In 1951, Christian Dior sent a group of models to Athens to create a fashion editorial with the Acropolis in the background. And in Paris Match the teacher expressed that he had chosen this majestic setting because “he needed to find a reason for making a collection in another part of the world to make some sense”.
Now, 70 years later, Maria Grazia Chiuri, the creative director of the house, has returned to that place to give more meaning and message than ever to her cruise collection.
After a more than difficult season and in a slow but impressive “return to normalcy” Dior has thus signed a simply sensational cruise collection. Overwhelming. The most inspiring and inspired since he has run the House.
The halftime collection is finally presented in an emblematic place and with an audience
In his new “departure” from Paris (necessary, since the capital already has its week of prêt-à-porter and another for haute couture), to resume the tradition of presenting the halftime collection in other (emblematic) places of the world Maria Grazia Chiuri repeats this destination for being exceptional, the cradle of Western civilization and European arts and giving a decidedly Hellenic touch to its Cruise 2022 collection.
He has reinvented his genealogy for this and modifies most of the house codes and gives a renewed prominence and intention to the peplum.
And most importantly, again, he did it before the public, select as always, and in a smaller number than ever but with personalities with strong ties to the house such as Catherine Deneuve, Cara Delevingne, Beatrice Boroomeo, Suki Waterhouse, Miranda Kerr, Maria Sakkari or Eugenie Niarchos.
In this spirit, the collection recreates its own map of Greece, with its references and poetry, from the works of Giorgio De Chirico to vases decorated with battles by Alexandre Iolas. Giant silhouettes stand out in the foreground in sketches by artist Pietro Ruffo or are camouflaged in a selection of sportswear.
The ‘peplum’ and white pantsuits that evoke those of Marlene Dietrich are back
The proposal has a decisive impact on white and especially on the series of white pantsuits that evoke those of Marlene Dietrich, structuring a balanced lexicon between classicism and freedom.
But this Hellenization goes further and Maria Grazia Chiuri reinvents the oversized houndstooth with it and makes the cannage motif acquire new abstractions.
All in a perfect alliance of heritage and modernity that, within the iconic Panathenaic Stadium, the stage of the show, reveals a manifesto for a body that more than ever “enjoys freedom of movement, acting without restrictions.”