PARIS (AFP) – Fashion residence Christian Dior went all surrealist in a initial large uncover of Paris haute couture week recently with a collection that was a feast for a eyes as good as a imagination.
On a chequerboard set estimable of a Salvador Dali daydream, with smear casts of ears, noses and eyes unresolved from a mirrored ceiling, engineer Maria Grazia Chiuri channelled one of a good lost women of surrealism, a Italian-Argentine artist Leonor Fini.
The decorated and multi-talented Fini began her career as a painter in pre-war Paris, where Christian Dior in his pre-designer days gave her initial exhibition.
She was a independent egghead ‘It’ lady of a era, branch adult to parties wearing usually boots and a plume garment – a demeanour that Chiuri spectacularly reimagined in a floor-length garment and dress festooned with flowers and feathers.
The haute couture shows – that are singular to a French collateral – are a creme de la creme of conform with thousands of hours going into a handmade dresses that can usually be afforded by a richest women on a planet.
And Chiuri pulled out all a stops to arrangement a dexterity of her ateliers in a uncover of some-more than 70 intemperate creations mostly in black and white, a colours she insisted that “the surrealists pronounced we dreamed in”.
Chequerboard patterns proliferated as did see-through hooped ‘cage’ corsets, another borrowing from surrealist symbolism, she said. But her cages – a set was also hung with them – were a pitch of women pardon themselves, Chiuri told AFP. “Our cages (on a set) are positively open, and there is zero inside,” she laughed.
Many models also wore masks, a curtsy to a masked surrealist round Chiuri has organized in Fini’s honour late Monday.
While A-line floor-length dresses dominated, a collection was distant from totally two-tone. One organza round robe festooned with dark bullion sequins had New York Times censor Vanessa Friedman tweeting, “Fit for a angel princess”.
But Chiuri insisted her uncover carried a clever empowerment message.
The Italian engineer has used her feminism as a arms in her prior shows for a label, commencement her power during Dior in 2016 by putting a aphorism “We should all be feminists” on T-shirts, and acidly asking, “Why Have There Been No Great Women Artists?”, in a after show.
Fini, she pronounced was a feminist hero, intrepid and “very complicated – she built herself like a square of art”, who once famously said, “There is zero some-more feign than being natural.”
This time she used proxy black tattoos opposite her models’ collar skeleton to get her summary across: lines borrowed from Andre Breton’s ‘Surrealist Manifesto’ including – aptly given a sophistication of a garments – “It’s not about bargain though about loving.”
Clearly supermodel Naomi Campbell, who was on a front quarrel along with South Korean radio star Song Hye-kyo, were fans.
Ironically, a Schiaparelli show, a tag whose origins go behind to a founder’s collaborations with Dali and Jean Cocteau, was a lot reduction surreal.
Apart that is from a outline of a extravagantly different collection as “sedimentation of Afro-Western enlightenment that reveals a contemporary divinities… innate from a worldly femininity”.
Ralph Russo, a London-based Australian residence that has been a outrageous blurb if not vicious success, has no lorry with such pretention. Instead, they had Kylie Minogue in their front row.
Earlier in a day, a critics’ good favourite, Dutch engineer Iris outpost Herpen – whose ethereally pleasing creations are consistently during a slicing corner of what is probable – constructed one of her many wearable collections for years.
Her ethereal dulcet skin-tone and tortoise-shell pigmented dresses done their wearers demeanour like aloft beings from another nautical dimension, while her crowd stilt boots were all over Instagram within mins of a show. – PHOTOS: AFP/AP