A network of symbols, the tale is hardly just a means of escape: it serves to challenge and revisit stereotypes and archetypes. It consists of a narrative projected into the future. Revisited by Maria Grazia Chiuri, the toy soldier’s uniform thus transforms into a series of blue cashmere coats embellished with touches of red and white. Shimmering lamé and Lurex jacquards lend this stylized silhouette a metallic shine; fabrics made with gold and silver threads appear to float as if by magic. Black boldly asserts itself on a range of pieces from skirts to the Bar jacket punctuated with the cannage motif, an iconic Dior code, or with a hood that might have been worn by Angela Carter’s Little Red Riding Hood*.
*A story in the The Bloody Chamber collection, published in 1979 by Gollancz.
Red is a through line, on little coats (“I think a red coat is very nice!” wrote Monsieur Dior in The Little Dictionary of Fashion): it illuminates capes and raincoats always with hoods. It permeates tartans via an archival rose motif** evoking the original tale of Beauty and the Beast, of which Maria Grazia Chiuri is particularly fond, notably in Jean Cocteau’s film adaptation, itself inspired by the fairy tales of two writers: Madame d'Aulnoy, a contemporary of Perrault, and Madame Leprince de Beaumont.
Evening gowns are fit for princesses, in layered tulles that seem to evaporate in a froth of marvelous colors. Then there are white collars, plastrons in broderie anglaise, and white bobby socks recalling the world of childhood.
A new self-awareness, born of a feminine sensibility that knows how to blend memories of the past and maturity, as if by magic.
**Based on an original drawing by Andrée Brossin de Méré, one of Monsieur Dior’s cherished collaborators, to whom the collection also pays tribute.
The autumn-winter 2021-2022 women’s ready-to-wear collection designed by Maria Grazia Chiuri is being unveiled in the heart of the Palace of Versailles1. An exceptional catwalk, punctuated by an exclusive installation by Silvia Giambrone and choreography by Sharon Eyal both created in situ. More than ever, this space celebrates contemporary culture in all its forms, its audacity, and its magnetic power, highlighting Silvia Giambrone's The Hall of Shadows2, an ode to inventiveness in a context where access to museums is limited.
Perpetuating this odyssey in the name of art, Silvia Giambrone created mirrors designed to conceal those of the iconic Hall of Mirrors. The works are framed in metal while the reflective part has been revisited in wax and strewn with thorns. Grace mingles with violence. A childhood memory; a tale that stirs the artist’s imagination: the moment when the protagonist, fascinated by a pointed spindle, is struck by an evil spell.
Building on her artistic encounters, Maria Grazia Chiuri has chosen to blend the magic of dance with her runway presentation. An emotionally charged event choreographed by Sharon Eyal.
Swipe the gallery below to see the collection