A sensibility of couture, a spirit of now. The Dior men’s winter 2019-2020 collection by artistic director Kim Jones draws on the attitudes and imprints of the house of Dior’s couture heritage – shapes, techniques, materials, ethos – then reinvents them anew. Alongside this continues Kim Jones’ examination of Christian Dior the man – namely, his background as a gallerist of the avant-garde of his time. It is mirrored today in a collaboration with the artist raymond pettibon. All become, in essence, acts of translation: from feminine to masculine, from art to fashion, from then to now. Examining the past, making it speak to the future.
The inspiration is all derived from Dior, from the house’s emblems and markers, and then evolved. Animalier, drapery, architectural tailoring, a soft color palette, de luxe haute couture materials. An unmistakable, often imitated but never equaled elegance. A parisian sentiment. The animalier comes to the fore as monsieur Dior’s beloved panthère – introduced in his first collection in 1947 – is joined by tiger and leopard patterns in knitwear and intarsia furs.
The notion of couture is expounded through tailoring, sometimes inlaid with panels of satin as if the lining is exposed. That idea is heightened in pieces that are entirely reversible – expressive of the idea that couture should be as perfect inside as out. A utilitarian bent to harnesses and vests reinforces the notion of couture as a craft. Alongside tailleur comes flou. The technique of moulage – the couture method of draping directly on the form – inspires gestures of fabric used to frame tailoring.
The asymmetry of the diagonally-wrapped tailleur oblique is further explored through coats with panels that wrap across buttons, disrupting the precision of their shape. Other jackets have panels of fabric that button inside, draping to the floor – theoblique, extrême. The preciousness of haute couture is reflected through fabrications – cashmere, silk satin, furs, that are combined with technologically advanced materials to give fabrics a high-gloss sheen.
Knitwear is made with a new technique, which resembles moiré; lace is cut into body-hugging sweaters. Nylon is used to mirror silk with its lustrous surface texture: beautiful yet lightweight and practical, it is representative of a modern idea of luxury. The color palette is archetypal Dior: palest blue, mauve bisque, a symphony of pearlized grays, midnight blue and black.reflecting Dior’s love of and fascination with the art world, Kim Jones collaborates with the artist raymond pettibon for this collection.
A curation of existing drawings are shown alongside debuts of entirely new works specially-created by pettibon, and evolved into prints, knits, jacquards, and hand-embroideries. A figure subconsciously influenced by the mona lisa; a pair of eyes staring into the future against an impressionistic sky. These references to classical art are joined by works inspired by Dior; a spray-painted version of the Dior animal print – punk panthère – which resembles a floral, and a reimagining of the house’s logotype, used in jewelry.
As Kim Jones reinterprets Dior, he invites others to do the same. Christian Dior’s personal obsessions and superstitious nature are the theme behind the jewelry by yoon ahn, featuring mementos and charms, worn like amulets and as charm bracelets. The Dior ‘cd’ emblem becomes the fastening on a safety pin. It simultaneously speaks of punk – of the now, and the contemporary art of raymond pettibon – and the world of haute couture.
Underscoring the crossing from the feminine to the masculine world, accessories continue to translate the Dior ‘saddle’ bag into a men’s wardrobe. Today, Kim Jones’ reinterpretation is executed in nylon or lush leopard-patterned mink as a new cross-body style; backpacks, also in nylon, feature Dior’s signature cannage quilting. The ‘saddle’ becomes a pocket on utility gloves elongated to opera length.
Other bag styles draw on classic Dior shapes, their scales altered and adjusted. These sit alongside the hyper-modern: a series of cases designed for the electronic essentials of life today include sleek cases in raymond pettibon-printed plexiglass, leather or Dior oblique canvas, designed to fit not one but two iphones – new necessities.
The shoe styles feature nylon gaiters, the leather intricately brogued or laser-etched with panther spots.the collection is presented as a series of tableaux vivants along a vast, 76-meter-long moving walkway, like a couture salon showing of the past but on an operatic scale.
In place of the monolithic statues of the previous two seasons, here the looks form the centerpiece, striking poses in sculptural attitudes that, like classical artworks, throw shade.shown in the heart of the french capital, this Dior men’s collection – like the house of Dior, like the art of haute couture itself – is fundamentally, quintessentially parisian.
Sat, February 2 2019 » Fashion Blog » Comments Off
Dior, by Dior. In his autobiography, Christian Dior reasoned that there are two Diors – the man, and the myth. The latter is the house of Christian Dior, born in 1947; the former, monsieur Dior himself. For his debut collection as artistic director of Dior men, Kim Jones has chosen to interpret the codes of monsieur Dior himself through the language of his couture house. It is a dual tribute – to the reality of Dior, and the fantasy.
Drawing inspiration from Christian Dior’s private life and his creative output, the collection represents a dialogue between these two sides of his personality. Couture has inspired the savoir-faire and informed the choice of materials – notably in a reference to the house of Dior itself, through the use of a toile de jouy chosen for the original boutique at 30 avenue Montaigne, decorated by Victor Grandpierre in 1947. A new Dior emblem, inspired by this heritage, it appears as jacquards and embroideries, on materials as diverse as tulle and soft leather, and executed in feathers.
Translating a quintessentially feminine couture identity into a masculine idiom results in clothes which are softer, with rounded shoulders and eased shapes. A slashed cowl is added to the back of shirts, exposing the nape of the neck. A new Dior jacket, the tailleur oblique, wraps the body in a diagonal line, a subtle reference to the shape of monsieur Dior’s autumn-winter 1950 collection. It is executed in featherweight cashmere and summer mohair, as well as in the British wools beloved of Christian Dior for his own wardrobe and those of his clientele. Combining tradition with modernity, Kim Jones fuses references to haute couture with sportswear, representative of contemporary masculinity.
