Dior's rebellious spirit from the past to the future

I stood in front of her inspiration wall with Maria Grazia Chiuri, a feast of independent thinking, from feminist philosopher Robin Morgan to Saint Laurent in 1960 for Dior's street fashion, and then to Ken Russell for the same period of British tavern. The naked black and white photo taken by Di Girl, we seem to be asking if she is also a traitor. "A little bit," she said, laughing. "I do what I really like to do."

That's why Chiuri asked Tomaso Binga to recite Italian in her new collection for Dior. The feminist letter of the Roman artist was clearly written on the wall of the show. Tomaso is a woman. She used a man's name to ridicule the male privilege of the art world. The same gender advantage, the translation of the side said, is the bibliography she read. Chiuri's T-shirt this season borrowed from Robin Morgan's book, Sisterhood is Global. And Teddy girls? Their tomboy spirit runs through the entire series.

In Chrissie Hynde, Amy Winehouse and Colourbox's fascinating "The Moon is Blue", Chiuri showcases the latest collections that try to bridge the current "Christie" at the Victoria and Albert Museum of Art in London. The difference between the costumes displayed in the Christian Dior: Designer of Dreams exhibition and a more mysterious expression in the British street style. Teddy boys are well known for their popular cultural phenomena, pioneers such as punk. Their female counterparts are rarely documented. Chiuri's hatter Stephen Jones brought their photos, which were shot by Ken Russell in the late 1950s, and she was fascinated. It was then that Saint Laurent was fascinated by the black jackets of Paris, and the girls fell in love with their own versions of Brando and Dean. Yves re-cut their motorcycle jackets with black crocodile skin and put them into the collection he designed for Dior. He said: "This is my first time trying to use clothes to express poetry." He introduced street fashion to the haute couture fashion industry that has not yet reached the public, which immediately caused anger!

How can Chiuri resist this strong gender, fashion and rebellion? Apart from what she learned from the V&A exhibition is the power of the Dior brand, stronger than any individual designer. In this series, it was fascinating to see her redesigned jackets, corsets, long skirts, Vichy plaid shirts and Jiaoyi slippers, and found them to have a wonderful compatibility with her own charm. Chiuri also discovered a soft technical cotton that replicates the same effect (even a better vinyl). The palm tree motif was redesigned to hint at the American culture that swept European pop culture in the 1950s. It is easy to see the Teddy girl's maxi skirt as a rejection of the wartime austerity policy, just like Dior's new look. So let us be tempted. Chiuri does, she associates Parisian fashion with the children of the British street. This connection is unlikely, but it is a bit logical.

Her series is as dark as the pictures of her inspiration, sometimes even gloomy. But Chiuri's fearless seriousness has become her business card on the Dior ready-to-wear show. There is no fragile space in her femininity. Tulle? No, thank you. She needs a technical mesh. Evening dress? Let's wrap tights in a skirt so you can be more useful. Let's talk about hats. Each model wears a sports cap (the French call it bobs). The leopard print was worn with a veil. Stephan Jones pointed out that Dior's muse Mitzah Bricart brought the leopard print to the brand in 1947. In this way, Maria Grazia Chiuri brings together Dior's past, present and future.