Dior comes to pose a structure of the lying woman’s body, Here is a structure that is more reminiscent of an extravagant sculpture by Anish Kapoor posed like a big piece of excrement in the middle of Paris.
It is in this same museum that Camille Claudel had shown through her creations all the femininity of the world. Does Maria Chiuri dream of this one? As a tribute to her Roman upbringing, the mannequins, all sails floating outside, remind us of the Roman virginal vestals, the very ones who took vows of celibacy to honour the goddess Vesta.
Yet, under the invisible tutelage of an angel, the creator is drunk with sunshine. Here is the ambrosia and the nectar of vermeil running between the dresses of her predecessors (Josse, Franck Sorbier and Hervé Léger) remixed with a dress from the 1930s; a nod to Judy Chicago, a visual artist and activist of her state, to end up making a collection worthy of Louisa Spagnoli.
The personality of each one is formed from the others, and Maria is the others. Seventy-seven gold leaf silhouettes, what could be more normal for the new owner of Tiffany.
Here is the softer feminine contestation, the Lord had to set the record straight. And so, the most masculine of the designers gives us a feminine collection, thinking that all the customers take the subway in a long chiffon dress.