之前為大家提過,現年80歲的美國女權主義畫家JUDY CHICAGO會為這次DIOR時裝大騷創作一系列名為「女神」的裝置藝術,11幀巨大的刺繡橫額,單刀直入的表達了創作者對世界的質疑,由往年的 “WE SHOULD ALL BE FEMINISTS” T SHIRT,到今年的 “WHAT IF WOMEN RULED THE WORLD?” 刺繡橫額,創意總監MARIA GRAZIA CHIURI 再次在DIOR 2020 HAUTE COUTURE時裝騷上揚起女權宣言。但是,DIOR究竟如何將之轉化為衣服?
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DIOR SS2020 HAUTE COUTURE
CHIURI選擇了以古典女神為力量的象徵,為這次大騷設計了77套衣服。觀其大騷,其實一直有留意DIOR的朋友應該會發現這季仍貫穿DIOR的剪裁風格,不過要保持DNA,又要在基調上改變不是易事,若然沒有掌握好,很易就落成重複的系列,叫人失望。
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DIOR SS2020 HAUTE COUTURE
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DIOR SS2020 HAUTE COUTURE
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與JUDY CHICAGO之間的交流激盪起MARIA GRAZIA CHIURI的想法,CHIURI想表現歷史女性如何在父權社會下找到發光發熱的出口。 CHIURI說:「當JUDY CHICAGO談到女神的想法時,我想到了羅馬波提切利雕像。」於是,在DIOR 2020系列,我們可見都以金屬色調去勾勒「古典女神」的形象。
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然而,古希臘、羅馬波提切利的時代能否展現“WHAT IF WOMEN RULED THE WORLD?”這樣剛強的態度?
其實古希臘、羅馬藝術展現的女性,如聖母和神話人物都具有世俗的情態:和藹可親、動作輕盈、身著絹紗。展現的都是華麗的貴族氣息,以女性被定型的「愛與美」為主題,被賦予神聖光環的女性形象一般都被置於戲劇化場景,感覺莊嚴、肅穆。
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1510年,描繪羅馬神話情景的《沉睡的維納斯》當中緊閉雙眼的畫像,亦透露了女性對男性目光凝視的默許。女性身體被認家為拋棄了理性的量度,成為男性投資者、藝術家慾望載體,文藝復興後,繪畫題材更進一步突顯了男性慾望的徹底世俗化,如魯本斯的《鏡前的維納斯》,所以當時的女性觀並不是獨立而有能力的。
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《沉睡的維納斯》
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《鏡前的維納斯》
雖然願景與古典文化略有衝突,意象仍見保守,但女權主義信息仍是DIOR的焦點。CHIURI對美與體格的審美依然優美動人。不論是子宮跑道的設計;工匠式的精工鍍金首飾;刺繡與紗織之間的巧妙運用;細線的嶄新編織方式;輕重恰宜的單肩雪紡與金屬薄紗,都一一完美吐現了女性柔美中的強悍,模特兒走路時緩緩流動,CHICAGO的裝置藝術也成為美好的助攻,來自印度刺繡學校的學生作品把濃厚的古典文化氣息帶入表演,典雅、靈氣、知性,叫人舒暢。
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