Dior’s Cruise Collection embodies unitarism
Dior’s Cruise Collection 2020 embodies unitarism within the world in a sensitive manner. Showcasing her latest collection in Marrakech with the backdrop of rustic glamour of a ruined palace. The two-day adventure began at Paris El Badi surround with terracotta colonnades of the 16th century fortress. The pool set alight by hundreds of torches sparkled above the surface. While models glided around the pool.
Dior’s Cruise Collection
The collection at the heart of Chiuri. Inspired with the cultural exchange between the codes of Dior and the pan-African craftsmanship she has always admired. Chiuri quoted ” “The real thing for me wasn’t just to speak about craftsmanship from around the world. To go around the world and see the codes of Dior from different points of view.” Chiuri said, noting how the wax fabric originated in Europe, then travelled to Asia and eventually found a home on the African continent.” Working with traditional wax print fabric produced on the ivory coast, then fused with the traditional Dior motifs with a new look silhouette. The fabric truily embraced the cross-cultural clientele of Dior.
Cross Cultural Message Embodied in every seam
Opened by the quote from Moroccan writer Tahar Ben Jelloun. ““Culture teaches us to live together, teaches us that we’re not alone in the world, that other people have different traditions and ways of living that are just as valid as our own.”
As we pass through our lives equality and sensitivity plays a greater role than ever. Tackled head on by Maria Grazia Chiuri 2020 Collection. Through cultural appreciation and cultural appropriation sensitively through fashion.
Chiuri Quoted “In this moment, there’s a lot of focus on cultural appropriation, but I think we have to explain how craftsmanship travels around the world; why it’s often so difficult to find the ‘real’ reference,” she said, referring to the pan-African Wax print fabrics that characterised the collection. “Wax started in Europe and moved through Asia, then back to Africa. We want to move our heritage in a contemporary way and give it a different attitude, and this material does that.”
Chiuri educated herself on wax fabrics of the African continent by consulting French anthropologist Anne Grosfilley. Guiding the collection through introducing Uniwax from the Ivory Coast. This intricate handmade print technique which forms patterns.
Grosfilley commented. “It’s about celebrating the diversity of old African cultures. But it’s not an African collection. It’s about the connection between different cultures and promoting African savoir-faire.”
“It’s different to what has been done before because usually designers like the idea of what ‘looks African’ while they don’t provide work and do something which is really African. Maria Grazia’s point of view was to promote one hundred per cent, African-made textile but not to make ‘an African style’. This collection embodies the connection between all the continents in the world.”
Dior’s Cruise Collection –
collaborators luminary artists and craftswomen
Collaborars included in this amazing collection included: – British-Jamaican designer Grace Wales Bonner and African American artist Mickalene Thomas reimagined Dior’s Classic Bar jacket and New Look skirt. South African shirt-maker Pathé’O designed a chemise for the collection in tribute to Nelson Mandela. Dior’s regular milliner Stephen Jones collaborated with fellow hatters Martine Henry and Daniella Osemadewa on turbans and pan-African headpieces. Finally, Chiuri collaborated with Moroccan craftswomen Sumano on the show’s scenography, where traditional local pottery and textiles made up the set decor.
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