Afleveringen
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This latest episode in the âDior Talksâ podcast series broaches the topic of heritage. In it biographer and journalist Justine Picardie speaks with Maria Grazia Chiuri, Creative Director of Dior womenâs collections, about the parallels between Monsieur Diorâs burst of creativity brought on by his emergence from the trauma and privations of war and the moment in history through which the world is currently living.
The importance of the founding couturierâs relationship with his younger sister Catherine - coincidentally the subject of Picardieâs new book âMiss Dior: A Story of Courage and Coutureâ - is explored as more than simply a familial relationship. Instead, the pair discuss how so many aspects of Monsieur Diorâs creativity and the long-established House codes that resulted can trace their source to this sibling bond.
The fortune-telling and tarot cards that would shape so many of Monsieur Diorâs decisions - and inspire the Houseâs various creative directors, right up to Maria Grazia Chiuri today - grew from an initial fascination with the divinatory arts to a key source of comfort and hope when Catherine was imprisoned during WWII and all contact with her vanished. After she was freed and found, these emotions would be translated into the New Look, a sartorial reflection of optimism that produced extraordinarily architectural clothes that balanced an idea of protection with one that celebrated feminine and floral beauty. A keen gardener, Catherine would go on to cultivate flowers in the south of France, near her brotherâs summer estate, that would provide ingredients for several of the Houseâs famous fragrances.
This fascinating exchange, delving into the overlapping and layering of occurrences and inspirations, pulls back the curtain to plumb the hidden and unnoticed depths of the Dior heritage story.
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Welcome to âFeminismâ, the new series of âDior Talksâ podcasts, hosted by Justine Picardie. âDior Talksâ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. âFeminismâ engages in dialogue with the women who have inspired the Creative Director of Womenâs collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie.
In this very special, two-part episode, Justine Picardie goes back to the origins of it all with Maria Grazia Chiuri herself, who was the guest on the very first âDior Talks podcastâ on the subject of feminist art in March last year. On this occasion she is joined by her dynamic daughter and muse Rachele Regini, to delve deep into the issues and passions which drive them both in the work they do and the intellectual and creative journeys on which they embark.
Maria Grazia Chiuri needs little introduction. She has been at the helm of Dior since 2016, creating the ready-to-wear and haute couture collections for the House and pursuing a radical, multi-generational and multinational manifesto for contemporary womenswear. This year she published âHer Dior: Maria Grazia Chiuri's New Voiceâ, featuring the work of over thirty of the photographers with whom she has collaborated for the House. Rachele Regini is her daughter with husband Paolo Regini and was raised in Rome. She studied Art History and then Gender Studies at the prestigious Goldsmiths College of Art in London and now lives and works in Paris, where she is a cultural advisor in the Dior creative department.
In this episode, the trio discuss the meaning of sisterhood, the female spirit through the generations and the challenges of female creativity past and present. Maria Grazia Chiuri reminisces about her journey to a career in fashion and the changes which have taken place in the roles which women can now play in the industry. Like the Creative Directorâs own mother, women were historically expected to be dressmakers, while men became couturiers. Paradoxically, they talk about the huge changes in fashion wrought by Monsieur Dior and how his New Look revolutionized the way women dressed.
Regini elaborates on how her studies and research, into politics, gender, art and activism, have influenced her own style and the dialogue around stylistic and political principles which she shares with her mother. Crucially, the two also discuss manhood, and how the modern notion of masculinity can be reinterpreted, how fashion can play a vital role in removing stereotypes and redefining sexual politics. Both mother and daughter are avid readers and passionate advocates for womenâs genius and liberation, and the ways in which fashion can express and promote both.
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Zijn er afleveringen die ontbreken?
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Welcome to âFeminismâ, the latest series of âDior Talksâ podcasts, hosted by Justine Picardie. âDior Talksâ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. âFeminismâ engages in dialogue with the women who have inspired the Creative Director of Womenâs collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie.
