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Video: Girls Can: What To Expect From A New Appointment At Dior?
In 1997, Stella McCartney, barely graduating from St. Martin's College, sat down in the chair of the creative director of the House of Chloé. As you know, her predecessor, Karl Lagerfeld, was not too happy with this choice and expressed the opinion that, they say, the girl was taken there "for a well-known surname." Meanwhile, it took McCartney a couple of seasons (or even just one) to shake up a decrepit French brand and turn it into an object of desire for modern girls - the peers of Stella herself, who was 25 years old by the time she arrived at Chloé. But the biggest gift she could give to the fashion industry is her friend, classmate and at first assistant Phoebe Filo, who at the beginning of her career drew ironic prints with slogans like “keep your bananas away from my melons”, and then … Yes, we all know what and where she is doing now.
Chloe spring-summer 1998
Half a year ago, after the dismissal of Raf Simons from Dior, the fashion industry wondered: can a brand of this level be led by a woman? And she received rational answers that, they say, not everyone is able to endure the rhythm and tension of such work - what a woman is there! Vaughn Simons and he gave up and dropped out of the big game. Or it was argued that women rarely manage to be leaders in design - they say, in creating clothes, they are either too egocentric or fixated on trifles (the women's section at the Triennial in Milan, in which an entire hall is set aside for embroidery and lace-making by contemporary artists, seems a charming irony on a given topic). Okay, maybe a woman designer has more problems finding new shapes and illogical proportions (hello Demna Gvasalia), but this is only because she has a good idea of how difficult it is to wear all this.In this sense, it is good to compare the "ugly beauty" of the newcomer of the House of Balenciaga and the "living classic
If we take as a starting point a truly global brand, whose name is almost a household name, and the influence is huge, then there are indeed several men per Miuccia: in Balenciaga they alternately try Wang and Gvasalia, Lagerfeld has been running Chanel for decades, Louis Vuitton is vigorously modernized by Gesquier, Gucci proud of the newly discovered star Alessandro Michele. Each of the brands mentioned must convey a strong memorable image, and, apparently, this is the problem - it is believed that a woman can do the very graceful embroidery that requires patience and concentration, and not at all energy-consuming monumental canvases (Miuccia Prada, of course, does not count) … Meanwhile, the current Dior just does not need a total reconstruction of the image (unlike, say, from the pre-Michel Gucci), the House just needs a man,who would, without much effort, continue to follow the line started by Simons, but with a background of his own aesthetic guidelines. It was then that Maria Grazia Chiuri entered the stage.
Against the background of the hysterical appointment at Balenciaga, the choice of LVMH management looks really deliberate and calm (“We are in no hurry to choose a new designer for the House,” commented Sidney Toledano, CEO of Dior). Of course, the first thing that can be talked about after this appointment is the 133rd wave of feminism and the fact that "more and more women are occupying leadership positions." In fact, no, because what Curie does in Valentino does not fit in with the ideas of a progressive feminine style - no gender equations for you, no ultra-minimalism. It can be assumed that, once settled in Dior, she could have become something like McCartney in the late 1990s. When she came up with her slip dresses and stunningly tailored pantsuits, it didn't sound like a ruthlessly original design statement.these were just things for living girls who did not want to be divided into "smart and beautiful
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