Inside “Christian Dior: Designer of Dreams” at the Brooklyn Museum
Brooklyn Museum Christian Dior: Creator of Dreams, curated by Florence Müller in collaboration with Matthew Yokobosky, and excitingly designed by Nathalie Crinière, brings eight decades of high-end style to the legendary establishment.
The exhibit includes some of the awe-inspiring theatrical devices that Müller first explored in the 2017 successful iteration of this exhibit at the Musée des Arts Décoratifs in Paris, then in America at the Dallas Museum of Fine Arts and the Denver Art Museum. (where Müller is the Fondation Avenir curator of textile and fashion arts). For example, there is a wall of ghostly white canvases, reinforcing the power of craftsmanship and the hand in the haute couture of the house, and a curved wall containing accessories, clothing and enchanting reproductions of the size of the house. ‘a doll of some iconic Dior clothing brilliantly arranged in dazzling shading. rainbow colored.
The Brooklyn exhibition, however, opens with a fascinating look at Christian Dior’s relationship with America, and the installation incorporates images and objects from the museum’s own collection, artfully selected by Yokobsky, which suggest the inspirations of Dior or juxtapose his work and that of the designers who succeed him in his house with contemporary creative forces. After Dior’s untimely death, his brilliant runner-up, Yves Saint Laurent, 21, was appointed head of the house, which he did for two years before being drafted into the army for his military service. compulsory, where he quickly suffered from a mental disorder. breakdown. Examples of Saint Laurent’s young and spirited interpretations of the master’s work are staged at the Brooklyn Museum against certain images by Marlon Brando in The wild– inspiration for Saint Laurent’s radical Beatnik collection from the fall of 1960, which horrified the Dior house and accelerated its deferred order. Saint Laurent was succeeded by Marc Bohan, whose elegantly patrician creations were calculated not to frighten the horses and who survived as the artistic director of the house for almost 30 years until 1989, when Gianfranco Ferré brought his Dior’s own mark of Baroque Italian bravery. Müller’s careful selection of Bohan’s works reveals the imagination behind the understated pragmatism of this underrated designer. “He was,” she explains, “very much in tune with the pop culture of his time.”
Ferré, of course, gave in to John Galliano, who reinvented the house for the 21st century with his spectacular catwalks and dynamic advertising campaigns. Raf Simons, although short-lived at home, left an emphatic legacy, and Maria Grazia Chiuri married poetry with commerce and found the feminist voice of the house.