Maria Grazia Chiuri在這次的秀場提到:
時尚知悉古今重要紀事。
一九六八-撞擊世界之年,馬克·科蘭斯基是這麼形容。
"這是最好的時代，也是最壞的時代；是智慧的時代，也是愚蠢的時代；是信仰的時代，也是懷疑的時代；是光明的季節，也是黑暗的季節；是充滿希望的春天，也是令人絕望的冬天..."
而狄更斯為«雙城記»所寫下的卷頭語,正巧,也可以用來形容一百多年後的動盪之年。
在這不安寧的年代中,
是越共進軍西貢,五月革命爆發,反對資本主義,反對社會主義,反對一切認為不合理的年代;
也是女權主義,黑人主義,嬉皮文化等思想蔚為潮流的年代。
但和 Dior 的關係何在?只是為了一個靈感?
對Dior而言,1968是被女權主義所影響的一年。
這一年,一位年輕女孩在Dior的店外抗議著店內沒有足夠的迷你裙(想想當時,女人們露出過多的肌膚是多麼"不得體"的事!);
而Marc Bohan也首次曝光了Miss Dior系列-Dior從僅接受高級訂製服,轉變為開放時裝設計(Ready-to-wear) 。
所以,
喜歡時尚,喜歡華美服飾的人都是這麼膚淺嗎?也許是還沒了解背後的故事罷了,
許多設計師只是透過他們所熟悉的方式來展現其對於世界的種種心得。
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“Fashion understood very well the time,” said Chiuri.
It's all about an important year: 1968,
an year in which a lot of crucial events had taken places,
including May 68 of student protests, Anticapitalism, Feminism, African-American civil rights movement and hippies.
But why 1968?
This year, a young woman was protesting outside of Dior for having not enough miniskirts to buy( think about it, exposing so much skin was so inappropriate during that period! );
Dior wasn't only for haute couture anymore with Marc Bohan launched Miss Dior for RTW.
So is fashion equal to vanity?
I don't think so. Maybe you just need to learn more about the backstory and know the reason why.
Just like other protestors or the warriors, the designers use their own way to express their feelings about this world.
Even though the design of Dior isn't the ones which had made me fall in love with; it keeps bringing out amazing fabric and textile design that contains a huge amount of backstory.
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