The #DiorCouture garden blooms afresh for Spring-Summer 2024. Peppering Monday’s show runway, looks by @MariaGraziaChiuri revived one of the House’s fundamental codes, from the multicolored meadow blooming on a yellow faille bustier dress to the tulle and moiré two-piece embellished with floral motifs in an amalgam of silver threads, glass beads and tiny ribbed iridescent ribbons. Another bodice, meanwhile, represented a different kind of #DiorSavoirFaire, being composed of a profusion of flowers all hand-crocheted in an outstanding display of delicate dexterity and virtuosity.
The classic trench coat becomes the focal point of a fascinating #Dior Couture Spring-Summer 2024 stylistic exercise. Opening up the creative frontiers for this iconic item of Parisian chic, @MariaGraziaChiuri has totally rethought its archetypal aura by calling on the savoir-faire of the House’s ateliers alike to cut cotton twill into belted dresses and voluminous outerwear.
The classic trench coat becomes the focal point of a fascinating #Dior Couture Spring-Summer 2024 stylistic exercise. Opening up the creative frontiers for this iconic item of Parisian chic, @MariaGraziaChiuri has totally rethought its archetypal aura by calling on the savoir-faire of the House’s ateliers alike to cut cotton twill into belted dresses and voluminous outerwear.
The classic trench coat becomes the focal point of a fascinating #Dior Couture Spring-Summer 2024 stylistic exercise. Opening up the creative frontiers for this iconic item of Parisian chic, @MariaGraziaChiuri has totally rethought its archetypal aura by calling on the savoir-faire of the House’s ateliers alike to cut cotton twill into belted dresses and voluminous outerwear.
‘La Cigale’, a dress by Monsieur Dior from 1952, was an important influence in @MariaGraziaChiuri’s development of #DiorCouture Spring-Summer 2024. Its imposing architecture is seen reprised here in red moiré faille with more contemporary lines, a slimmed effect echoed by a tulle gown that recreates the twinkling embroideries of 1951’s ‘Mexique’ without the multilayered structure beneath. Among the other modern updates with heritage provence that came down the runway were polka dots and a caramel shantung #DiorBarJacket.
‘La Cigale’, a dress by Monsieur Dior from 1952, was an important influence in @MariaGraziaChiuri’s development of #DiorCouture Spring-Summer 2024. Its imposing architecture is seen reprised here in red moiré faille with more contemporary lines, a slimmed effect echoed by a tulle gown that recreates the twinkling embroideries of 1951’s ‘Mexique’ without the multilayered structure beneath. Among the other modern updates with heritage provence that came down the runway were polka dots and a caramel shantung #DiorBarJacket.
‘La Cigale’, a dress by Monsieur Dior from 1952, was an important influence in @MariaGraziaChiuri’s development of #DiorCouture Spring-Summer 2024. Its imposing architecture is seen reprised here in red moiré faille with more contemporary lines, a slimmed effect echoed by a tulle gown that recreates the twinkling embroideries of 1951’s ‘Mexique’ without the multilayered structure beneath. Among the other modern updates with heritage provence that came down the runway were polka dots and a caramel shantung #DiorBarJacket.
‘La Cigale’, a dress by Monsieur Dior from 1952, was an important influence in @MariaGraziaChiuri’s development of #DiorCouture Spring-Summer 2024. Its imposing architecture is seen reprised here in red moiré faille with more contemporary lines, a slimmed effect echoed by a tulle gown that recreates the twinkling embroideries of 1951’s ‘Mexique’ without the multilayered structure beneath. Among the other modern updates with heritage provence that came down the runway were polka dots and a caramel shantung #DiorBarJacket.
‘Aura’ is the watchword of the newly-unveiled #DiorCouture Spring-Summer 2024 collection. In it @MariaGraziaChiuri explored the idea that couture, by its very essence, creates clothes that become unique to their wearer and extensions of their identity. With the first look out on the runway, the Creative Director of Dior women’s collections also broadened the concept to encompass the aura of the garments themselves, riffing on the identity of the classic trench coat by transposing its form and cotton twill fabric into unexpected iterations.
Thank you to the beautiful girls who walked today’s show, there simply wouldn’t be a show without you!
Our last Haute-Couture Spring-Summer 2024 collection brought to light the incommensurable cultural value of the relationship between fabrics and their aura.
Once again, thank you to Karishma and to the Chanakya School of Craft for continuously realizing our shared vision for the show space, the fruit of the collective work of women and to Paola Ugolini and Maria Alicata for curating the beautiful artist installation.
