The last show started with the war in Ukraine, and we have a lot of uncertainty just after Covid, in Europe there is a lot of uncertainty, and there is climate change so there are a lot of uncertainties and I think she wanted to find a space in herself that is her own imaginary world. Maria Grazia is very sensitive to what is happening the world right now. I really like how cardboard can be found anywhere, and I like the circle of how it starts with the forest and returns to the forest because the first works I did was of big forests using cardboard,” explains Jospin.Īnd, how does the sculpted runway structure fit in with the collection? “The new collection has a strong inspiration with the Baroque period too. But I was looking for a material that’s very easy like a pencil but for the sculpture. So why the fascination with cardboard? “I started using this material about 15 years ago, and maybe when I started with it, it was the time to change my scale of work and turn to large instillations. Luckily time was on her side as she had 6 months. As far back as February, Jospin knew she was going to do the show, which gave her almost a half a year to create.Įva and her team assembling the grotto sculpture. And I said yes, it’s amazing to do all this and so, I’m very glad,” says Jospin. So, she asked me if I imagined a sculpture for the show, inspired by all the things we love together. She’s Italian and she has a taste for these things, and it’s a taste we have in common. I showed her a book on grotto gardens that she loved. “Maria Grazia saw my exhibition that I did in Paris, which was really like forest, grotto and architecture altogether. Created by artist Eva Jospin, Chiuri has worked with her before to create runway sets, like the Dior AW21-22 Haute Couture show. There’s something Palace of Fine Arts in San Francisco about it. As guests flooded into the show space, which was set in a circular shape, there in the center of the room was a grotto-esque sculpted structure that took about six months to create. “The guêpière, sometimes hidden, sometimes visible, outlines a silhouette reminiscent of the wide skirts worn at the court of Catherine de Medici,” says Dior.Ĭhiuri understands the power women possess, one of these powers being awareness, that fashion’s power is also a power women have that is an attraction to the outside world, which goes beyond perception, knowledge and experiences.Ī set structure made totally from cardboard
The corset is a major player in this period for women, and so, Chiuri updates it, giving it a “quasi-geometric shape” giving shape to the bust. There are some pants pieces in the collection but mostly skirts and dresses- and some trench coat looks.
Some outerwear jackets and longer spring-like coats, or raffia coats, an ancestral tradition for de Medici include floral and bird motifs. She also stayed in the period color palette and most of the looks were black, white, off white, golds and floral patterned. Flowing lines and gold filigree were drawn upon as Chiuri created long and short dresses with this detailing. Women wore virago sleeves, lace collars for decoration, and long gowns with low necklines. The fashion for women during the Baroque period was of flamboyant patterns and dark colors, as natural and curvy feminine silhouettes were embraced. Florals were an ancestral tradition for de Medici, as well as bird motifs.
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