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by Murray Clark
One of the many divine sites piercing Egypt’s skyline, the Great Pyramid of Giza is impressive, silent, and glorious evidence that civilizations, no matter how physically powerful or refined, have an expiration date. For the pharaohs, it is about 3,000 years old. But in the shadow of this colossal tomb, a much younger dynasty calls for a new mystical era. Its name is the House of Dior, and it is still in its royal era.
An autumn collection that was revealed in the burnt desert of Giza at dusk was that of Kim Jones guyual: wide, elegant, cinematic. The tombs of the ancient pharaohs were illuminated, an LED snake illuminated the track to the sound of techno. Jones is as much as a designer, drawing on Dior’s archives and the world around them to create a natural spectacle. The guy knows how to put on a show. When invitations (white and handwritten, of course) indicated that the stall was Cairo, the fashion talk categories were right to be gassed.
The garments were a sea of neutrals in non-neutral styles, while sand, stone and white were cut with tulle handkerchiefs and watery layers. It was futuristic, as is the case with Jones, and dotted with seams that never widened. effort; Generous jackets on the shoulder and sleeve, but on high collar and technical pieces. The synthesis of tailoring and sportswear is difficult to achieve and yet Jones manages to make it crackle. It is his signature. He propelled his partygoers on the planet Arakkis of Dune, armor and all, and the area monogram served as the base plate for the lilac framed vests. Elsewhere, there were more than a few headsets with scanning area. Shortage of oxygen, but do it Dior.
There’s also a bit of superstition in science fiction. The brightly colored knitwear inflated with the daily bread of the superstitious: the pyramid of the Illuminati in the fireplace on a graphic; constellations of the Zodiac in another.
Under the stars and in front of the silent wonder of the pyramids, everything seemed a bit mystical. That’s the kind of point. As the first of the fall collection and a birthday party for Dior’s 75th anniversary, Jones needs the birthday party to be secular and about the cosmos, just like the ancient Egyptians, who built the show’s stunning backdrop to reflect the trajectory of the stars in Orion’s belt above. “With this anniversary and the collections we’ve made that are all similar and came to a conclusion, it seemed appropriate to do something very special at the end of the year,” Jones told GQ ahead of the show. it is the summary of the past, provided and long term in one place, in front of the Great Pyramid. “
According to the parade notes, Monsieur Christian Dior himself was a superstitious guy and discovered his own “lucky star” by stumbling upon a jewel on Rue du Faubourg Saint-Honoré. Some would have found little point in it. But Dior saw more than the meaning: there was a message, a premonition that his destiny was in haute couture, and he stood out for his astrological religion to advise the house.
This is not the Jones administration’s first area program. During the closing, Dior presented its Fall 2021 collection in the outer galaxy. Imagined in partnership with Kenny Scharf, the East Village graphic artist who contributed to the artistic redesign of In His New York Neighborhood, the collection sported very Dior stitching dotted with intergalactic illustrations. Later, there was an exhibition in Tokyo with the king of retrofuture eroticism Hajime Sorayama, all with steel saddlebags and a giant centerpiece robot. He even fired lasers from his face.
Remember all that, and the accessories for tonight’s exhibit are a little surprise. They were capsule-shaped and aerodynamic; Backpacks in shades of gray as if they were portable turtle shells. Zippered compartments.
By GQ editors
By GQ editors
By GQ editors
This kind of futuristic view of Dior doctrine comes naturally to Jones. Because her Dior is neo-couture, where the historical cuts see an avant-garde redesign, like the Scottish half skirt in wool, descended from a pleated dress in Dior “Bonne Fortune” of the 50s. It’s all over the collection. And this hazy area between the afterlife and the long term is where Jones feels most comfortable. He is a historian and forecaster.
And the pyramids were nothing more than insurance for the future: non-secular enclosures before the wonderful pharaohs headed to the afterlife. This landscape figured prominently in today’s debates. : an unmissable and unmissable event. The clues will have to be shared. They are regarded as “content,” like everything else. And so, designers choreograph scenarios that swing by the top spot on the Explore page: like Bella Hadid’s Coperni spray for dressing and Jacquemus’ long lavender ride that went viral some seasons. Aug. It makes sense of advertising. But while one might forget Dior’s Egyptian exhibition as another bankruptcy in this new era, Jones, a multidisciplinary artist, sees something universal in the shadow of the pyramids. This structure of the global has an objective and intensity that go beyond mere spectacle. it is a collection that will pay homage to Monsieur Dior, to the ancient Egyptians who preceded him and, perhaps, to his own destiny.
Like the pharaohs millennia ago, some fashionable royals boast their own mortality. Raf Simons shut down his eponymous logo after 27 years. Riccardo Tisci is ready to leave Burberry. La last week, Gucci closed the e-book about Alessandro Michele’s fairy tale. the kingdom of Dior is still in a golden age. The emperor has new clothes. More than that, his vision is constantly evolving. “This is directly similar to Christian Dior in this sense of looking into the afterlife for a path into the future, and through his fascination with symbols and superstitions that are repeated in his life and work. one of which is the star,” Jones explains. The concept of ‘guided through the stars’ shapes the entire collection. “
At the end of the show, a full-body live orchestra brought Max Richter’s compositions to life, the crowd amazed not only through the stage, which had been irradiated with lasers and projectors, but also through the level itself. time of many moving portions in remote corners of the world. But Dior’s autumn collection seemed like one of the largest ever made; A deeply complete collection that touched all the senses, and right there in front of one of the few wonders of the world still alive.
In this sublime and crumbling shipwreck of a lost civilization, where the ancient Egyptians undoubtedly appeared, Jones put his acceptance as true in the universe and in himself. The good times are far from over.
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