Picture by @laurasciacovelli
Our last Haute-Couture Spring-Summer 2024 collection brought to light the incommensurable cultural value of the relationship between fabrics and their aura.
Once again, thank you to Karishma and to the Chanakya School of Craft for continuously realizing our shared vision for the show space, the fruit of the collective work of women and to Paola Ugolini and Maria Alicata for curating the beautiful artist installation.
Picture by @laurasciacovelli
Meravigliosa @giorgiaofficial che onore vestirti ❤️
I am so happy to collaborate with Isabella Ducrot for the making of the showspace of the @dior Spring-Summer 2024 Haute Couture collection collection. I was deeply impressed by her reflections on the insoluble relationship that has always existed between the body and dress. The monumental installation for the show, entitled Big Aura, consists of 23 dresses, 5 meters high. The incommensurate size of the clothes is proposed as a metaphor, a disproportion intended to make us reflect on this relationship. The fabrics are materials collected by the artist throughout her lifetime, fragments of her travels that are embroidered on large panels for the occasion by the Chanakya School of Craft.
I am so happy to collaborate with Isabella Ducrot for the making of the showspace of the @dior Spring-Summer 2024 Haute Couture collection collection. I was deeply impressed by her reflections on the insoluble relationship that has always existed between the body and dress. The monumental installation for the show, entitled Big Aura, consists of 23 dresses, 5 meters high. The incommensurate size of the clothes is proposed as a metaphor, a disproportion intended to make us reflect on this relationship. The fabrics are materials collected by the artist throughout her lifetime, fragments of her travels that are embroidered on large panels for the occasion by the Chanakya School of Craft.
I am so happy to collaborate with Isabella Ducrot for the making of the showspace of the @dior Spring-Summer 2024 Haute Couture collection collection. I was deeply impressed by her reflections on the insoluble relationship that has always existed between the body and dress. The monumental installation for the show, entitled Big Aura, consists of 23 dresses, 5 meters high. The incommensurate size of the clothes is proposed as a metaphor, a disproportion intended to make us reflect on this relationship. The fabrics are materials collected by the artist throughout her lifetime, fragments of her travels that are embroidered on large panels for the occasion by the Chanakya School of Craft.
Some of my favourite images from the last @dior campaign shot by the legendary @tinabarney_
This is just part of the incredible team that has contributed to the making of today’s @dior Spring-Summer 2024 Haute Couture collection . I want to thank the ateliers and the studio for their continued support, thank you!
The enigma of checkered fabrics has followed Isabella Ducrot for a long time and has become the canvas for this show. Starting from an old Simone Martini panel painting, checked fabrics repeatedly caught her eye, highlighting their presence in everyday life and absence in the public sphere.
Tablecloths, aprons, blankets for schools, in hospitals, in kitchens; until it became increasingly clear to her that the history of checkered patterns had to do with women, with a hidden female voice that was not being represented.
I was incredibly happy to be able to collaborate with Isabella for the @dior Spring-Summer 2024 Haute Couture collection. I first came across Isabella Ducrot through Patrizia Cavalli’s poem, narrating Isabella’s fascination with the checkered pattern as the expression of the relationship between the warp and the plot.
The enigma of checkered fabrics has followed Isabella Ducrot for a long time and has become the canvas for this show. Starting from an old Simone Martini panel painting, checked fabrics repeatedly caught her eye, highlighting their presence in everyday life and absence in the public sphere.
Tablecloths, aprons, blankets for schools, in hospitals, in kitchens; until it became increasingly clear to her that the history of checkered patterns had to do with women, with a hidden female voice that was not being represented.
I was incredibly happy to be able to collaborate with Isabella for the @dior Spring-Summer 2024 Haute Couture collection. I first came across Isabella Ducrot through Patrizia Cavalli’s poem, narrating Isabella’s fascination with the checkered pattern as the expression of the relationship between the warp and the plot.
The enigma of checkered fabrics has followed Isabella Ducrot for a long time and has become the canvas for this show. Starting from an old Simone Martini panel painting, checked fabrics repeatedly caught her eye, highlighting their presence in everyday life and absence in the public sphere.
Tablecloths, aprons, blankets for schools, in hospitals, in kitchens; until it became increasingly clear to her that the history of checkered patterns had to do with women, with a hidden female voice that was not being represented.
I was incredibly happy to be able to collaborate with Isabella for the @dior Spring-Summer 2024 Haute Couture collection. I first came across Isabella Ducrot through Patrizia Cavalli’s poem, narrating Isabella’s fascination with the checkered pattern as the expression of the relationship between the warp and the plot.
