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Standing out once again as one of the unavoidable events of all Paris Fashion Week, this week the Dior house presented its new women’s collection for the upcoming Fall/ Winter of 2023/2024. A proposal that has once again been signed by the Italian designer Maria Grazia Chiuri, creative director of Dior’s women’s lines since 2016, rising as the latest example of the extremely daring path the designer has decided to take to lead the famous Parisian house. An adventure in which he marked a decisive turning point with the series of designs he devised for Chiara Ferragni on the occasion of her role as co-presenter of the latest edition of the Sanremo festival, and towards which he is now daring again with such a feminine proposal. as energizer.
In front of an audience that included such well-known names as Charlize Theron, Elle MacPherson or the American actress Alexandra Daddario, Chiuri continued with the protest speech that she has been holding for the recovery and visibility of iconic female figures. that contribute to establish a new universe of powerful references for the new generations of women, presenting a collection inspired by the Paris of the 50s, and more especially in the legacy, the history and the clothing that they came to make at that time gala Catherine Dior, sister of the designer and founder of the house; Édith Piaf, always celebrated and one of the most acclaimed French singers of the entire 20th century; and the actress and singer Juliette Gréco, who would precisely begin her dazzling career during the early 1950s. A few years that by themselves hold a high significance for the house, being precisely when Dior would start its journey as a house independent, driven by the talent of Christian Dior and the provocative rebellion that already represented his new style “New Look”. An aesthetic with which at that time he came to raise not a few critics, and which served from a point of view of very important social influence to mark the end of the very harsh post-war period in Europe that had begun after the end of the Second World War. World. A universe built on the basis of stylized bodies like stamens and wide skirts like corollas, which Chiuri now agrees to reinterpret again, merging it with the brave spirit and the disparate aesthetics that Catherine Dior came to give a good account of throughout their lives. , Edith Piaf and Juliette Gréco.
“These years are very important for the House, created in 1947”, the Italian designer herself began to explain during some statements collected by the AFP agency. A value that has ended up being added to the fact that “I also wanted to make a collection inspired by Paris”, focused on a few years for which we have “more of an idea of what happened in the United States” than of what was happening in Europe. , among other aspects in the field of clothing. Element on which Chiuri precisely comes to try to carry out a new exercise of reflection, investigating the way in which the garments are related to the physiognomy of the body and are capable of advancing fashion trends.
To carry out this exercise, the designer on this occasion decided to focus her analytical efforts and direct them towards the aesthetic used by these three women, who “in addition to being very elegant, had a bit of a punk attitude”, especially in her spirit for decidedly going against the current of the stereotypes that society as a whole imposed on the female gender at that time. A preconceived idea of femininity, against which Juliette Gréco and Edith Piaf fought through their songs and on stage, while Catherine Dior did so with her choice to refuse to marry and dedicate herself to growing and selling flowers. A choice made by coming to perceive her with the idea of being a “romantic and fragile Miss Dior”, compared to the reality of having really been “a very strong and independent woman who did very important things in her life”, Chiuri adds. . She thus composing in her ensemble three figures of three muses for the house, which “give a complete idea of Paris in the 1950s”.
A new femininity, which navigates from embroidery to the “no pants” trend
Surrounded by an intoxicating and immersive staging dominated by the scenery designed by the Portuguese artist Joana Vasconcelos, equally inspired by the strength and sensitivity drawn from the figure of Catherine Dior, and to the rhythm of a suggestive soundtrack that reached its climax with With the iconic piece “Je ne regrette rien” by Édith Piaf, Chiuri ended up presenting a collection so rooted in the very origins of the French house, as well as adapted to the modernity of the new times. A modernity and new times that ended up being reflected both in the use of new materials, and in the turn in the language with which they have ended up applying such traditional techniques as those of embroidery, appliqués and prints, as well as in the rebellious and daring way with which Chiuri, through cuts and patterns, has decided to go out again to empower the Dior woman.
Starting in this way from this sum of creative principles, we find ourselves before a collection based on a penetrating chromatic palette, in which the profusion of blacks is combined with a game of balances based on whites and grays, while ending up giving I move on to lively autumnal accents through a myriad of violets, burgundy tones in ruby tones, ochres and topaz yellows, as well as sharp presences in the form of emerald and marine greens. Tones that end up accentuating that fluidity of new shapes and shapes with which Chiuri has decided to reconstruct the “New Look” devised by Dior, in a bet that has finished taking shape through that disparate pattern in the form of a reflection of waters. We will find a print through a wide variety of garments in this collection, similarly bathed in tartan-finish patterns, in leopard-skin effect animal print, or covered with all kinds of elements and motifs inspired and extracted from that universe of flowers that it came to dominate both in the life of Catherine Dior and in the creative imagination of Christian Dior.
As for the already most outstanding pieces that were just discovered on the catwalk, the different “New Look”-inspired dresses drew special attention, reconstructed here from that fluidity of materials and lines that end up endowing their aesthetics. of an added lightness and delicacy. Some pieces that shared the limelight with those others in daring leopard animal print finishes, and especially with the provocative skirt and/or pants and jacket sets, open and turned into a lucky overcoat worn on the body of a woman who does not hesitate to explode. her sensuality and strength with only a top set. A commitment to open the most intimate lingerie to clothing, not only daily but also at night, which was completed with a series of very careful, and elaborate, pieces and sets based on the new trend on the rise of “no pants ”.
“Celebrating the kaleidoscopic image of a femininity aligned with that of a series of powerful icons, and inhabited with sensitivity, these creations suggest endless emotional paths for the new generations of women who shape our future,” they explain from Dior in relation to this proposal. A collection that is also presented as “the very signature of a femininity that goes against the current”, which is presented as “rebellious” as it is “both strong and fragile”.
