Vogue’s coverage of the collection says:
Perhaps a sign of Chiuri’s success is that her clothes really don’t need convoluted explanations to make sense. Maybe there was something of Catherine Dior in the simplicity of the opening look—an open-necked white shirt, tucked into a black pencil skirt—and in the blurred chine flowered dresses which came later.
That really made me chortle — and I think there’s truth in that. Sometimes you read the brief that comes with a collection and it’s just word salad and extremely esoteric, like, “this collection was inspired by the month Sigmund Freud spent dissecting eels in Trieste,” or whatever. (Although a collection inspired by eels might be cool.) Dior really can just be like, “hey, we’re Dior. Want to blow your 401k on a coat?”
And if you’re wondering, like I was, about the art piece behind the models, Vogue again comes through:
Her sober-sexy collection was arched over by the humungous, playfully colorful fabric sculpture installation commissioned from the Portuguese artist Joana Vasconcelos. More than a set, it felt almost like a cosily protective, affirmative female presence watching over the models and audience alike.
They are VERY cool. Every runway show deserves neat orbs.