“Paris has always been an aspirational place for people to express their creativity,” declared Maria Grazia Chiuri, whose Pre-Fall collection for Dior marks the first of many creative iterations she will present throughout a significant year in the maison’s history: its 70th anniversary. As the looks were being photographed—Ruth Bell flitting in and out of view—Dior’s first female artistic director explained that since taking the helm, she has been making closer study of her new hometown, arriving at the conclusion that it is even more diverse than people realize. “This multicultural aspect gives the city its spirit of freedom,” she added, acknowledging the waves of artists, writers, and thinkers who have found their voice in Paris after arriving as outsiders. Reimagining a bohemian impulse through the filter of Dior’s savoir-faire thus became the collection’s overarching concept. And as confirmed by a generous lineup of nearly 100 looks—edited down to the 68 selected here—Chiuri’s vision stretched far and wide.
But the goal, she insisted, was focused: proposing a wardrobe that encouraged individuality. “I don’t think it’s possible today to only show one look; I think women want iconic pieces that allow them to find a look for themselves,” she said. Pointing to some of the test shots, she noted how long embroidered coats over tiered, sheer dresses; vests with velvet incrustations of hearts and diamonds; and Japanese denim with neo-folkloric metallic embroidery all contributed to an eclectic interpretation of Miss Dior. A steady push-pull of respect and disruption produced several catchy pieces, including the new bag constructed with fine saddlery craftsmanship only to be emblazoned, hip-hop style, with Dior in block typography and finished with a woven and studded strap that looked like a souvenir from a trip to Nepal.
If zodiac-embroidered tops and velvet baby-doll dresses made obvious bids at millennial customers, Chiuri also showed that a young vibe can still be heritage-driven and all-inclusive. She turned the iconic house houndstooth into an unlined jacket or swingy plissé knit skirt; she revived the black tassels used in a 1947 collection to punctuate the overleaf of a black dress, making it poet’s muse material. The question of whether any of Dior’s leading ladies will dare to wear the logo briefs—reinterpreted from last season’s straps—under their gauzy red carpet gowns isn’t the takeaway so much as the idea of this being a visible departure from Chiuri’s wholly (or is it holy?) tasteful approach at Valentino.
Such an open-minded approach to chic may be a combative statement against a narrowing view of the world, a trend that looks unflattering on people and nation alike. But the assertive tone of last season’s “Dio(r)evolution” and “We should all be feminists” white tees has given way to black dresses and tops with whimsical illustrations and embroideries that evoke Jean Cocteau with messages that read, “Explore Dior in the world” and, “The future is in your hands,” which, when you stop to consider, is as individualist a declaration as any.
