The Christian Dior Fall/Winter 24 collection underlined the Maison’s credentials as a commercial powerhouse and creator of culture.
Recently released Apple Original series new look Exploring the birth of Christian Dior as a post-war haute couture house, Marie Grazia Chiuri’s Fall/Winter 24 collection evokes the pivotal moment in 1967, when the house introduced its ready-to-wear line, Miss Dior, nearly 20 years later. Ta.
The irreverent spirit of the decade and the silhouette favored by then-artistic director Marc Bolan was ushered in by peppy, shortened trench coats and A-lines that swayed with gold chains that skimmed the navel. So too is Monsieur Dior’s overarching commercial sensibility, which Bolin perpetuated through his merchandising.
In contrast to the collection’s muted color palette, the oversized Miss Dior logo, dubbed a “manifesto signature” in the show notes, is featured on coats, skirts and bags, enhanced by the hardware on the bags and shoes. It subtly made its presence felt. The design mimics the scarf prints of the Bolan era.
Trench coats and their derivatives are also a key motif in the Dior Spring 24 haute couture collection in January, representing a light motif that emphasizes the vertical orientation and house message.
In keeping with 60s notions of sexual liberation, the show’s soundtrack featured Serge Gainsbourg’s “Je t’aime…moi non plus”. The song was originally written and recorded informally for Brigitte Bardot, and later formally recorded with Jane Birkin. About her day.
Both versions include heavy breathing, rumored to have been caused by being violently stroked in a sound booth.
In addition to Jisoo, the current Dior house ambassador, the show’s celebrity guest list also included Maisie Williams, who played Monsieur Dior’s sister Catherine. new look.
Some of the costumes from the series are currently on display in an installation at the house’s central Paris museum, Galerie Dior. These were created in close collaboration with the house, who made their archives available to the production team.
But with last week’s announcement of LVMH’s new entertainment arm, 22 Montaigne, this example of ad hoc cultural marketing has become official.
According to an article in WWD, the division, led by Antoine Arnault, LVMH’s head of image and environment, and Anish Melwani, LVMH North America chairman and chief executive officer, will create content that highlights the LVMH brand’s brands. The company will look for opportunities to collaborate with production companies. As a creator of culture.
This venture is not without precedent. Before Monsieur Dior founded his house, he opened two galleries and continued to support the arts as a couturier. Current Dior director Maria Grazia Chiuri is following in his footsteps, using her platform to shine a spotlight on female artists from Judith Chicago to Sala Moon and Nikid Saint Phalle. Many of their collaborations are also on display in the gallery.
This season, Chiuri tapped Indian artist Shakuntala Kulkarni to create the show’s centerpiece, “Of Bodies, Amour and Cages.” This is an installation that explores the female body through the sculpture of a cane that simultaneously expresses protection and confinement.
Born in Karnataka, Kulkarni’s work explores the relationship between the female body and the public and private spaces of the city.
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