédération de la Haute Couture et de la Mode of French fashion. A show that was meant as the first of scarcely 8 fashion shows, along with those programmed by Chanel, Giorgio Armani, Balenciaga, Jean Paul Gaultier, Zuhair Murad, Vaishali S and Pyer Moss Couture, which will feature this new edition of the Week of the Paris Haute Couture.

Recover the value of "touch"

To celebrate precisely that gradual return to a world that, once again, begins to appear before our eyes as a more physical than virtual environment, the Italian designer has decided to make a solid collection in praise of that "touch" and that materiality. how much has been lost during these last few months of the pandemic. A time in which it has been more than impossible to experiment with the friction of those fabrics or the richness of the finishes, of pieces that, in a generalized way, all fashion houses have had to publicize and commercialize through of the online medium. A temporary solution against which Chiuri now comes out to defend all those richness of textures and finishes that can only be enjoyed from the physical medium.

“Recovering the values ​​of haute couture after this period of restrictions in which”, Dior pointed out through a statement, the house's collections “designed by Maria Grazia Chiuri must have been presented mainly through recordings”. That is therefore the main objective of this collection, in which "the materiality of the fabrics" is in charge of putting together a proposal in which "embroidery" and "braiding" acquire a subversive tone, raising the quality of the collection. and its presentation, to the degree of "performance", they add from the French fashion firm.

"The return to 'being present' implies returning attention to materiality and touch," they defend from Dior. "Transmitting this materiality in the era of the virtual also means entering to reinterpret embroidery", which is now understood "not only as a decorative ornament", but also "as an element connected with the senses of sight and touch. ”.

Embroidery as a feminist cultural reappropriation

To shape all these series of concerns and finish shaping this kind of "performance", the Italian creative made use of, on the On one hand, the French artist Eva Jospin, author of those large embroidered murals, from her work "Chambre de Soi ”(A room of his own) that have served as a backdrop to the presentation of the pieces. While on the other hand, for the ideation of the background and the shape of these garments, and the very meaning of the collection, Chiuri has drawn on the inspiration coming from "Threads of Life: A Antiquity of the World Through the Eye of to Needle ”. Book published in 2019 by Clare Hunter that, Dior stresses, “has played a fundamental role” in this collection,

Combining both collaborations/influences, the feminine and feminist vision that Chiuri has actively sought to print to the collection is clearly evident. In its scenographic aspect, with a work by an artist, a woman, which refers to one of the most feminist writings of the British Virginia Woolf, and through murals that have also been embroidered in the Chanakya workshops in Bombay with which from Dior They have created a school aimed at training women in this artisan practice, in India a trade mainly carried out by men. The same feminist concern that is reflected on some garments, from which the techniques of embroidery and braiding are defended as an expression of the feminine identity.

"The end of feminism will never come," affirmed Maria Grazia Chiuri herself in a statement collected by the French news agency AFP. A testimony that also used to point out that "claiming the artistic value of embroidery, which is considered a domestic task, is a feminist message."

More feminine, comfortable, and inclusive silhouettes

Entering the most typical questions of the design of the pieces, on a profusion of rich embroideries and braids that not only serve as an ornamental element, but also shape and shape a good number of the garments, we will find ourselves with a collection of great femininity, in which Chiuri does not hesitate to play reconfiguring silhouettes and volumes. Obtaining as a result, a new universe of loose shapes, which again lend themselves to sustaining the feminist message of the Italian designer.

"The colors are natural and regardless of time," says the designer, while emphasizing the appearance of a silhouette "more contemporary and timeless", which not only serves to raise the quality of the pieces, making them capable garments to be transmitted from woods to daughters, but to show them as more inclusive pieces. Since the adjustments of the forms are made visually through games of volumes, and not through tighter cuts.

"Haute Couture awakens unsuspected desires, while revealing the existence of those we did not know", and perhaps "is not that the role that the avant-garde should play", argue from Dior. “Make visible what is not seen. Knowing how to define, through artistic practice, the desires that awaken in a world in deep transformation ", they defend, in what serves as their response to sustain the undeniable a value that Haute Couture shows as a synonym of that" avant-garde ”.

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