Maria Grazia Chiuri makes sure that the Dior cruise collection, presented in Seville this time, is unmistakably Spanish
It is off to Spain for Dior’s cruise 2023 collection this season. In Sevilla, Maria Grazia Chiuri presented her desirably wearable clothes at the Plaza de España (or Spain Square), a half-circle complex of mixed styles that was built in 1928 for the Ibero-American Exposition of 1929 (mainly offices of government agencies are housed there now). The sweeping building sits in a massive garden, the Parque de María Luisa and it is in this vast expanse of space, with the Plaza as backdrop, that the Dior presentation took place. For most of the show (to be certain, we—like most of you—saw the livestream), the clothes were lost in the (no doubt breathtaking) expanse of the setting. Also threatening to overshadow the models looking remarkably listless (the runway just too long?) is the energetic dance performance—flamenco that ethnographers and dance anthropologists believe to have started here in Seville as bodily expression of the impoverished and the marginalized. But Dior’s expensive show gives no hint to that little detail of the history of the Andalusian capital.
The Dior cruise collections have mostly been a cultural promotion of sorts or as a “way to tell stories”, CEO Pietro Beccari told Vogue in 2020. From Calabasas (2018) Marrakech (2020) to Puglia (2021) to Greece (2022), the destinations were as far away as the clothes were localised. These city/town/village-themed collections also allowed Ms Chiuri to work with provincial artisans, infusing her designs with the exotic and the cultural so that they’d be artistic and edifying. Oftentimes, the pieces are the “real deal” of how much local knowledge and craftsmanship have been worked into them. In sum, they capture the sartorial spirit and tradition of the land. That, however, does not necessarily preclude the lamentably clichéd.
In Seville now, the clothes (and the very Zorro Cordovan hats!) so radiate those fashion finds from holidays in Spain that they border on the costume-y. Pandemic-era The Barber of Seville? A Roman designer working in Paris referencing Andalusian motifs is likely cultural appreciation, rather than appropriation. Indeed, can white people adopting the fashion of other white people, but of different culture be considered an act of appropriation? There is a greater cause in all this: Ms Chiuri is providing employment for scores of the local artisans and others putting the show together. We must not knock this. Jack Neo recently said of his second Ah Girls Go Army film, “Don’t scold us again… we created 400 job opportunities by doing these films.” Economic benefit in inflationary times trumps artistic merit.
These are clothes that would no doubt elicit the response, “so preeety”. Nothing wrong with that. As fashion gets inexplicably vulgar and meretricious, what Dior is offering could be welcome antidote. Ms Chiuri, whose middle name also means “beauty of form and movement”, according to the Cambridge Dictionary, has always approached design with a more classical eye. Her Dior has predictable forms that prefer not to deviate from the founder’s vision, allowing movement for women to be at their feminine best, from demure to coquettish. So, this season, the modest lengths to maintain primness or the frilly off-shoulders (and bodily tiers) that facilitate flirtation. All the better to project the power of the matriarch (or that of the late flamenco dancer Carmen Amaya, who, danced “energetically” in pants and was—ironically for the Dior inspiration—not a mother): As Ms Chiuri told Suzy Menkes, “All the Mediterranean areas, especially in the South, are matriarchal families, where the women is the centre. These women are super strong. Sometimes too much”.
But excessive may not necessarily be an undesirable trait to Ms Chiuri. Faced with the plethora of Andalusian decoration on fabric, she does not shy away from them. Or, the so-called Spanish lace (much of the lace used in Spain for, say, mantillas—even, reportedly, ecclesiastical lace—were imported from France, in particular Chantilly, where Dior staged its 2019 cruise show). The clothes are accorded surface treatments as if they are destined for an Almerían or gypsy wedding. So lacy, frilly, ruffled, and tiered many of the looks are that it is hard to imagine them for a cruise, or any resort. Traditional Spanish fashion can, of course, be flamboyant—bright colours and eye-catching patterns are typical of Andalusian dress, also referred to as “flamenco”. But Ms Chiuri avoids that path to an extent. Still, it is hard to ignore the fanciness of the fringed-shawls-as-outers (mantoncillos?) Or the toreador jackets and pantalones, even when they are tempered with the inclusion of denim and varsity jackets. Maria Grazia Chiuri is clearly not thinking of the matriarch (and the inhabitants) of La Casa de Bernarda Alba.
Screen shot (top): Dior/YouTube. Photos: Dior