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Dior Pre-Fall 2020: Kim Jones made collabing a superpower

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December 5, 2019 17:16

For Diors Pre-Fall 2020 collection, creative director Kim Jones created his own Miami skate court. A flimmery green-yellow showspace lined with colourful vintage American cars. The catwalk pasted up with taggs, imagined by legendary Stüssy founder Shawn Stüssy. Appearing like a surreal, trippy high fashion hole.


At a time where rigid fashion laws are breaking down and boundaries between high fashion and streetwear are blurring, collaborations became fashions latest tool. And soon a saturated market. It is not easy to create added value, if it is about nothing more than shining in the light of the other and opening up to the respective other target group. (Just last week, Prada and Adidas announced a partnership and unveiled some limited-edition sneakers.) Art is missing! But there is one creative mind on a mission to restore collabs to glory.


Concurrently to Art Basel in Miami this tuesday evening Dior invited the big fashion family to sunny Miami. To present their Pre-Fall 2020 collection in collaboration with the founder of Street Style label Stüssy. For this special occasion Shawn Stüssy had even returned from retirement. His resuscitation was already reason enough for hype, additionally the audience is always excited for another demonstration of Kim Jones secret speciality: mixing up the brand with unusual collaboration partners. The creative head of Dior Menswear knows how to play the collab game and once again showed what makes him so special: An honest appreciation and sense for art and creativity. The show also proved, streetwear and high fashion will still be surfing the collab wave in 2020.


Shawn Stüssys very own wave is in his characteristic typeface, decorating Stüssys emblem and now Diors keypieces. Spring fresh variations of a more colorful saddlebag are now signed with the Dior logo in Shawns iconic sketch style. Honoring Stüssys brand identity, the Stüssy barret shaped the heads of diors models, of course signed with dior. Taggs printed on pullovers and short-sleeved shirts, Stüssy was famous for in the 90s, come with typical Dior suittrousers and light shorts. - It all made for a cheerful trip to Miami Beach’s skate spots. What one may have forgotten, before it came into street style and hip hop culture Stüssy was first known as a surfer brand. Kim showed references to this in his trippy-Miami-Beach color palette, including light blue, pink, green, yellow and sandy shades of beige.

As with Hajime Sorayama, Kim knows how to connect the Dior DNA with its partners in an authentic and respectful way, always integrating their creative spirit. That way he also makes them accessible to a new target group. After the 12 meter high statue of Sorayama on the Dior catwalk, his almost forgotten art experienced a hype and became a tumblr hit.


For now, Shawn seemed to enjoy his short trip back to profession. The day before the show he wrote on instagram:” I gotta say here and now how good a vibe and how natural this project has felt for me before this things breaks in a day or so…”


We can't wait to see which artist Jones will bring back to life for Dior next time.


By the way: according to their relaxed life motto, on Instagram the brand seems to be completely unimpressed by the sudden high fashion appearance of its creator. Not wasting any time on mentioning it, just continuing to post regular content. Hang loose!



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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.

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