reenactment, but a genuine engagement with technology and fashion. It also wasn’t so much about looking new – the clothes had familiar forms, tracing shapes reminiscent of Christian Dior’s work, a return of the 1947 Bar jacket, wide plissé skirts, fluid evening gowns – but about being new. Chiuri collaborated with the Italian start-up D-Air lab, who design and create technically innovative clothing with personal protection built in.
Chiuri evidently found it compelling. She worked to fuse their new technologies with Dior’s New Look in a collection with a genuine eye on the future.was the title of the backdrop to the show, an art installation by Mariella Bettineschi where images of women drawn from painting between the 16th and 19th centuries – I was sat opposite a redux of the famous nipple-tweaking portrait of are reworked, sliced apart, their eyes multiplied.
If that was a window on the next era of art, the next era of clothes comprised pieces engineered to react to the wants and needs of our bodies. The Bar jacket, back in 1947, was stiff and unyielding with padded peplums and corseted waist. It was a move, Dior said, from women who looked like soldiers to soft feminine unity, yet it was ironically rigid, like silk tussore armour.
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