Mirror of the times: when a topic of conversation becomes far less important than its subjects in corollary means that there is something else again. "Crisis!" is the background noise of any alibi to prove the result of the human race, or at least of what is its work. For instance, when facts of sexual nature have become much more sensational of the former Italian prime minister's senseless politics, it was clear that Italy was (and still is) fallen into a very deep abyss. Politcs, but then music, art, cinema, sport, fashion.
The day before yesterday showed in Paris the first prêt-à-porter collection of Dior at the hands of Raf Simons. His début with the haute couture last June had broken the inlet of the Belgian designer in the French house, but this last was the 'real' test to pass (for all the implications that a prêt-à-porter collection has for obvious reasons: marketability, new trends, etc.).
In fact, if in June the peaceful and refined Simons' preuve d'auteur had, as a cuddle, cheered the hearts of any critics with their severe pencil, this time there seemed to be more room for the tranquility, the Belgian could not fail. Obviously, it was found that there were detractors, perhaps nostalgic for what the name Dior had become, and what was, and there were enhancers that have greeted with relief the return to the French couturier's true spirit, of when he was still alive. The point is unfortunately not (almost never) the decision whether yes or no. The point is another.
As I said a few lines ago, after more than ten years of the third millennium, the world seems to have lost track of many ideals. Each in turn has a ready-made prescription to retrieve them, and always each one in turn, for fear of failure, the end really fails.
Raf Simons, la maison Dior, and its entrepreneurs certainly will not save the world. But I like to think that the impact of a creative, which can (should?) be a fashion designer, has some weight on those who benefit his genius. I use the word genius, because in the case of Chrisitian Dior I do not think you can use another word. And looking at what he's done we can not disagree. The value of his archive is not given by his clothes, his creations, but the idea of doing things that no one dares to do.
The fear of risk, which is crippling who now it has become the heir, is unfortunately the paradigm to which we have the entire planet flexing, leaving the power of money showing its face aware of not being affected. Many journalists have called minimalism, but it's simply genius crisis. The genius, we all know, is imperfect, but it certainly succeeds where ordinary humans could not even dream of reaching.
The latter, however, should provide some sort of compensation, so as not to turn off all the little flames of ideas. Because a world without ideas is a world that is soon ending.
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