Paris Haute Couture Fashion Week went fully digital for the first time EVER for Fall 2020 Couture due to the COVID-19 pandemic. I was CRAVING major moments and I wasn’t disappointed. Regular readers better buckle up because they will know I LOATHE Maria Grazia Chiuri as the creative director of Dior. I’ve only loved 3 collections that she has put together since she took the reigns of the house in 2016, but we can now add a 4th. I don’t know what it was about the lockdown that seemed to shake things up for Maria, but it seemed like she finally started to understand the Dior esthetic and not just reinterpreted the same small gambit of looks. A press release from Dior said, “During this unprecedented period, the Creative Director of Dior women’s collections [Maria Grazia Chiuri] chose to focus on the work of artists such as Lee Miller, Dora Maar and Jacqueline Lamba, who transcended the role of “muses” to which their beauty had initially relegated them in order to champion – in their lives and surrealist works – a different femininity.” Personally while I saw that in the film for the collection that was more about the art than the fashion, but when I was looking at the clothes themselves it looked like Maria walked through the houses extensive archive of past looks and found amazing pieces to reissue.I think that is what I love most about the collection. That it seems the most authentic to the Dior label since Galliano left. Now that doesn’t mean that Maria didn’t show her favored caped coat dressed for slogan embroidered a-line tulle gowns. They were there, but they didn’t dominate or overwhelm the collection. It was really a celebration of the Dior heritage. In this unprecedented period still marked by the confinement, Maria Grazia Chiuri has designed her autumn-winter 2020-2021 haute couture creations in the light of the Théâtre de la mode. Originally conceived as an itinerant show, traveling between Paris, London and the United States, the Théâtre de la mode’s vocation was to showcase the savoir-faire of French haute couture during the post-war era, at a time when the industry had no choice but to reinvent itself in order to perpetuate its enchantment. This dazzling performance – which was exhibited at the Pavillon Marsan, now the Musée des Arts Décoratifs in Paris – recalls the tradition of 18th-century Pandora dolls, as true ambassadors of French style. This homage above all served as an emblem of hope and reborn passion in a time of renewal, during which Christian Dior founded his couture house, in 1946, at 30 Avenue Montaigne, a symbol of joie de vivre and elegance reborn. A virtuoso way of reasserting the central role of Paris as the world’s unrivaled capital of haute couture. In the fact that for the lookbook that instead of a live model instead Maria had photographer Brigitte Niedermairn photograph the looks on these doll sized mannequins that can be easily packed and sent to clients to get an idea of the collection in detail. It was a brilliant way to really pay homage to the house. As images of the collection really started to hit the internet before I was able to see the whole lookbook I kept getting more and more excited. I want to see each and every single look in this collection turned from a Théâtre de la mode mannequin doll into a full sized looks for both clients and the red carpet. Two of my absolute looks from the collection are the two above. The Dior grey ostrich feather sleeveless illusion bodice ballgown is something that dreams are made of. It reminds me of something we would have seen in a Cecil Beaton photograph in the late 40’s or early 50’s. It is definitely one of the looks that I most want to see on the red carpet. It would be AMAZING on Charlize Theron. It has been a really long time since we have see her give us a big princess moment on the red carpet and I honestly think that this would be a MAJOR moment for her to bring to life. The other favorite is the white tulle, black sequin, and ostrich feather trimmed tea length gown which gives me major Marilyn Monroe meets Audrey Hepburn vibes. This gown was one of the first from the collection I saw and the moment I did I fell in love. I honestly couldn’t believe that it was something that came from Maria Grazia. It really does again speak to that heyday of Monsieur Dior’s reign as a taste maker in international fashion. When I think of who would shut this gown down on the red carpet I can honestly think of so many, but the idea of seeing this gown on Kerry Washington has been stuck in my head. I wouldn’t be surprised if you see me pick and style this look for Kerry to wear for the Emmy Awards in my wishes later this year. The collection really was chock full of major gowns. It made me pray that we are going to hit a time soon where red carpets will actually happen. We have heard that there will be socially distant, but in person red carpet premiere’s at the Venice and Toronto International Film Festivals. So I just hope that stylists are seeing this major miniatures of looks and are contacting Dior’s VIP PR people and getting the ball rolling on having these looks produced for their clients. Any of the three gowns above, which were among the only pops of color in the collection, would definitely be superb moments for anyone to bring to life on the red carpet. I will be doing a rundown of wishes after I’ve finished my reviews, so stay tuned to find out who I think would be the perfect women to bring these looks to life on the red carpet. Now I do have to more wishes I will put out into the universe in this review. The first is the black and gold triangle jacquard long sleeve shirt ballgown. There was no denying the moment I saw this gown that it should be destined for Ava DuVernay. It fits her modest glam perfectly. Now while the collection video was very white I love that the looks on mannequins really spoke to a super diverse group of women in different colors and sizes. That isn’t exactly something that French Haute Couture has evoked for me in the past, but I definitely think that is changing as is my mindset. My final wish in this review is for that amazing black and gold embroidered almost Saree inspired gown with a daring plunging neckline and braided rope like harness detailing that I just imagine Sonam Kapoor being the perfect person to bring to life. Now if Dior won’t do this gown for one of the Bollywood events that Sonam attends every year then they really need to create a customized version of this gown lengthening the scarf train to be super dramatic for her to wear at the Cannes Film Festival next year. Just when I was really railing for Maria Grazia’s resignation from Dior she showed me that she can actually deliver glamour and range. Now I just hope that will also be the case when she presents her Cruise 2021 collection in Italy later this month.