This episode finds actress Felicity Jones talks about the huge changes which have taken place in the worlds of theater, film and television in the last few years, with the advent of the #MeToo movement and the increasing challenge to patriarchal structures. Through her more than twenty-five-year career, Jones has seen a revolution in gender politics across the board and has been witness to the exposure of the misogyny which she herself has experienced in the industry. She and Picardie also discuss women in the history of literature, both in drama and prose, and how long it has taken film and television to catch up with the central role which female characters have always had in the culture and canon.
Felicity Jones was born in Birmingham in 1983, to an advertising executive mother and journalist father. She started acting at age 11, in an after-school workshop run by Central Television. At 14 she was starring in the TV series The Worst Witch and had a long-running role in the BBC Radio 4 soap opera The Archers. She has starred in many major television productions in the UK, as well as in the USA, and has appeared in numerous stage plays, including at the Donmar Warehouse and Royal Court Theatre. In 2011, she won a Special Jury Prize at the Sundance Festival and has also been nominated for Best Actress at the Academy Awards, the BAFTAs and the Golden Globes. In 2018, she starred in On the Basis of Sex, a biography of Supreme Court Justice Ruth Bader Ginsburg.
Here, Picardie and Jones get to the heart of the female experience of the world of acting. Picardie is a longtime admirer of the actressâs work, and their conversation travels from industry dynamics, the frustrations of working on an all-male set, the snailâs pace of the industryâs promotion of womenâs leading roles and the changes and challenges which Jones has seen and overcome. They delve into the problematic notion of male genius and its erasure of historic female collaboration, and they discuss the remarkable life and career of Bader Ginsburg. The actress is a fan of Maria Grazia Chiuri and has worn her creations for Dior many times, and at many key events in her career. As she herself puts it, Chiuri designs clothes which a woman âcan wear down the pubâ, an apt expression of the feminism and freedom which fashion can nurture.
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Welcome to this 11th episode of the Dior Talks podcast âFeminist Artâ. This series explores the connections between Creative Director of Womenâs collections Maria Grazia Chiuri, and contemporary women artists and curators.
In this episode, series host Katy Hessel, a London-based curator, writer and art historian, speaks with Eva Jospin, the French artist whose monumental embroidered work lined the walls of the show space at the Musée Rodin for the Autumn-Winter 2021-2022 haute couture collection unveiled on July 5, 2021.
Eva Jospin was born in Paris, France, in 1975. She gave up her initial interest in architecture to study sculpture at the Ăcole Nationale SupĂ©rieure des Beaux-Arts de Paris, preferring the physicality of the process. Graduating in 2002, she has become known for her sculptural work using cardboard as a material, building up and combining its flat planes to create striking and very often large-scale pieces of complex depth depicting forests, caves, and country homes. With her art having been exhibited in prestigious locations such as the Palais de Tokyo, Manufacture des Gobelins, MusĂ©e du Louvre and the Hayward Gallery, she has also been an artist in residence at the
Villa Medici in Rome.It was while in Rome that she discovered the Sala dei Ricami at the Palazzo Colonna, a sumptuous room entirely upholstered in Indian-inspired embroideries. It would prove the inspiration for her collaboration with Maria Grazia Chiuri, a âproject that went from big to hugeâ. Her initial drawings would be developed into a work 40 meters long and 350m2, embroidered by hand by the Chanakya ateliers and the Chanakya School of Craft in Mumbai, India, a phenomenal undertaking requiring in the region of 300 artisans deploying some 400 colors of silk thread in 150 variations of traditional techniques.
In this episode she discusses how she looked to the palette of post-Impressionist painter Edouard Vuillard and the way he built color and perception of depth by utilizing the canvas itself as an intrinsic element. She speaks about how the name of her awe-inspiring installation âChambre de Soieâ (âSilk Roomâ), is also a reference to Virginia Woolfâs seminal feminist treatise âA Room of Oneâs Ownâ, known as âUne Chambre Ă Soiâ in French. With the use of textiles a complete departure, she opens up about embracing this new form of artistic expression and the process behind appreciating the scale and conceiving a visual flow for her expansive installation.
