Grazia Maria’s departure from Dior marks the end of an era which, despite enthusiastic proclamations, was above all notable for its inconsistency. Propelled to the rank of genius by complacent critics, she excelled in the art of effect without cause, of stance without vision.
Behind the feminist discourse and over-intellectualized collections lay a vacuity that the house of Dior had long tried to mask under the trappings of concept. This departure, quietly but not without relief, marks the possible return of a true aesthetic rigor, freed from the pseudo-subversive veneer that served as style.
The ultimate irony: the woman who dreamed of being avant-garde is leaving the stage at the very moment when Pierpaolo Piccioli, after twenty-five years of gracefully and profoundly embodying the feminine soul of Valentino, is making a remarkable entrance at Balenciaga. Long reduced to the discreet role of Grazia Maria’s shadowy figure, he finally emerges into the light. While she fades into the polite indifference reserved for overly long-lasting impostures, he establishes himself as the legitimate heir to a demanding, sensitive, and embodied fashion.
You never enchanted me, Madam, but it’s true that your contempt for men oozed from every collection. Under the guise of feminism, you cultivated a form of cold resentment, disguised as a concept. By dint of wanting to deconstruct, you forgot to create.
FM