Floral motifs are a constant. They echo both monsieur Dior’s love of nature, and his “femmes-fleurs”: they are actually drawn from his personal porcelain, the shapes reassembled into contemporary patterns for prints and embroideries. Feather embroideries by lemarié are overlaid with vinyl, an effect that mirrors the glaze of bone china.
Porcelain inspires the color palette, which also echoes monsieur Dior’s edwardian upbringing and love of the eighteenth century: blue, white, the pale pink of his childhood home at granville, and the symbolic Dior gray. A shot of brilliant yellow-gold reflects Jean Cocteau’s definition of Dior as “this agile genius of our times whose magical name contains Dieu (god) and or (gold).”
The summer 2019 collection also references the profoundly personal and intimate – an almost secret history of monsieur Dior. His dog, bobby, who inspired a limited edition of the miss Dior perfume bottle and provided the name for a suit in the autumn-winter 1948 collection, makes a witty recurring motif. The jewelry introduces a new modernist logo derived from the one used for the Dior family’s business ventures in the 1920s; an embroidered cipher comes from the announcement of Christian Dior’s birth in 1905.
The abstract notion of the interior also inspires techniques: a series of jackets seemingly reversed to expose striped linings, and overlays of organza – both silk, and a technical sportswear organza – which allow the insides to be revealed. These, in turn, also transform the clothes into another homage, to couture savoir-faire.
Accessories also draw on the inimitable Dior heritage. The emblematic Dior ‘saddle’ bag is interpreted for the first time for men, offered in cross-body, backpack and belt-bag styles. It is even reappropriated as pockets on ‘archive’ leather jackets. An embroidered version of the toile de jouy features on leathergoods, alongside other Dior codes – the cannage pattern laser cut in leather, the Dior oblique canvas in a new tricolor variation.
Christian Dior stated that his identity as a couturier was actually not one man but many – a composite of people. Kim Jones draws on this same sense of community for his debut: yoon of ambush has created the jewelry, employing Dior emblems such as the neoclassical ‘cd’, flowers and insects; Matthew Williams of 1017 Alyx 9SM has designed a new metal buckle, used on accessories. Stephen jones has created millinery based on original ‘Christian Dior monsieur’ pieces, found in the house’s archives.
In a special commission, the artist Kaws has created the centerpiece of the show décor using his signature character bff covered entirely in roses, as an avatar of Christian Dior himself, clutching a replica of the bobby perfume bottle. Kaws’ designs for bee motifs – a Dior men emblem – punctuate the collection as idiosyncratic embroideries and prints, reflecting monsieur Dior’s own observation: “you can never go wrong if you take nature as an example.”
Here, the inspiration is both the natural world, and the nature of Dior itself. It results in not only a new look, but a new outlook.
Wed, July 4 2018 » Fashion Blog » No Comments
“The sixties were about personalities. It was the rst time when mannequins became personalities. It was a time of great goals, an inventive time…. and these girls invented themselves.”
Anniversaries can be triggers for exceptional memories. Remembering is also about reinventing and imagining. Fifty years after the momentum of urgency and creativity that the year 1968 brought, this is an opportunity for Maria Grazia Chiuri to revive an era when the rules of fashion were turned on their head. Indeed, thanks to this emulation which stimulated the emergence of new ideas, creativity for creativity’s sake, the cut-up technique and travel as a means of discovering others but also oneself, youth occupies a place at the centre of the scene.
For this Autumn-Winter 2018-2019 Ready-to-Wear collection, the Artistic Director of Dior was guided by these symbols and attitudes representing a search for authenticity. Magni cent woollen embroideries appear on organza dresses, jeans are reworked and printed, bags are inspired by the House’s archives, with an ethnic shoulder strap or patchworks made of fabrics drawn from the same heritage: these pieces become veritable windows on the world. Ponchos are worn freely. Ornamentation becomes important, acting as ambassadors of the different cultures each type represents. The collection evolves in a spirit of freedom as much in its creation as in its associations, shapes and materials.
This act of cutting loose and choosing one’s own image is precisely what Maria Grazia Chiuri sets out for the women of today. Kilts come in different lengths, but also in unexpected materials like point d’esprit, and are paired with masculine jackets or small coats. The abundant knitwear is also embroidered and hugs the body. Dresses have been shortened and are worn over biker-inspired thigh boots. Her sharp fashion instinct guides the designer throughout this return to a singular and incredible time, because changing the world also means changing clothes.
It was Diana Vreeland, the charismatic editor-in-chief of Vogue US from 1963 to 1971, who coined the term Youthquake and de ned the Youthquakers. The times were changing, as were the bodies, faces, attitudes and personalities of those who initiated this sartorial revolution – an earthquake that forever changed the way we dress. Fashion was being questioned, but constantly reinventing itself to tell a new story that could say everything and its opposite. Moreover, when a group of young women in miniskirts held a protest on 12 September 1966 in front of the Dior boutique with placards bearing the maxim ‘Mini Skirts Forever’, as shown in a photo from the time, Marc Bohan, then Artistic Director of Dior, came up with the Miss Dior collection and reinterpreted the idea of femininity as shaped by Christian Dior.
In this collection, Maria Grazia Chiuri, on the other hand, openly counterbalances the return of the uniform, to bring us back to what it signi es: the individual taking precedence over gender differences, and the equality of rights and roles which remains the great conquest of that time.
Thu, March 1 2018 » Fashion Blog » No Comments