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Welcome to this 10th episode of the Dior Talks podcast âFeminist Artâ. This series explores the connections between Creative Director of Womenâs collections Maria Grazia Chiuri, and contemporary women artists and curators.
In this episode, series host Katy Hessel, a London-based curator, writer and art-historian, speaks with musical artist Ioanna Gika, the Greek-American musical artist who performed at the Cruise 2022 show held in Athens, on the evening of June 17, 2021.
Ioanna Gika was born in Washington D.C. She spent her childhood between Greece and the United States, returning to live at her motherâs Greek home after her fatherâs death, when she started to write her first album, âThalassaâ (âSeaâ) about her life and homeland. She is based in Los Angeles where, in 2009, she founded the band Io Echo with Leopold Ross. They released their debut album in 2013 and have supported Nine Inch Nails, Garbage and Florence + the Machine amongst others. They have performed at the Coachella and Lollapalooza festivals, and Gika has written and performed for movies and television consistently since 2012.
Having already performed at the Cruise 2018 show in Los Angeles, Maria Grazia Chiuri was delighted to invite her to collaborate with the House again. On the night, with a live orchestra and multimedia accompaniments, she recited a poem that reflected her roots in Greece and her rich, powerful voice resonated through the Panathenaic Stadium, the first stone of which was laid over 2500 years ago. She talks about this electrifying experience and the feeling of connection to the past which she felt as she performed. Having toured and sung widely around the world, she notes how unique and different this occasion was and how profoundly she seemed to be grounded in the moment. The monumental location itself possesses a huge significance. Constructed in white marble, it was a primary setting for the first modern Olympic Games. Its length symbolizes an ancient unit of measurement and, crucially for both the singer and Maria Grazia Chiuri, it was the first place in Classical Greece where women could freely appear and socialize in public.
Ioanna Gika reflects on notions of the word âraceâ â the human race, the race against time, to participate in a race. The conjunction of these meanings in the stadium created a poignant combination of symbols and thoughts for her. She goes on to consider the personal and social significance of clothes, both in general and also the creations in the collection and the remarkable outfit specially designed for her. Like Maria Grazia Chiuri, she is inspired by the colors of Greece, by the use of blue and all the historical and mystical connotations which accompany it. She also weaves a beautiful connection between the visual sensations of fashion and womanhood and the sensory streams of consciousness so prevalent in her own music.
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Welcome to âFeminismâ, the new series of âDior Talksâ podcasts, hosted by Justine Picardie. âDior Talksâ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. âFeminismâ engages in dialogue with the women who have inspired the Creative Director of Womenâs collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie.
In this third episode, Picardie talks to Eleonora Abbagnato, one of the most important female ballet dancers of her generation. The native Sicilian has risen to the top of the fiercely competitive world of classical dance in both Paris and Rome. She has formed a close and fruitful friendship with Maria Grazia Chiuri, whom she asked, in 2019, to design costumes for âNuit Blancheâ, a new production paying tribute to composer Philip Glass, created by young French choreographer SĂ©bastien Bertaud, in which she starred. Chiuriâs enduring love of dance and movement chimed with Abbagnatoâs passions to form the first in a series of profound collaborations.
Eleonora Abbagnato was born in Palermo, Sicily, in 1978. No one in her family had ever danced before, but at the age of four she started to dance on her own in front of the mirror at home. She left her childhood home at age ten to study dance in Monte Carlo, and at 13 was touring Europe with legendary choreographer Roland Petit and his production of âThe Sleeping Beautyâ. She studied at the elite Ăcole de Danse de lâOpĂ©ra de Paris and joined the legendary Paris Opera Ballet in 1996. She has since had a meteoric ascent and, in 2021, is looking forward to her farewell performances as an Ă©toile, or principal, this summer. She has also been highly prolific in her native Italy, where she co-hosted the Sanremo Festival in 2007 and, since 2015, has been the Director of the Corps de Ballet at the Teatro dellâOpera di Roma.
