Post Paris XXVI

A 'False Encyclopaedia' double feature with Rudy Katoch, discussing:
Dior Fall/Winter 2013

“There is no political power without control of the archive, or without memory.”
Raf Simons fully understands the gravity of Derrida’s footnote. He plays with this idea lightly as he closes the show with three black silk memory dresses.

Look at the black leather Opéra Bouffe 1949 dress by Simons. It is a pastiche of the 'Pisanelle' cocktail ensemble Fall/Winter 1949–50. Dior was inspired by Renaissance artist Antonio Pisanello for his refined attention to clothing materials. Simons deflates the look, yet still foregrounds Dior’s fascination. He reduces the garment to its component parts. Warhol did this, with the same elegance, throughout his 1984 portfolio: 'Details of renaissance paintings'.

Silk velvets were reserved for eveningwear, not the cocktail hour in 1949. Leather replaces silk in 2013. Pop the New Look.

The re-evaluation of Dior has progressed. Raf Sander has found himself married to the ghosts of Dior and Schiaparelli, and to a certain degree, recovered from a traumatic change. Finding piece with his own past and the heritage of youth culture, altered towards surrealism. It's all about the (reversed) shoe, and Mr. Simons is running.

1. Dior Fall/Winter 2013
2. Nat Finkelstein Andy Warhol and Silver Clouds, 1966
3. Christian Dior Fall/Winter 1949
4. Andy Warhol Venus, 1984
5. Raf Simons Spring/Summer 1999
6. Elsa Schiaparelli Fall/Winter 1937
7. Christian Dior Fall/Winter 1974
8. Dior Fall/Winter 2013

More about Rudy Katoch

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