Not even when you rope in a famous film director, as Dior did with Matteo Garrone, the Italian auteur behind “Pinocchio” and “Dogman.” And give him carte blanche to make … a mash-up of myths involving mermaids, Narcissus, satyrs, bellboys and nymphs who really, really, want to wear lamé goddess gowns and wafting, feathered coats instead of barely-there bits of chiffon. Not even when you team up with a cult-y musician, like Olivier Theyskens did with Sylvie Kreusch of Warhaus, for his debut at Azzaro couture, all rhinestone siren slinkiness balanced on a knife-edge just this side of kitsch.
Not even when you get a famous actress, as Iris van Herpen did with Carice van Houten, formerly the Red Priestess on “Game of Thrones,” and have her animate a single look that plays with your sense of perception in odd angles and cuts, so it seems to grow around her body like a nimbus of rebirth.
Not even when you dress up well-known models and convince them to do awkward dancing, as if they were punk princesses at the famous Parisian disco Le Palace, while wearing bejeweled bouclé and lavishly flounced taffeta, as Chanel did.
Article source: https://www.nytimes.com/2020/07/09/fashion/digital-couture-fashion-week-dior-chanel.html