Here, Justine Picardie and Abbagnato hit the discursive ground running, comparing impassioned notes on the history of classical dance, the changing role of female dancers and the challenges, both mental and physical, that ballet presents. Abbagnato opens up about the huge strain female dancers in particular are put under by (mostly male) choreographers but goes on to reflect on the important and vitalizing contribution women directors and choreographers are now making to the field. She considers the importance of motherhood, both the inspirations of her own mother and also her hopes and ambitions for her young daughters today. They unwrap the special connection she has formed with Maria Grazia Chiuri, and the understanding of the essence of form and movement that has enabled her and her fellow dancers to express such beauty and empowerment while performing in the designs of the house of Dior.
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Welcome to âFeminismâ, the new series of âDior Talksâ podcasts, hosted by Justine Picardie. âDior Talksâ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. âFeminismâ engages in dialogue with the women who have inspired the Creative Director of Womenâs collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie.
In this second episode, Picardie talks to Robin Morgan, a hugely influential feminist theorist and much-published writer and journalist. Morgan has been a key figure in the womenâs movement, both in the USA and internationally, since the early 1960s, and was also an early participant in the civil rights and anti-Vietnam War movements of the time. She is widely considered a crucial figure in the development of modern feminism and has been forming international networks of like-minded campaigners throughout her adult life.
Robin Morgan was born in Florida in 1941, to a single woman who had come south to avoid the censure surrounding unmarried motherhood. She spent her early years as a child model and actor, appearing regularly in TV shows. However, her desire to write led her away from her motherâs ambitions for her acting career and towards a degree at Columbia University. She worked as a secretary for a literary agent after college and married poet Kenneth Pitchford in 1962, with whom she had a son, the musician Blake Morgan.
At this time, Morgan became active in various leftwing movements, writing for radical publications such as âLiberationâ and âThe National Guardianâ. She joined the Civil Rights Movement and in 1967 co-founded the New York Radical Women group. In 1970, she published her first anthology of theoretical texts, âSisterhood is Powerfulâ. Concurrently publishing volumes of poetry and works of fiction, she received a National Endowment for the Arts Fellowship in 1979 and has, to date, published 21 books of feminist theory, poetry and fiction and, including several years as editor-in-chief of Ms., has written for multiple newspapers and magazines in the USA and internationally. In 1984, she founded the Sisterhood is Global Institute with Simone de Beauvoir, and in 2005 co-founded the Womenâs Media Center.
In this second episode of âFeminismâ, Justine Picardie and Robin Morgan get right to the heart of the major concerns and challenges which have faced and continue to face feminist struggles internationally. Morgan reflects on the surprises and insights of having lived eight decades and recalls the injustices which women faced in their daily lives when she was young. They discuss the transition to post-feminism and the different approaches to womenâs causes around the world. Morgan considers the ever-evolving relationship between feminism and the cultural left, and also the perennial hostility from the right. They also talk about Morgan and Maria Grazia Chiuriâs mutual admiration and budding friendship, and the unlikely but magical interaction of fashion and radical feminism which occurred when Chiuri chose to honor Morganâs remarkable career at a special ceremony in February 2019 in Paris. Morgan has been a long-standing inspiration for the Creative Director of Womenâs collections.
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Welcome to âFeminismâ, the new series of âDior Talksâ podcasts, hosted by Justine Picardie. âDior Talksâ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. âFeminismâ engages in dialogue with the women who have inspired the Creative Director of Womenâs collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie.
Here, Picardie talks to Sharon Eyal, the highly esteemed dancer and choreographer, who directs the L-E-V Company, the unconventional yet rigorous dance troupe she founded with performance curator Gai Behar. Trained in classical ballet, she swiftly developed her own uncompromised style early in her career. She has become known for an expansive range of reference, strongly defined aesthetics and complex choreography, has won numerous major awards for her work and performed with her company worldwide.
