The room dedicated to relations between Mr. Dior and Great Britain is the starting point for the Italian's fall-winter 2019-2020 show. It draws its inspiration from the 1950s, when Christian Dior crossed the Channel to present his fashion to little English girls. But far from the ball gowns he designed for Princess Margaret, the designer declines the ugly uniform of the Teddy Girls, their black jackets with rounded shoulders, their jeans (here, in the form of pleated skirts), their white Converse , their Hawaiian shirts, their tartan overshirts. We find the British version of the Bar jacket, in an elegant tweed, rain coats in waterproof cotton heat-sealed with Oblique canvas, parkas in technical nylon to put on shortened pants in lacquered and embossed silk. Draped bustiers are worn over plaid print tulle shorts and petticoats. The shoes? Pointed tartan ankle boots lined with a thick sock and black and white sling backs with flowery tips, screwed on a small heel. “Dior is Roger Vivier’s “kitten heel”. Not the impractical ones that women are not comfortable on. »
Almost all outfits are strangled with a wide, lovely soft leather belt, a variation of the Saddle bag - the house silhouette always marks the waist. “I come from the world of accessories, explains Ms. Chiuri. You take a bag like the Lady Dior, it's instantly recognizable. Everyone knows where it comes from, it's the strength of the accessory. I would like this formula to apply to ready-to-wear, for women to recognize our jacket at a glance. That the toile de Jouy, even if the patterns vary from one show to another, be identified as the emblematic fabric of the label. And I would like these signature pieces to be available anytime, in our stores.”
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Emilie Faure