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Discussion in 'Designers and Collections' started by Marc10, Jul 6, 2020.
Stunning! The video presentation, that is. Because the clothes are your typical MGC Grecian/drape/nude/embroided fare.
She should be glad that the video medium allowed her to take these clothes to a different level because without it everyone will see it for what it is.
A bit long but mostly entertaining (a breakthough for Maria Grazia), competent acting and I loved the horny tree couple. The segment with the dolls was very sweet.
Those Dior euros were put to good use for once.
It's so sweet it almost makes me sick. Just another Cinderella story. Nothing new to see, just old.
It's so disconnected from the world we are living in: COVID-19, BLM, etc. Would have loved to see what McQueen would have done.
I dunno, Nymphaea, imo it's better for everyone involved if MCG stayed away from social issues because she'd replicate it in the most literal sense and maybe that wouldn't quite work right now. Case in point, the above presentation, the fencing collection, the feminist slogan tee........
Yeah, how odd was that? LOL. And they were really getting it on in that bark.
Not sure if the set design is digital or real, but it looks very interesting.
Like how the surrealist coat sticks out like a sore thumb. As predicted, it's yet another textbook MGC couture line. The Saudi royals will go bananas on this.
I must admit this is my favorite collection from her by far.
But still, I find the set design and graphic design are much more intriguing than her design...
Her best collection! How ironic!
For the first time ever, the clothes looks fully achieved. It’s not a quiet New-Look, it’s big! I like that!
And maybe she should present her clothes on mannequins rather than models. Obviously, her models are 16 years old girls who do not have the stature, the bodies to embody the old-school femininity of Dior.
The Galliano woman can picture herself in those clothes!
Dior has always been my favourite, until Chiuri came in. Even if her collections have some beautiful details, the whole look just never appealead to me. This is perhaps the first collection I do like full looks.
The wretched braiding doesn't amuse me though. That flower dress (sixth on second post) would've been absolutely perfect without that braiding.
Her best work so far??
She needs to focus on this garden nymph woman vs. the slogan obsessed woman of her RTW
I never thought I was going to write this about Mary Grace...but it is her best (and only good so far) collection for Dior!
Buut...I have to face the fact that it is very classical, and reminds too much of Dior archives...nothing new here.
But at least this time it has been made with good taste. And a sense of sophistication which was gone for too long at Dior. This time this truly looks like haute couture, with a great construction.
Love the dolls presentation, no teenagers models who tend to ruin the couture feeling. But I would like to see each look made at real scale.
I have watched the end of the video, I saw the clothes at real scale...but the models ruined the whole couture mood.
Yeah, this is good. I think her collections do not need shows at all because the show often overshadows the collection and the looks are repetitive. This collection is condensed and the presentation matches the banality of the clothing making them feel right, if that makes sense. Still don't like her though
Probably her best collection to date. Everything looks expensive and extremely well made. Mary's dull creations have benefited a lot from the change of presentation.
Do women really want to dress like that? I agree that this is probably her best outing yet, which doesn't say much, but it all feels so heavy. Not at all for a modern woman, although this is couture.
With all her bull about feminism and emancipation, why does she insist on reworking the 1950s constantly? Can't she see the contradiction?
Women like to feel pretty. At least half this collection is pretty. There's no great science to it.
What of feminism and emancipation? That means a woman should dress like they want, including pretty clothing. Many women love the 50s, the 60s, anything vintage really.
In a way, Couture is the most and the least modern way to dress. The craftmanship and the techniques are still the most advanced in terms of clothes-making but the clientele, the whole status and everything it represents is from another time...
That being said, when it comes to Dior, it’s almost a philosophical question. There’s something that Karl always said about his work at Chanel on how it was about the spirit of Chanel. More than the visual aspect, the philosophy behind the process or the brand is very important. And I don’t think MGC has that. So her work is very visual-based.
It’s something Marc Bohan had (his work for Dior in the 70’s is a departure from the 50’s aesthetic while being Dior), that Ferré had (even if his interpretations of the 50’s in the 90’s felt already dated), that Galliano had up until he decided to do throwbacks and it’s really something Raf showed in his first collection.
The Dior silhouette is the easiest silhouette for women when it comes to femininity. It exudes femininity and women generally enjoys that (It’s not my cup of tea, personally).
That being said, it’s weird how big gowns and the idea of « dreaming » feels very much irrelevant now. There’s a sense of emergency that I think Dior, Valli and à lot of names in Couture don’t have for me lately.
Her best collection