“Ideas disturb the levelness of life1.”

For Maria Grazia Chiuri, each collection is the result of a conceptual, layered reflection. There is at once the construction of the collection, the definition of the staging for the show and the desire — now more than ever — to produce narratives capable of expressing what shaped the creative process.

The connection with visual poetry, notably that of the artist Lucia Marcucci – one of the most emblematic figures of Italian avant-garde experimentation – marked the birth of a unique discipline.

The artist’s words and reflections on the female image are perfectly captured in collage. This technique, of which the Creative Director of Dior’s women’s collections is particularly fond, also resonates with Germano Celant’s essay “To Cut is to Think,” which is referenced in this collection. The text asserts itself like a manifesto, reflecting the need to question, in this singular period, the language of fashion.

The work Vetrata di poesia visiva1, which Lucia Marcucci conceived as an in-situ installation, transforms the show venue into a grandiose stage punctuated by immense light boxes, nodding to the sacred dimension of the stained-glass windows in Gothic cathedrals. Lucia Marcucci’s contemporary stained-glass windows are composed of images taken from magazines that dialogue with important works in Art History – from Giotto to Piero della Francesca, Georges de La Tour and Claude Monet – producing associations that place the artist at the center of the debate about new feminism and communication at the heart of the digital revolution.


1 Susan Sontag, Reborn: Journals and Notebooks, 1947-1963.

2 In English: Visual Poetry in Stained Glass.