Maria Grazia Chiuri wants to "get" millennials. “I need to speak to the millennials, and understand this generation”, she said backstage 12 months ago.
Which explains a lot. Her collections to date have increasingly seemed like what a non-millennial thinks a millennial wants, like your archetypal TV sitcom dad, desperate to throw his daughter a "cool" birthday party and missing the mark.
Like her contemporaries, Chiuri has played with the Christian Dior logo in a streetwear way reminiscent of Marky Mark in his Calvins, paired with lacier, ladylike numbers. It should contrast well in theory, but in practice seems to be compensating for the lack of there not being a really great dress. Not the flimsy open-skirt numbers shown on the runway and borrowed by influencers for a one-off styling extravaganza, but a really great dress, one that woman will feel amazing in. Remember that? Millennials are no different in their search for fashion armour.
Chiuri also relied on other elements she has explored to date: alchemy, the tarot, androgynous costumey looks, a residual reliance on embroidered tulle, and what comes off as an extremely forced, albeit commercial, let's-jump-on-the-bandwagon take on feminism. The berets and newsboy caps also reappeared, previously thought by most to be exclusive to AW17. It all had a head-of-a-lion, tail-of-a-donkey effect.
Why have there been no great women artists, as the show notes and first look ask? Why did the holocaust occur? Colonization? There's much unfairness in history, Maria Grazia. But here's the thing about millennials. We're above all things, strategic. One must ask exactly how it currently serves women to align themselves with a feminist narrative laden with the tempting, yet ultimately, powerless sense of victimization.