Looking at the Lady Dior version that Jonathan Anderson presented to the public in early January, one recognises Maria Grazia Chiuri’s influence: a spring meadow, exquisite lambskin craftsmanship, a sign of hope that can become the image of a season. That’s why
by Domenico Casoria and Roberto Procaccini
How many things can you see when looking at a bag? Two for sure: the artefact and its aesthetics. Looking at the version of the Lady Dior bag that Jonathan Anderson presented to the public in early January, we can recognise Maria Grazia Chiuri’s influence and a spring meadow where a ladybird wanders alone. But this same meadow, the result of extremely refined craftsmanship – almost like inlay – of lambskin, has the evocative power to represent even more to us. First and foremost, a certain high-end trend, what Karl Lagerfeld called ‘prêt-à-couture’ (we will come back to this later), where stylistic research keeps one foot in the realm of ideas and the other firmly planted in boutiques. And, perhaps, a leap forward, a project of iconicity, a sign of hope that can become the image of a season.
The new universe of accessories
A general awakening is also confirmed in the latest couture shows in Paris. High fashion, as we know, is a world that lives by its own rules, made up of silent ateliers and orders worth thousands and thousands of euros. But with the debuts of Anderson at Dior and Matthieu Blazy at Chanel, accessories seem to have entered a whole new universe. Generally, in order not to devalue hours and hours of tailoring, everything we see under the ‘haute couture’ label does not make it to the boutiques. This is partly because, quite simply, it costs a lot of money.
Yet the approach taken for shoes and bags is reminiscent of the ‘prêt-à-couture’ so dear to Lagerfeld, the historic creative director of Mademoiselle’s fashion house. With haute couture accessories – modified, adapted to slightly more commercial logic, revised to follow a certain seasonality – we may soon find a product in stores that sells more than others, as well as a clear creative symbol identifying this or that creative direction, this or that designer.
Anderson, him again
Anderson, for example, for his first couture collection at Dior, sent a clutch bag inspired by a beach cushion designed by Monsieur Dior himself down the catwalk. A piece originally made of terry cloth that the designer transformed from nothing into a bag never seen before. Or a pair of open-toe shoes with square toes reminiscent of the era of collaboration between the creator and French shoemaker Roger Vivier. Not to mention lacquered and shaded Lady Dior bags, bags in the shape of ladybirds, turtles and shells – reminiscent of green plains in August (Northern Irish Anderson started with the awakening of nature) – and orchids as brooches. All pieces that, with a little luck and a bit of inventiveness, could easily end up on a fashionista’s wish list.
An image for a season
There is always an item that represents a season in fashion and society, and often it is found at the point where stylistic intuition translates into commercial success. Gucci’s lambskin-lined slippers are among the best snapshots of the season when Western brands (now 10 years ago) were growing rapidly, riding the wave of demand and tastes, especially among Chinese consumers. Shortly afterwards, Balenciaga’s Triple S sneakers epitomised the sneaker boom when it seemed that sports shoes (increasingly elaborate and excessive) were the only future for footwear, while more recently, the rise of quiet luxury has been accompanied by the revival of the understated and reassuring loafer. We hope that Anderson’s Lady Dior will become, in hindsight, the postcard of 2026 with its craftsmanship and reassuring tone. And, above all, its leather.
Photo Dior
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