Christian Dior in circus magic – Fifi ABOU DIB



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Rodin Museum. At the end of January, the Parisian mood of indifference did not dare spoil the party. On the big lawn, Dior had a circus tent erected and the event surrounded by the mystery was unreal. In fact, after the fencing world in his Dior debut, after the dance in the spring-summer 2018 collections, here are the magicians, the musicians, the Pierrots moles, the Augustes, the knights, the acrobats and the poets, muses from another time, to which Maria Grazia Chiuri borrowed much more than a glance: a naive fairy land and an ethereal imagination. Inspired by Dovima and the elephants, famous photograph of 1955 by Richard Avedon for Harper's Bazaar, the parade also recalled Fellini's Cabiria Nights as the Ballets Russes, the paintings of Picasso or the Parade of Jean Cocteau. As a reminder, it was under the glass ceiling of the Cirque d 'hiver that it diffused a zenith natural light that Avedon chose to photograph the model Dovima, wearing among other things a black velvet evening dress, deep neckline and long sleeves narrow. embellished with a large white satin curtain, made by young Yves Saint Laurent for Christian Dior. Surrounded by real circus elephants, the mannequin, with a graceful movement of the arms, offered with the movement of the horns of the pachyderms a powerful graphic game, as well as the contrast between the textures of the dresses and the thick skin of the elephants. The theme of the circus only reappears later in Dior, under the artistic direction of John Galliano. The parade is not a real parade, as the one that inaugurates the circus show? "The great artists of the twentieth century, remember the house, Pablo Picasso, Erik Satie, Serge Diaghilev and Leonid Massine, all gathered around Jean Cocteau – a regular at Cirque Medrano, who also told Federico Fellini among his followers – imagined ballet Parade , in Italy, between Rome, birthplace of Maria Grazia Chiuri and Naples, before being presented in the Parisian stages in 1917. "

Tutus, lozenges, rhombuses and happiness

According to the privileged witnesses who could make a foray into Christian Dior's workshops on the eve of the parade, the sound of silence and concentration resembled that of small xylophagous insects at work in the night of the libraries and period furniture. : an obsessive tac-tac-tac that echoed the work of worn sheaths that magically turned into feathers or immaterial cotton candy. Short ballerina tutus, acrobatic knits, long dresses animated by crystals as ineffable as dew, in arabesques of flames or arlequin rhinestones or embroidered silk inserts, small sets of golden toads, strawberries and small sequin hats, true collection thread , sported by all the color models matching their salomé inspired clothes, babies and dancers, everything in this collection is happiness and fairies. The fabulous creative chaos of the circus universe is the starting point of this spring-summer couture 2019 designed by Maria Grazia Chiuri for Christian Dior. The visual sequence of the pieces that compose it allows to explode the memory and the imagination that inhabit the circus and its relation with the costumes, the fashion and the art, not to speak in the work of Cindy Sherman, conceptual artist and photographer. contemporary, around the Clowns (2003-2004), through which he proposes a critical reading of the social mask. One thing is sure, this time the new Dior couture collection was acclaimed unanimously: Maria Grazia Chiuri promised happiness and she gave in to it.

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