Are clothes modern?Dior Couture Show AW19

Architect Bernard Rudofsky inspired Maria Grazia Chiuri’s
new conceptual vision of Haute Couture.

 

By questioning the form and function of clothing Maria Grazia Chiuri’s vision took the shape of a new conceptual form of Couture, seen as an art destined to dress bodies that are always unique and invested with a unique identity. Among the inspirations for this collection is possible to address the influence of architect and modern thinker Bernard Rudofsky, the powerful black and white works of feminine artist Penny Slinger, who created the show’s scenography  that recounts the alchemic tale of fire, heart and water in the heart of a hostile and mysterious nature populated by feminine creatures. They have always shouldered the weight of the world, like a contemporary iteration of caryatids, the sculptures embodying female forms that support the architecture of ancient temples and decorate certain Parisian buildings, draped in tunics with pure lines. Much like the one white dress Maria Grazia Chiuri designed for a collection that explores the pluralistic power of black. “I could write a book about black,” Christian Dior declared in his Little Dictionary of Fashion. The peplos – the tunic women wore in Ancient Greece – has no defined, constructed cut: it’s the body that gives it its form. In his final collection, Christian Dior returned to this elemental form of draping, dialoguing between notions of couture and of architecture, from flou to tailoring. In echo, an interrogation still resonates today: “Are Clothes Modern?” underscoring haute couture’s capacity to question modernity.