Near the Mediterranean, you can’t wear clothes that are heavy and hot,” said Chiuri. This is my DNA, something that is my Italian background. Perhaps most importantly, the nipped-in boning of the Dior Bar jacket has become a thing of the past. The Dior printed T-shirt of the season read “Je ne regrette rien.” Present in one way or another on the runway were Catherine Dior, the couturier’s sister Juliette Gréco, the Left Bank singer and actress who was famed for wearing existentialist black and Edith Piaf who was, well Edith Piaf. At a time when we might be craving more simplicity and less performative theatricality from fashion-that’s a yes to pencil midis and plain-but-interesting day dresses-her design solutions came from her personal response to thinking about the feisty resilience of three post-war clients. What’s distinctive about the routes Chiuri takes into Dior’s history is that she identifies with the rediscovered, little-known stories of the women who wore his clothes. This was recognizably Christian Dior’s storied heritage, right enough-but “reconstructed” as Chiuri put it, by a creative director who is focused on seeing how the past can be made relevant for today’s women. Mostly dressed in black, artfully wrinkled suits and dresses, her wardrobe adroitly addressed both the somber present and the 1950s. A direct, austere and yet powerfully sexy Parisian walked the Dior runway in Maria Grazia Chiuri’s fall ready-to-wear show.
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