“The most interesting looks in the show didn’t have anything to do with Italian art or feminism or Matisse. They had to do with Dior’s story,” CathyHoryn reviews Dior at PFW. Also on Marine Serre
Photo: Getty Images In one way or another, fashion is autobiography. Miuccia Prada’s collections are really about Miuccia Prada, and in the mid-1990s, when she was on the rise, it was exhilarating to unpack her ideas about bourgeois respectability and sex, at least in part because Milan was dominated by Armani and Versace, whose take on those themes was fairly conventional.
Photo: Getty Images But was the collection a self-portrait? I have no doubt that a feeling for that era, along with memories of her own teenage rebelliousness, informed some of Chiuri’s choices. But she is also adept at imbuing her runway with meaning while firmly staying on brand message. She showed, for example, a number of sheer, wispy skirts with black combat boots and plain belted knit jackets on models wearing Dior silk scarves tied bohemian style on their heads.
Photo: Anne-Christine Poujoulat/AFP via Getty Images The risk to both the artist and the house is that it can all seem shallow. Or maybe Chiuri and the bosses at Dior recognize that, in 2020, nobody is paying that close attention. It’s a meme, a data point, a forgotten tomorrow. Oddly, the most interesting looks in the show didn’t have anything to do with Italian art or feminism or Matisse. They had to do with Dior’s story—from the Marc Bohan era in the ’60s.
There is obviously a sustainability message here, which Serre has championed from the start of her career, but at a time when many traditional mills and craft techniques are disappearing, her clothes also represent a kind of living archive. And there’s nothing nostalgic about her aesthetic. She unsentimentally takes what she finds and transforms it into something new and assertive-looking.
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