Meanwhile, Not Up To Code | Dior Cruise 2019

by Long Nguyen

“Sometimes, women think that to make it in a man’s world, they have to change themselves somehow in order to fit it. The escaramuzas women show that this doesn’t always have to be true.  Usually, the female role in rodeo culture is there to support their husbands and their sons. But these are women who have decided they want to do it themselves and do something that is so macho while refusing to compromise their femininity,’ Maria Grazia Chiuri emphasized about her inspiration for resort just moments before a group of eight Mexican escaramuzas traditional female riders flown in from Mexico and Phoenix took to the sand in the courtyard stables of Chantilly wearing specially made white A-line cotton dresses with black lace trims and performed their perfect choreography on local white horses. Female empowerment has been a constant thread in Chiuri’s work at Dior ever since the first tee shirt she sent on the runway announcing ‘We Should All Be Feminists’ in September 2016.  

As the riders paused their horses in a circular formation, an army of models followed and paraded a variety of looks centered around the clothes these Mexican women riders wore to ride their horses at rodeos - garments made of cotton or linen peplum jackets, full skirts, embroideries on hard fabrics, bright colors, large hats, silver objects as decorations and flowers.  Chiuri reinterpreted and transformed her muses’ wardrobe into a vast collection of precisely couture cut necklines flare dresses and fitted jackets made from Toile de Jouy printed with wild animals and faunas paired with ample and extravagant tulle or intricate layering of lace skirts.  Mixed within these ultra feminine clothes that endorsed the classic Dior tight waist flared skirt silhouette like strapless gowns and delicate dresses with intricate flowers embroidered in metallic threads and white layered and ruffled dresses in embroidered lace with graphic inlays were a series of men’s black tie and white shirts worn with tiered flamenco skirts or with cotton capri short pants or with an all white shirt-layered skirt cinched at the waist with a black leather waist corset belt.  

Different cultures and chores can cohabitate in uncanny symbiosis in myth and reality, in fantasy and dreams, and in past and present.  The Adelita style born from the Mexican 1910-1920 revolutionary war and championed by the escaramuzas women fits perfectly as an anchor not only to the continued renewal of Dior’s heritage silhouettes but also critically to the spirit of women power enmeshed in today’s millennial mindset. 

Issue 163

The Transience Issue

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Photographed by: Fabien Montique

Styled by: Long Nguyen

Models: Haytal Blackwood and Elecia Gordon

Hair and Makeup by: Pauline Caputo

Photo assistant: Théo Riou

Producer: Adrien Sagnier

Location producer: Billel Chickri