Sharon Eyal was born in Jerusalem, a self-described âhyperactive childâ until her parents signed her up for ballet lessons at the age of 4. From 1990 to 2008 she danced with the Batsheva Dance Company, founded by Martha Graham in 1964, and served as associate artistic director for the Batsheva Dancers Create program from 2005-12. Since its founding in 2013, L-E-V has been the arena for her profound, beguiling vision of choreography, with electronic music, fashion, contemporary art and club culture regular references. The company has performed at major venues such as the Joyce Theater, New York, and Sadlerâs Wells, London, and international festivals including Jacobâs Pillow Dance Festival, Montpellier Danse and Julidans.
In this first episode of âFeminismâ, Justine Picardie, a longtime fan, asks Eyal about her unrelenting passion for dance and movement as they discuss the central themes of freedom, physicality and flight, both corporeal and emotional. Despite its grueling realities, dance has been a release for Eyal and, intriguingly, a centering source of calm. She talks about the connection she formed with Maria Grazia Chiuri collaborating on the Spring-Summer 2019 show at which Eyalâs dancers gave a remarkable performance, an experience repeated in âDisturbing Beautyâ, the film that presented the Autumn-Winter 2021-2022 collection. Eyal finds huge inspiration in Maria Grazia Chiuriâs designs and recognizes the importance of female movement, female expression and, most crucially, female liberation in the womenâs collections.
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Welcome to the 17th episode of the Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers, directors and creatives collaborating with Dior offers a radically new and progressive image of women.
In this new episode, series host Charlotte Jansen, a British journalist and author, talks to Raffaella Perna, the highly-esteemed Italian art historian and theorist of feminist visual cultures. A prolific writer, Perna has been based in Rome for much of her career, maintaining her theoretical practice and teaching widely, including at the prestigious Sapienza University. She is also a curator, and last year co-curated with Marco Scotini the exhibition The Unexpected Subject: 1978 Art and Feminism in Italy at the FM Centro per l'Arte Contemporanea in Milan, sponsored by Dior.
Perna has a long and distinguished biography as a specialist in Italian feminist art, and the countryâs feminist movements in general, most particular during the vital and energized years of the 1970s. She has a particular focus on self-portraiture and its ramifications for female creative agency. She first met Maria Grazia Chiuri in 2008, through feminist icon and artist Tomaso Binga, to whom Charlotte has also spoken as part of this series. The two immediately identified with each other through their mutual passions and concerns, and Perna was instantly struck at how unusual it was for Chiuri as a fashion designer to be so influenced, and so creatively driven, by the politics and conceptual concerns of the movement. She also recognized how influential fashion is, and how interesting it is to consider the potential for its impact as a vehicle for conversation and action.
Here, Charlotte Jansen chats with Raffaella Perna about her dedication to the individuals and trailblazers who have formed the very specific and challenging feminist movements in Italy. The â70s marked an extraordinary time for women in the country, as a previously conservative and religious society in which women had always occupied a constricted role was exploding and expanding. Women were writing, teaching, making art and campaigning as never before, and Perna is in the unique position to both remember and contextualize it all. She describes the rich landscape of relationships and collaborations which constituted the world of Italian feminism at that time, and her role as a primary theorist and recorder enables her to offer meaningful, prescient comment on the contemporary situation in 2020.
Raffaella Perna is one of the only The Female Gaze guests who has not been either a photographer, director or artist herself, and Charlotte Jansen takes the opportunity to delve deeply into the founding principles and dreams of feminism, which has inspired and continues to inspire the work of the Creative Director of Dior womenâs collections so profoundly.
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Welcome to this 16th episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, speaks with the Dutch artist and photographer Viviane Sassen, whose highly prolific, category-defying career blurs the boundaries between fine art and fashion photography, and whose unique aesthetic led to a collaboration with Maria Grazia Chiuri to photograph the campaign for the cruise 2019 collection with Jennifer Lawrence. Her uniquely dream-like aesthetic originates partly from her early childhood experiences in Africa and also with her determinedly expansive approach to photography and insistence on viewing the image through varied metaphorical lenses.
