Daniel Arsham for the Dior Summer 2020 Men’s show

I was looking
at the collection and we were looking
at things in the archive and I was thinking
about all of the exhibitions that have been going on with Dior
and the idea of things that would be in fifty years’ time
in those exhibitions, so I was looking at Daniel’s work
and he looks at the present in a future context. There was a Japanese garden that he made with raked sand
that was in this pink, and I thought that was very interesting
to make into a set. The larger project
that I’ve been working on lately is around this idea
of a fictional archaeology, so if we imagine
taking objects from today, projecting them
into a potential future. What does the archaeology
of today look like in a thousand,
or ten thousand years? And discussing
this process with Kim: which items would be the icons
from Dior that I would focus on? So here’s the model
that Daniel Arsham gave us. We enlarged it to build
a version that’s 2.5 meters. The structure of the base
is made from polystyrene. We need to perfectly replicate
the roughness of it, the positions of the crystals. They’re just making a space
for the crystal’s volume. So, all the crystals were redesigned,
resculpted and created from resin. When it comes out of the mould,
it’s like that. Then, we polish it
to really get that crystal effect. It’s a pretty accurate reflection
of the smaller ones, scaled up. All of these works are meant to replicate
a kind of geological transformation. So, although this work feels
like its kind of falling apart, the crystals also feel
like they’re growing, so maybe it’s actually growing
to a completion of the letter. A lot of this investigation with Kim
was about kind of looking back to the origins
of Christian Dior’s practice: his time as a gallerist;
his interest in art; his office being
a kind of central place so I’ve also pulled out
a number of the objects from there. These kind of symbols of things
he used in his everyday life. As the models walk over it they will also destroy
the perfect gradient, so a little bit to do with the idea
of destruction and construction, the decay and the letters. It’s just there were lots
of things in his work that sort of had
the same mood as the House. The grey is something that comes
from Christian Dior’s home the grey skies
where he grew up and you know the concrete
that Daniel uses is the same thing. With his work it’s interesting to look at it with different textures
and different fabrics. You have a pleated embroidery
from Lesage or a moulded cast crystal bag,
a saddle bag, things like this, lots of different ways
of thinking about it. I’m always thinking
about the future and when I’ve finished
what I’m doing in the present I’m always
on to the next thing. That’s fashion.


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