It is almost only for Dior that Rihanna can make the trip to Paris. While videos of her hugging Natalie Portman and Glenn Close on the sidelines of the house’s haute couture show are popping up on social media, it’s also worth taking a look at what was happening on the catwalk.
When Rihanna compliments Natalie Portman at the Dior haute couture spring-summer 2024 show
Inspired by the fundamental philosophical essay The Work of Art at the moment of its technical reproducibility by Walter Benjamin (1936), the artistic director Maria Grazia Chiuri presented a rather minimalist, but still commercial, Dior haute couture spring-summer 2024 collection. This is the paradox of her tenure: fashion critics criticize her for her lack of creativity, while she continues to make feminist sets and delivers unapologetic profitability. We will never be in the designer’s head, but the fact remains that the more she visually and verbally affirms her commitments, the more her luxury bags sell like hot cakes. If evil tongues will read purple wash (or feminism), we should also remember that we cannot expect radical action against patriarchy from a luxury apex like Dior, owned by the giant LVMH.
What to remember from the Dior haute couture spring-summer 2024 show?
Returning to this parade, it is the visual artist Isabella Ducrot (94 years old!) who created the scenography marked by 23 coats of arms of Ottoman princes five meters high which form the backdrop to the podium. It opens with several monochromatic beige looks before sheer and black pieces arrive, then feats of flower embroidery or 3D landscapes. Then the famous Dior gray appears, but that’s it the mesmerizing use of moiré fabric (fabric with iridescent reflections that give the impression of marbling) that particularly fascinates, whether in carbon, cherry red or navy blue.
The tone of this Dior haute couture spring-summer 2024 collection is inspired by a dress called “La Cigale” designed by its founder in 1952. It is characterized by the exaggerated fullness given to the hips, which is also reminiscent of an 18th century silhouette. compared to the cars of the 1950s. Maria Grazia Chiuri takes up the idea, but removes the padding, giving life to a silhouette that is neither eighteenth-century nor fifties, but very contemporary.
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Source: Madmoizelle
Mary Crossley is an author at “The Fashion Vibes”. She is a seasoned journalist who is dedicated to delivering the latest news to her readers. With a keen sense of what’s important, Mary covers a wide range of topics, from politics to lifestyle and everything in between.
