Dior held its Cruise 2019 show in the French town of Chantilly, and if you’re thinking that this was an interesting location, well, let me tell you that it wasn’t at all selected based on a whim. Chantilly is known for its delectable cream (lol), lace, and equestrians, so it made sense that her collection was based on the traditional Mexican women rodeo performers, the escaramuzas. The show set, was therefore made to reflect this type of stadium-esque rodeo setup, except with a fancier maypole-like structure in the centre, except with the “ribbons” forming an umbrella-eque skeleton structure merged onto the tents. For maximum effect and the setting of the stage for the looks that were to come down the runway, 8 women were actually flown in from Mexico and dressed in custom Dior for the sole purpose of showcasing a synchronised galloping choreography, that opened and closed the show.

The spirit of the escaramuzas, signifies strength and endurance, while the costumes that they wore, reflect their femininity: full skirts, embroideries, bright colours, large hats, and flowers. It was the perfect juxtaposition between the masculine and feminine, in true Maria Grazia Chiuri fashion.

Voluminous skirts were paired with fitted jackets and high-waisted belts emphasised the narrowness of the waist. Similar to the Dior Sauvage Cruise 2018 collection, the collection also featured toile de Jouy depicting scenes of a  series of wild animals, including tigers and snakes. Texture and to contrast between different materials, lace the came pleated or rounded, with black rubber boots (perfect for the rainy weather condition during the show!) certainly reflected the play of “hard” vs. “soft” vibes that we have now been accustomed to seeing in Chiuri’s designs.

Riding helmets and wide-brimmed straw hats (courtesy of renowned milliner Stephen Jones), too, recalled the equestrian vibes, and the novel, The House of Spirits by Chilean author Isabel Allende and her portrayal of independent female characters, respectively. Yet, the essence of Dior was not lost, with her interpretation of the iconic Bar jackets, which she styled with tulle skirts.

Apart from these women rodeo riders, Chiuri also took inspiration from an image of the Amazon, which inspired her to look towards a more sporting dimension, which she in turn sought not just overcome gender barriers, but also blurs these dichotomies. This resulted in jackets made of Japanese cotton paired with pants, culotte skirts, and skirts, whose pleating recalls the Drags, an haute couture afternoon designed by Monsieur Dior himself for the Spring/Summer 1948 collection. As this is  an equestrian-themed collection, it was befitting for her to complete the look with the saddle bag – yet another Dior signature element.

Each of the women presented [in this volume] is one and multiple, both herself and many others, some illustrious and  some less well known to us, but all of whom resemble her in some way. ~ Nicole Loraux, La Grèce au féminin

The models were such troopers, unfazed, even though they had to walk in the rain, with Chiuri herself, emerging to take her post-show bow during this unforeseen weather hiccup.

Images courtesy of Dior