Christian Dior

Spring 2021 Ready to Wear

Pictures by Dior

I AM WOMAN, HEAR ME ROAR (from the comfort of my own home)

Dior Takes A Casual Stance on Spring Fashion

By this point, it is redundant to say that designers have been inspired by their quarantine to take a more casual approach to dressing and creating. That has been the main thread this season (with a few exceptions), and Maria Grazia Chiuri’s Spring collection for Dior is no different. While staying true to her elevated sense of craft and design, this is Dior, after all, Chiuri debuted a live runway collection of 86 looks in a tent erected within the Jardin des Tuileries. Inside, the set was decorated with makeshift stained-glass cathedral windows by the artist Lucia Marcucci, while the voices of the all-female singing group Roseblood, performed Sangu di Rose, a moody 19th-century piece about women’s liberation. Anyone who has been following Chiuri at Dior for the past four years will know that this is about as on-brand as you can get. 

The extensive collection began strong with paisley prints and Mediterranean fabrics composing languid prairie dresses, high-waisted bloomers with matching bandeau bras, and day coats belted at the waist with signature CD leather. Floor grazing, light as air chiffon dresses were sheer and flowing, some with slightly cinched waistlines, others falling loose with plunging V-necks. Pants were relaxed and cropped, often paired with tunic length button-down shirts, also belted at the waist. By the time a series of all-white lace ensembles appeared, we were hungry for a break in all the patterns and mixed fabrics. Model Maryel Uchida provided that breath of fresh air in a heavenly sheer white dress with a collard neckline and long sleeves. 

There was also a bit of tailoring amidst all the boho-chic prints and floaty fabrics. A collection of structured navy pieces appeared, including a reworking of the famous Dior Bar silhouette jacket, this time more relaxed with wide sleeves and a loosely belted waist. Accessories also played a large part in this collection, as they are the main financial driver for most luxury brands. The hugely popular Book Tote bag got several adaptations, including tassels, leather, and multicolored prints. Two tie-dyed windbreakers were shown with the brand’s name emblazoned across their chests, the most obvious (and therefore, probably most popular) branding offerings in the collection. 

In a collection as extensive as this one was, it is easy to get lost in the similarity of the pieces shown. How many sheer dresses does one need in the same style? How many different textiles can you use to make the same shaped jacket? There is no question that Chirui has a definitive point of view, and one that is widely celebrated, but the danger is too much of the same thing season after season. There is also the question of inclusivity that has dominated the topic of runways and collections in the past few years. Designers all around the world have advanced past the traditional concept of models to include different ages, races, and body types, so why hasn’t Dior joined the growing ranks as of yet? In an 86 piece collection that celebrates freedom and femininity, why was there only one body type shown? Quarantine may have changed the way many designers look at fashion, but now is the time to change the way the fashion industry and consumers look at its designers. You cannot preach feminism without promoting it across the board. We will keep our fingers crossed for next season, Dior. 

Written by Elizabeth Kramsky


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