Built specially in the grounds of the Musée Rodin was a giant, striped circus tent. Inside, lines of fairy lights were strung from the ceiling, as guests sat on velvet benches laid out across the harlequin-patterned floor.
ACTUAL ACROBATS PERFORMED
Opening the show, performers from all female circus company Mimbre walked onto the runway, performing a routine in pairs, contorting themselves into all manner of wild formations, before walking in twos, one acrobat balanced carefully on the other’s shoulders, to the centre of the tent. There, they formed themselves into a human archway, through which the first models walked.
...WHICH MATCHED THE COLLECTION’S THEME
Christian Dior, it turns out, loved the circus, so it made sense that Chiuri tapped into the idea (Galliano also previously referenced the goings-on of the Big Top). Drawing on familiar tropes, namely that of Victorian-era clowns and harlequins, on the line-up this season were full-length tulle gowns with delicate sequin and bead detailing, baby-doll dresses with chiffon ruffs and bow-ties, as well as tailored jackets with wide, calf-length bloomers. Ever inspired by female artists, Cindy Sherman’s uncanny self portraits as clowns were a reference point for the Italian designer, lending some looks a slightly more sinister edge.
BONNETS ARE BIG FOR SS19
Every model’s look was finished with a matching Stephen Jones-designed sequined bonnet that fastened under their chin, which, when combined with the harlequin-esque nature of their make-up added to the eery circus feel of the show. Sparkly tights, chunky boots, and doll-like Mary-Janes rounded everything off at the Cirque du Dior: Maria Grazia, we’ll see you in a few weeks for the AW19 womenswear show.