Each one was painstakingly handmade by women at the Chanakya School of Craft in Mumbai, which partnered with Dior for the upcoming season. Chiuri invited Trofymenko to design the show’s set, and the life-size tapestries featuring hand-embroidered flowers did not disappoint.
It’s also a collection inspired by one woman in particular, or at least her work: Olesia Trofymenko, the Ukrainian artist whose depictions of the tree of life were the starting point for the designs, celebrating our deep connections to ancestry, as well as strength and wisdom. It’s a collection made by and for women, with Maria Grazia Chiuri as the storied creative director of the house-the first woman to hold the role. Models wore long, loose braids down their backs and barely-there makeup-little more than a touch of pink blush was visible-to keep the emphasis on the clothes.ĭior Haute Couture fall/winter 2022-2023. Tradition, as it relates to why and how we dress, was a prominent theme throughout, with garments paying sartorial tribute to different countries and cultures, the underlying message being that we all belong together. Of note: a tartan co-ord set with hand-stitched detail, a gauzy floor-grazing maxi cinched at the waist, and a mid-length dresses with a Mao collar reminiscent of those worn to celebrate Chinese New Year. Rich embroidery acted as the star of the show, with intricately designed floral motifs appearing on everything from wool crepe to silk and cashmere. Neutrals dominated the color palette, punctuated by the occasional hits of black, navy, and chartreuse. The pieces sent down the runway in Paris, notably on the Fourth of July, were romantic and dreamy, yet structured and decidedly traditional. It’s within this set of contradictions that Dior’s folkloric autumn/winter 2022 couture collection was born. Beauty can be hard to recognize against a backdrop of such ugliness. Even the mind-blowing artistry of a haute couture show, where one-of-a-kind garments are sewn together by practiced hands with millions of tiny stitches, can only temporarily distract from the world’s ever-unfurling horrors. It’s a strange time to be in fashion not just to write about it and consume it, but also to create it.
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