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Futuro Antico. Interview with Maria Grazia Chiuri
May 3, 2022
Marco Bassan
The designer and artistic director of Dior's women's collections, Maria Grazia Chiuri, answers questions about the future in the Spazio Taverna-curated column.
What are your inspirational references in art?
I am a curious and open-minded person, so I often find interesting insights in every exhibition I visit. The works of artists always have something to teach. I could also say that when I was in school in Rome, one of my favorite places to visit was the GNAM (National Gallery of Modern Art), and it was there that I began to love the Scuola Romana. Later, when I had the chance, I purchased some pieces by these artists.
What is the project that represents you the most? Can you tell us about its genesis?
"Since I became the artistic director of Dior's women's collections, I have been fortunate to meet artists, activists, writers, philosophers, and museum directors with whom I have built significant projects that have enriched me greatly. With each artist I’ve worked with, we have built a constructive relationship that continues to this day.
I remember the installation by Tomaso Binga, who, just minutes before the show, decided to recite one of her texts as an opening. Of course, I said yes. It was a huge success.
The last show before the pandemic lockdown, with Claire Fontaine, also stands out: her neon phrases in various colors, like We Are All Clitoridian Women, and the newspaper pages covering the floor, were a powerful statement referencing Carla Lonzi, an author who is very important to me.
What I want to emphasize is that the artist's work is not just the backdrop for the show but an immersive piece in itself. Each time is different because every artist has their own way of responding to my proposal. Every artist is given complete freedom in their project.
How important is the genius loci in your work?
The spirit of a place, its distinctive features, is important. Today, the concept of genius loci is rarely discussed. If I think about it in relation to myself and my work, being born in Rome and living there has undoubtedly influenced my tastes and attitudes. At the same time, working in Paris and being connected to its culture has allowed me to broaden my perspective and better understand Italy.
How important is the past in imagining and building the future? Do you think the future can have an ancient heart?"
"Fashion is a system that renews and grows precisely by drawing from its history. I am fortunate to be the artistic director of Dior’s women’s collections, a brand with an extraordinary heritage that has provided me with many elements to work on in shaping my project, which is, however, shaped by my own time and imagination.
What advice would you give to a young person who wants to follow in your footsteps?
There’s a very interesting booklet written by Gianfranco Ferré that I like to recall because he’s Italian and one of the artistic directors who preceded me at Dior: Lettres à un jeune couturier, where he responds to an aspiring couturier, listing all the difficulties and challenges of this profession. My advice is to study, stay connected to the world, and work very hard. I could never have imagined reaching where I am today. But my passion, daily commitment, and constant interest in understanding whatever I was involved in, in hindsight, were fundamental to my career.
In an era defined by post-truth, does the concept of the sacred still hold importance and strength?
The post-truth era has led us to be more influenced by personal emotions and the many subjectivities that the web brings to the surface. For this reason, I think each of us has values that are sacred and non-negotiable.
How do you imagine the future? Could you give us three ideas that you think will guide the coming years?
A friend recently sent me this quote from Bruno Latour that I jotted down: 'Things are changing so fast that it’s hard for us to keep up with them.' Luckily, the future is unimaginable. It’s a constant surprise to which we strive to respond adequately.