Text Carlo Mazzoni
A black-and-white checkerboard laid in the park of Musée Rodin is the runway of the haute couture fashion show dedicated to surrealism. Bishops and queens, Dior’s flowers femininity gives the diagonal to military uniforms for a war of chess. A more masculine juncture already proposed by Dior in the past years: in connection with the tradition of dark blue and structured suit. The old post-war uniforms blends with hyperactive geometry: skirts flutters with pleats and cuts, like drawers that become fluid while being pulled out of a chest. The hands of a long-case clock go round the world instead of moving within the clock-face. Peacock eyes mounted on strongholds.
Surrealism is not strange to the curiosity in paranormal and esoteric topic that has distinguished Christian Dior – and which is even more evident in his fall collection: both the evocations of Galliano’s games of volume for daily suits, and dresses adorned by white collars which are Chiuri’s first signature are inevitable. Maria Grazia’s rigour is clearly at the basis of the upcoming fashion shows. A current sensitivity: the digital communication show is proving to be farer and farer from the authoritative and authorial luxury codes – on the other hand, it is legitimate to wonder what the army of selfie might have to share with such a surreal intellect setback which remains the only value, the only justification to such an elitist fashion dimension.
In the night, the checkerboard becomes a dance floor. Tuxedos bow ties can only be knotted by hand. From the ceilings, Dalì’s hands, halved watches, cages for drunk redbreasts. On the stage, Willow Smith – while an Italian girl shines at the side line towards the tables – many people wonder who she is, in a way she’s new for Dior clique– each month she gets more and more beautiful, Costanza Beccari.