IT WAS Dior Couture’s Chief Executive Sidney Toledano who hinted back in July soon after Maria Grazia Chiuri was appointed Creative Director of the brand that the world should “expect a new Dior”. After receiving the very first glimpse at the new Dior under Chiuri’s lead following on from her debut SS17 collection being shown at Paris Fashion Week today it’s clear Toledano wasn’t kidding around. Dior is too much a business as the most outstanding and innovative luxury fashion house to allow anyone who’s under the employ of LVMH to speak out of turn. Instead, Toledano was bang on. Especially so when commenting that bringing in Chiuri following the departure of previous creative director Raf Simons is in direct response to “the needs of the women of today and tomorrow — globally”.
With a clear idea of what Dior should be, Chiuri – now flying solo for the first time ever in her directive design career after being partnered with Pierpaolo Piccioli during her 17 years at Valentino – delivered a Dior never seen before. The influence of a woman as creative commander-in-chief was galvanising – shifting the brand identity towards a deeper connection with what women want. Well, what Chiuri thinks women should want to be exact, so – by default, what she would want from a high fashion powerhouse.
Given entire freedom to be a radical in the grand old fashion of a maison that has always led the way, Chiuri opened the show with stark offerings of hard sportswear in atomic white intended to start things off with a bit of a bang. Somewhat severe pieces then blossomed into a more romantic fit in the form of simple day dresses coupled with low-brow slogan t-shirts attesting to Chiuri’s feminist principles. Tulle soon took over and whilst the origins of the designer’s penchant for the delicate and workable fabric can be traced back to her former atelier, she made them into Dior dresses quite charmingly.
Also one of Chiuri’s most lovable traits, whimsical embroidery and idiosyncratic insignias were scrawled across many pieces with enchanting subtly. This also provided the method through which to tap into heritage elements, with tarot-card illustrations and cabalistic star constellations – a motif that moved Monsieur Dior, giving personality to the clean slate Chiuri started with.
Another comment made by Dior exec Sidney Toledano exalting Chiuri back when her impending commandeering of the creative direction was confirmed spoke of the woman beyond the designer being “very straightforward and a direct person”. She has not quelled this to meet any demands potentially put on her at Dior. Her Dior is all her, an alluringly different combination of her celestial signatures, her desire to rock the boat and Dior’s untouchable elegance.
One only hopes Dior hasn’t let her bite off more than she can chew. She has an immense duty to still uphold the higher than high fashion that has been a prerequisite at the brand since it emerged as a major player of the 20th century fashion industry. Weaknesses like the confusing styling of the first few looks and the feminism card being deployed so blatantly, which might not prove as effective as envisaged aside from to gain an extra like or two on social media, can obviously be overlooked the first time round. From heron in however, Chiuri’s relationship with her output at Dior ought to gain a definite sense of a luxury brand name which should enamour all with stunning creations.
by Livia Feltham
Images courtesy of Dior
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