Somewhere between night and day there is a stretch when the light begins to shift. Colours appear muted, shadows linger and even familiar expressions can look like something else.
Weathered walls surround a vast concrete courtyard. Through an opening in the far wall, scrubland stretches towards the horizon. There’s little to suggest where we are, or even what time it might be.
It’s a long way from Los Angeles, where Anderson showed the collection at LACMA and Dior photographed its own campaign among the museum’s paintings, in a palette the house ties to California sun and Technicolor. There’s a visual dissonance between the romanticism of the collection and the rawness of its surroundings.
The pale pink silk dress recalls the glamour of old Hollywood, with that same romanticism deliberately out of place.
In the morning light, the floral appliqués add spontaneity to the fluid silk silhouette. A sculptural gold earring brings contrast, while a sharp division of light and shadow recalls the visual language of old Hollywood. There’s the feel of a cinematic romance, in a less precious, more intuitive rendition.
The burgundy bag is the darkest presence in the scene, against the pale tailoring and the interplay of light and shadow. There’s a pale pink Lady Dior, in its cannage quilting with the D.I.O.R. charms, a design that has been around since the mid-1990s. The mood shifts with the red Donegal tweed coat, with its dark velvet collar and scattered sequins. A glimpse of ivory lace softens the silhouette, while dark sunglasses and a Lady Dior held loosely in one hand add a certain nonchalance. Against the weathered wall, there is something of a Hollywood heroine about her, though the glamour feels more elusive.
It’s like time suspended, somewhere between the nostalgia of old Hollywood and a more raw take on glamour. For the Dior Cruise 2027 campaign, photographed by Sam Rock at LACMA, the collection appeared among masterpieces, including Monet’s Water Lilies. Revisited here, far from the museum, its references feel less fixed. What remains is a certain idea of Hollywood, one that exists beyond a particular place or period, where the romance of Dior finds a new expression, somewhere in-between the hours.
An original editorial film produced by A7Magazine
@dior for A7 Magazine.
Publisher: @zoyasakr
Creative Director: @angiekremer
Video & Film Direction: @christiaanellis_
Producer: @dyana_farhat
Photography: @walevm
Stylist: @zanepage_
Hair: @lvan_kuz
Makeup: @sharondrugan at @diorbeauty
Model: Margo Pun at @fashion_league_uae
Gaffer: @teuton_dubai
Rental: @gammaengineeringmiddleeast
BTS: @1ndrj
Words: @sabrinagarnier_
Special thanks: @andrewkadaman
