Christian Dior Resort 2018

Published for Blouin Artinfo

May 2017

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Campaign for Dior Resort 2018

Maria Grazia Chiuri presents her first cruise collection for Dior, in the middle of Mother Nature aptly living up to the theme of the collection on May 11, 2017. The show was held on a super-remote mountaintop, in Upper Las Virgenes Canyon Open Space Preserve, in Calabasas, California.

The designer dug deep into Dior’s archive for muses starting with the Ovale line designed by Christian Dior in 1951, whose form alluded to primitive female depictions such as the Venus of Willendorf. Dior’s forever love for heritage and reinventing the past lead Chiuri to come to with this 2018 Resort collection inspired by the cave paintings and bringing fresh vitality to femininity.

Her idea of infusing the past, wild and ancient femininity with shamanic intuition that celebrates instinctive spirit and today’s state of the art.

This collection draws direct inspiration from Wolves painted in the prehistoric cave paintings and some modern day inspiration from the work of American painter Georgia O’Keeffe and feminist shamanic healer Vicki Noble, infusing new life into Monsieur Dior’s beloved art of divination.

The collection has more than one influences, “For me, I found it close to L.A. You think L.A. and you think Hollywood, Oscars, the red carpet, but honestly I feel people love this place because you feel in contact with the natural elements” says Maria Grazia Chiuri for the Dior sense of design.

These profound prints were placed onto silk jacquards and rich textured fabrics. At some places, these prints were made into sequined embroideries in earthy shades.  The entire collection Proportions and lengths are adjusted to a contemporary landscape in which sport mixes with haute couture and tradition becomes ornamental abstraction.

Other than the primitive prints, the dresses flowed long with breezy breezy silhouettes. The color palette was mostly golden ocher contrasts with blacks along with military greens, brick reds and the classic white.

The collecton had a very tasteful muted bohemian vibe. The color tones kept earthy, but the details were chunky fringes, human patterns and colorful feathered dresses. A very prominent use of robes and long jackets over dresses was showcased along leather boots.

The designer wonderfully put across the importance of contemporary essence in her designs to resonate well with the women today. In terms of keeping up with today’s scenarios, an inevitable touch of luxe sport spirit was evident in the collection along immense feminity.

“If you feel too much of the history, you get stuck in a box.”

 

Louis Vuitton Cruise 2018, Kyoto

Published for Bluin Artinfo

May 2017

Louis Vuitton Cruise 2018, Kyoto
Looks from Louis Vuitton Cruise 2018, Kyoto

Nicolas Ghesquière, Louis Vuitton Creative Director for Women’s Collections, presented his fourth Cruise collection for the house on May 14, 2017 at the Miho Museum in Kyoto, Japan. He fused fashion, nature and architecture expressing the spirit of travel and being on the road, the 2018 Cruise Collection showcases the designer’s love affair with Japan.

“It was one of the first places I travelled to when I was seeking inspiration, some twenty years ago, and I’ve been a regular visitor ever since. (The Collection is a) culmination of what Japan has given to me for a very long time,” says Nicolas.

The unique location chosen by the designer as he believes that it encapsulates Japan’s “fusion of urban and natural.” Miho Museum is located on mountain one hour outside of Kyoto. The museum is revealed through a spectacular metal tunnel and a futuristic suspension bridge, designed in 1997 by I.M.Pei.

The cruise collection had various prominent Japanese influences throughout, majorly paying tribute to designer Kansai Yamamoto. Yamamoto created icons, symbols, and characters for the accessories, which featured Kabuki mask-like designs. These inspirations are translated in the Cruise collection in accessories, prints and make-up. The models wore dramatic eyebrows, exaggerated winged eyeliner, and colorful face as the Kabuki masks.

The garments had a blend of classic motifs native to Japan, inked landscapes, ceremonial dress, samurai clothing, the keikogi robe-like outfit worn for martial arts, as well as cinematic influences from Japanese directors Akira Kurosawa and Takeshi Kitano. There were pantsuits and tunics featuring Hokusai-like prints. Leather sweaters reminded one of the Japanese warriors.

The collection along depicted the culture of Japan also evoked the question of evolution.

 

Coded Couture or an exaggerated gig?

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Google is partnering with H&M digital fashion house Ivyrevel, to serve customised dresses to the consumers with customised data in form design details.

“It’s such an exiting moment. We’re about to change the fashion industry by bringing the customer’s personality into the design process through data technology,” said Aleksandar Subosic, co-founder of Ivyrevel.

This idea is to be executed in form of an Android app that will collect the user’s data like location, weather and physical activity in order to know likings and learn about user habits. Based on these leads and Awareness API, the app will recommend a dress that users can buy.

Though the project is at alpha stage and is being tested by fashion influencers. It will be made available for everybody by later this year.

This association aims to “bring couture into the digital age” by utilizing our data to create dress, which absolutely sounds enthralling.

 

But how many of us “non-fashion influencers” would like to shed money on coded couture. And for ONCE, assuming that we did, would it be to our recurring interest?

Hoping that there is more to the project than banking on the millennials love for personalisation and uniqueness.