This new collection by Maria Grazia Chiuri has enlisted the artist Isabella Ducrot, who discusses her work 'Big Aura.' This work has been transformed into an embroidered scenographic installation by Chanakya, creating a mesmerizing show space. Ducrot describes it as "an exaltation of the space around the body.
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This new collection by Maria Grazia Chiuri has enlisted the artist Isabella Ducrot, who discusses her work ‘Big Aura.’ This work has been transformed into an embroidered scenographic installation by Chanakya, creating a mesmerizing show space. Ducrot describes it as “an exaltation of the space around the body.
Indeed, the collection examined this space between the wearer and the piece and how it transforms with the different creations. More than a physical space, it’s an emotional, an embodyment of the transformative power of a couture piece.
The show openend with simple yet exquisitely crafted renditions of the cotton twill trench coat, offered in a wide array of shapes and proportions.Then the spirit and character of this Parisian house classics were explored and transformed into emerging dashes of sparkle and colour; shades of gold, white, gray, burgundy and green and lustrous moiré fabrics, evidencing the house’s textile mastery.
While there was certainly the expected opulence associated with couture, there were also numerous pieces that resonated with the modern woman’s lifestyle. An abundance of separates were introduced, allowing for versatile mixing and matching, thereby enhancing the potential of each individual piece.
The more understated ensembles showcased intricate pleats, graceful folds, and statuesque Greek-goddess column silhouettes, often adorned with plunging V-necks that adhered to the house’s codes. Meanwhile, Chuiri explored innovative interpretations of the iconic ‘Bar’ jacket in a range of bold hues and sumptuous materials, suitable for both day and evening wear. The pairing of these pieces remained decidedly on-trend, even when there’s no such thing in couture. Wide-legged trousers and skirts, meticulously tailored to graze above the ankle, highlighted this contemporary approach.
Meanwhile, the architectural grace of the archival ‘La Cigale,’ which was prominently featured in coats boasting statement collars, skirts adorned with daring cut-outs, layers of overlapping trousers, and jackets. A standout creation included a sculptural yellow bustier dress adorned with vibrant floral embroideries, a faithful homage to the House, meticulously interpreted with a palette of colorful threads, jet beads, and intricate hand crochet work, a motif that also graced other pieces within the collection.
Additional archival references embraced extravagant embellishments reminiscent of the 18th century, a period that held great influence for Monsieur Dior. Sharp pleats were employed to define silhouettes, bringing back to life the iconic 1951 ‘Mexique’ dress with its graceful lines, while polka dots made a striking graphic statement. Feathers were deftly manipulated to possess a structural quality, equally suited for a one-shoulder top or a dramatic evening cape.
Certainly, the pieces will attract contemporary clientele, both for day and evening wear. Indeed the ‘big aura’ also pervades haute couture, a fertile ground for contemplation where the reproduction of the original sees each piece individually adapt to the client’s body.
It is worth noting that Chiuri holds the distinction of being the first female designer in the house’s 70-year history, and she has undeniably reaffirmed, onc again, there’s no better person for the job.
