A NEW AESTHETIC
a face and giving her a whole new identity. y. It’s such a turn of commercial fashion on its ts head using one of its own icons as subject, t, right down to the unmanicured, almost st dirty, nails that one can’t help but stare and d take in every inch of the photograph, the he cultural semiotics flowing thick and rich.
Perhaps the two most provocative ve images are that of Ruven Afanador’s portrait it of Gabriel Moginot and Mikael Jansson’s n’s of rockstar Iggy Pop. Both images feature the Lady Dior with fashion corset-maker Moginot severely bound in one of his own corsets referencing obliquely the ultrafeminine silhouette of Christian Dior’s New Look. Jansson’s portrayal of Iggy in a Dior dress, bag in hand, speaks to the artist’s own boundary-breaking proclivities, but that both images feature men is again indicative of the very real commitment Dior has shown to the project. Art and the ideas behind it do not here take a backseat to commercial conservatism, again echoing Monsieur Dior’s very own passion for the arts. After all, Christian Dior himself was an avid art collector and was drawn to the works of then unknown artists such as Dalí (Salvador) and Picasso (Pablo). Dior’s passion for the arts translated to some of Mikael Jansson’s portrait of Iggy Pop was a clear conversation piece his collaborations and he worked on one such special project with the surrealist painter Dalí back in 1950. Fast-forward to Dior’s Autumn/Winter ’13 collection and creative director Raf Simons has taken it back to the future, referencing delicate commercial Warholian illustrations on an array of white canvas dresses that speak to art, fashion, and the softest femininity.
There is no doubt that the exhibition made its artistic impression on the city of Hong Kong, punctuated by an intimate gala dinner hosted by Bernard Arnault, LVMH chairman and CEO, attended by stars and socialites alike resplendent in Dior. Because the collection adds to its stable of artists as it t travels, it also saw the inclusion of Hong Kong ceramic artist Annie Wan among others. Wan’s Lady Dior scul sculpture “Impressive” was made of whit white porcelain, meant to reveal the intrins intrinsic value and spirituality in the materi material as it hovers between the familiar and the unknown. Another Hong Kong artist is Kum Chi Keung, who continues the traditional Chinese practice of birdcage-making and expands the creative possibilities of the common birdcage by varying its size, design, use of material, and placement. His work, poetically entitled “Lady Bird”, is a bird sculpture made of bamboo and references the subtlety and dynamism of the Asian imagination, as that which is meant to cage reveals itself as the symbol of freedom in its very form. More information on ‘ Lady Dior As Seen By’ on www.dior.com Upping the ante is the Peter Marino-designed boutique, with a new glass façade that references the iconic Dior plissé. There, the work of Chinese artist Liu Jianhua, here, a Claude Lalanne bench. On the other side of the entrance, behold “Also, Adam One Afternoon” by Not Vital, while the ceiling of the e Timepiece and Fine Jewelry Salon hosts “Cosmic”, a mirror glass installation by Rob Wynne and the new perfume section “Demi Folly” ly” by Beth Katleman. The Shoe Salon sees a tapestry by Pae White called “Cosmetic Crinkles” while the Powder Room is decorated with crystal scones by Lobmeyr. Mirrors and lamps from Véronique Rivemale, a cocktail table by Hubert Le Gall and another by Roland Mellan, a faceted mirror by Mathias Kiss, and volcano tables by Mattia a Bonetti – the entire boutique is an homage to design. To commemorate the opening, the e VIP Salon was dedicated to the Andy Warhol Collection, showcasing three limited- edition on Lady Dior bags created for the occasion. Shop G40- 45, The Landmark, Central, Hong Kong. . Dior at The Landmark Limitededition Lady Dior bag embroidered with pale pink leather flowers