March 1945
Paris, France
In a time not unlike our own, when the world was still reeling from a global trauma, people were yearning for a pause from the traumas of everyday life. The masses desired the ability to dream again and to fantasize. From the imagination of Robert Ricci the son of designer Nina Ricci came the idea of using miniature mannequins to present the latest fashion from Parisienne couturiers. The exhibition was called the " Theatre de la Mode and in one year over 1000,000 visitors attended the exhibition at the Louvre Museum. These life like dolls traveled throughout Europe and the United States to help restart the French fashion industry after World War II. The exhibition presented 237 life like dolls staged in 15 various backdrops. World renown designers such as Balenciaga, Pierre Balmain, Hermes and Nina Ricci were amongst just the few of the designers that created intricately crafted wardrobes for the mannequins. These miniatures were also adorned in tiny jewels from Van Cleef and Arpels and Cartier.
These dolls were painstakingly dressed in casual and formal period fashions and became the 20th century Pandoras of their time. In a world of war, fashion came as fantasy. Fast forward to July 2020 and again we find that fashion has come as fantasy at the perfect time. Indeed, it must come as fantasy. Because of the health crises the traditional format of the runway show was cancelled in favor of digital presentations or mini fashion movies. This I do believe just like the Theater de la Mode has the ability to give the grandeur of couture to the masses. Instead of a traveling exhibition, one can now see the collection on ones handheld device. A digital exhibition for an audience of one. Creative Director Maria Grazia Chiuri has for this couture collection's film desired to send one message,"That creativity gives hope for the future". Director Matteo Garrone who helms this fashion film has come to tell us a Dior dream but one albeit that is robed in mythology. The story of the House of Dior in this film intertwines itself with the French history of the travelling Pandora and breathes digital life into something that by now is a relic in a museum, viewed not long ago by crowds of the post war years. The 18th century Pandora doll came in two versions, the Grande Pandora which wore court attire and the Petite Pandora doll which wore everyday wear. These fashion dolls were the earliest modes of communication to inform buyers of the latest style trends. There are records that suggest these dolls were in use even before the 18th century.
Historical records indicate that King Henry IV of France sent his future wife Marie de Medici several of these dolls upon their marriage. It is also documented that Queen Anne of Brittany used these fashionable dolls to communicate the captivating wardrobes for the royal court. French dress makers would send the meticulously dressed dolls to royalty and noblewomen alike. These dolls have a French heritage that was again resurrected by a French couture house. In the summer of 2020, we find the world again is in an unfathomable state which is Covid-19 and once again fashion seeks to share its whimsical soul to bring relief in a period of unimaginable suffering.
To understand this digital presentation, one must look at who I deem as an imagineer, Matteo Garrone. From his films such as Delightful, Tale of tales and more recently Pinnochio the viewer can see how the puzzle pieces of his imagination were artfully placed together to showcase the Dior couture collection on film. The couture collection was presented in a world where mythological creatures live and they are adorned in haute couture. Mermaids, living statutes along with wood and tree nymphs come to life in this fantastical Dior world. The House of Dior literally traveled to these female creatures as a miniature trunk replica containing the dresses by two bellboys who carried the house though out an enchanted forest. It is not surprising that the literal House of Dior located at 30 Avenue Montaigne would transform itself to travel to a mythological kingdom since the house is called the "Kingdom of Dreams". Right before we are transported into this hidden world, we are shown the petite mains in the Dior atelier putting the finishing touches on the miniature dolls that will be travelling to adorn their new enchanted owners in a Surrealist forest. Garrone stated that in all of his films there is a fairytale element. " In this film that we have made in collaboration with Maria Grazia we go back to the origin of the fairytale". Seeing garments in all of their extraordinary detail is seen more as a testament to the amazing petite mains who constructed these works of art. For example, in the main 2020 Autumn/ Winter collection there is a white bar suit with a draped jacket. The waist of the jacket was draped first and fixed into place so that the peplum portion would sit naturally on the wearers waist. One important detail that was not to be overlooked in all of the digital presentations during Paris couture week 2020 was the attention given to the many men and women behind the scenes who actually sew these garments. These are the men and women that have the skilled minds and hands that can turn a dream into a physical reality, they can turn a sketch into a piece of historical record in fabric. Dior's collection comes at a turning point in our world. Maria Grazia's couture collection is a record of history in fabric. If the House of Dior is to continue to be a discerner of the times, it must continue to draw from the lessons of the past to create a new reality for the people that deserve to still dream in the midst of the unknown.