Christian dior fall 2018 couture collection

Many moons ago, when Maria Grazia Chiuri’s debut at Dior included T-shirts encouraging all of us lớn be feminists, no one could have predicted a reckoning so profound that the impetus khổng lồ show solidarity in protecting women’s rights & equality would, aý muốn other repercussions, lead to lớn a near-total embrace of blaông xã dress at the Golden Globes.

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In the wake of #MeToo, & as the impact of Time’s Up continues, it’s anyone’s guess whether fashion might deliver a new prophetic statement to ripple through the zeitgeist và sell out in stores. Certainly, Chiuri is neither one to say “I told you so” nor to lớn treat Dior as a pulpit, even if shining the spotlight on audacious women has arguably been her most consistent message so far. For Pre-Fall, she zeroed in on Claude Cahun, the pseudonym of Lucy Schwob, a prolific contributor khổng lồ the Surreadanh sách movement who was openly homosexual và who wore men’s attire more often than not. Less known today than her contemporaries—think Elsa Schiaparelli, Leonor Fini, và Meret Oppenheim—her work was wondrously transgressive. Predating Cindy Sherman by decades, she often photographed herself as myriad male archetypes, completely transforming her identity. “I think in some ways this was the birth of the modern woman,” Chiuri declared.


Integral to our sit-down (the designer is recovering from an unfortunate fall at trang chính over the holidays) was the mood board featuring Cahun’s avant-garde images, which established the liên kết between her own menswear leanings, certain Surrealist signaling, & recognizably Dior hallmarks. Whether with a tailored hickory-striped denim jacket paired with a frothy skirt, metallic yarn updating knitwear, or a chemise with puff sleeves of delicately stitched checkerboard silk, Chiuri showed how the maison’s savoir faire could be expressed with equal parts functionality and nuance. “We have to lớn maintain our heritage, but at the same time, transform it inkhổng lồ something that is very easy khổng lồ wear—comfortable, too,” she explained. Thus, for all the polished portrait necklines & molded shapes of jackets in heavier suiting wools, the expansive sầu lineup was not short on all-purpose cabans, relaxed day dresses, and pants & skirts that were short enough và long enough, respectively. A leather tote boasting the French khẩu hiệu of the Bureau of Surreamenu Retìm kiếm, which translated, reads, “If you love love sầu, you will love Surrealism,” is going khổng lồ get a lot of love.

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Indeed, given so much gray & blaông xã (even the Rorschach pattern, blurred animal spots, racing stripes, & painterly abstractions were rendered monochromatic), the collection risked reading as severe. Yet with our eye adjusted khổng lồ #WhyWeWearBlack—và granted, black is fashion’s mặc định color—perhaps Chiuri has once again proven her foresight. And maybe that’s why she keeps looking to lớn the stars. See: the discovery of an archival print, all her charms, and the return of evening dresses embellished with constellation artwork from another Surreadanh mục, Jean Cocteau. At this point, the gowns that departed from such imagery proved more interesting: specifically, one style featuring a brushed gold sequined lattice skirt, và another in blush plissé, just gauzy enough to reveal Dior gray boning. No doubt some women will be far more excited by Chiuri’s interpretations of Hedi Slimane’s Petite Taille. His men’s suiting sized for women now registers as a proper & relevant salute khổng lồ all the Claude Cahuns of today.

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