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Dior got it right

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Photos: Vogue Runway

Oh man, I love Christian Dior. I thought that nothing would be able to impress me after Raf Simons brought back a more subdued grace and femininity proceeding the fashion house’s Galliano era. I was thoroughly unimpressed with the duo that immediately took over after Simon’s departure, and felt a fear that within the overwhelming amount of designer musical chairs occurring, I might lose my appreciation for all that Dior stood for.

Along comes Maria Grazia Chiuri. Yes, a woman! High fives for girl power and all that, but she took Simon’s dainty, flower-ordained theme for haute couture a step further into a wild, magical, and fantastical forest of my dreams. Perhaps too much poetry has been forced upon me lately, or maybe too much medieval literature (not doing¬†that again). But I’m thinking that the whimsy and fairy-like beauty that captures the essence and fascination with the supernatural during this time shows a beautiful, feminine strength that manifests itself in emphasis on the concept of femininity as divine. Juxtapose indestructible, impeccable stitching with awe-inspiring, whimsical designs and a wild, untamed forest, and you’ve got yourself a magical experience.

I think there’s something to be said about those three things. Although Chiuri said in an interview for Vogue Runway that the setting reflected her career path, I think it also goes to be said that the personalities of the women whose grace the¬†recreated Musee Rodin environment carry an aspect of wildness. It screams: you can’t tame me! I look like a magical being but I won’t let you stop me on my way!

Essentially, you can’t pin us down.

And can we take in the beauty? There’s a twinkle in everyone’s eye. She knows.

Photos: Vogue Runway

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