Viviane Sassen was born in Amsterdam but spent some of her formative childhood years in Kenya, before her family moved back to the Netherlands in 1978. She studied design and photography and gained a Masterâs in Fine Art from the prestigious Ateliers Arnhem. She has returned repeatedly to Kenya and other parts of Africa throughout her career and credits her early experiences in the region for her fascination with ideas of place, identity and anonymity and her use of ideas of memory, abstraction and surreality in her work. She has shown widely around the world, including exhibitions at MoMA, Les Rencontres dâArles, Nederlands Fotomuseum and the Photographerâs Gallery in London. She was awarded the Dutch Prix de Rome in 2007 and many other awards internationally in recognition of her work.
In this weekâs episode, Sassen discusses her life and the concept of time in the studio during lockdown and her relationship to the travel and movement which is inherent in her practice. She also speaks about her own viewpoint and her various subjects; how aspects of this gaze are constant and deeply personal, but also how her eye shifts and adapts according to the project she is working on, whether fine art photographs or her prolific output as a fashion photographer.
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Welcome to the 15th episode of the Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, talks to Julia Hetta, the acclaimed Swedish fashion photographer who has carved out a distinct position in the industry for her highly choreographed, minutely constructed images for editorial, advertising and portraiture. She takes much inspiration from Old Master paintings, particularly the Dutch still life tradition, and brings a beguiling process of finely balanced composition to a world so often preoccupied with fast appeal.
Julia Hetta was born in Uppsala in 1972 and studied at the Gerrit Rietveld Academie in Amsterdam in the early 2000s. As a child she was fascinated by photography and the darkroom which her father had constructed in the basement. She painted and drew, but realised that photography enabled her to realise her ideas of light and shadow with more immediacy and she embraced the development of black and white images. Later she worked for a photographerâs agency but was not concerned with assisting photographers directly, preferring to define her craft through the inspirations of photojournalism. Since starting to work in the fashion world, she has shot for Vogue Italia, British Vogue, AnOther Magazine, W Magazine, LâUomo Vogue and Dazed & Confused, among many others, and has done campaigns for major labels. She has photographed myriad celebrities, most particularly prominent women, and was also commissioned to take birthday portraits of Queen Silvia of Sweden in 2013. In 2014, her work was included in the exhibition Stop Now: Fashion Photography Next, at Foam Museum in Amsterdam.
Here, Charlotte Jansen and Julia Hetta discuss her route to fashion photography and the inspirations she has drawn on in her dedicated study of chiaroscuro and the interplay of darkness and luminosity. She describes working around her innate shyness to form her craft, from her early pictures of her brother to her current work for industry majors. Their conversation veers from the simplicity of Swedish visuals to the writings of Toni Morrison, as they deconstruct Hettaâs complex yet crystalline approach to the representation of women in photography. Finally, Hetta describes her experience shooting the Spring-Summer 2018 haute couture collection for Dior Magazine, and the brave decision of Maria Grazia Chiuri, the Creative Director of Womenâs collections, to only collaborate with women.
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Welcome to this 14th episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, speaks with Maya Goded from her home in Mexico City. Goded is no ordinary arbiter of the photographic form, spending years, sometimes decades, working on individual research projects and painstakingly building visual documents of women and womanhood from every stratum of Mexican society. From her sensitive and inquiring photographs of womenâs precarious existence, to her subtly moving portrait of Maria Grazia Chiuri, she offers a thoughtful discussion of her working processes and her socially conscious approach to contemporary life.
Maya Goded was born in Mexico City in 1967 and currently resides in the beautiful CoyoacĂĄn neighborhood which is also home to Frida Kahloâs Blue House (La Casa Azul). She assisted other photographers before embarking on her solo career, and her first major project was a three-year endeavor photographing Afro-Mexicans, titled Black Earth. She has consistently focused on themes of female sexuality, gender violence, prostitution and the traditional role of motherhood assigned to women in Mexican society. In 2001, she held a major solo exhibition at the Museo Nacional Centro de Arte Reina SofĂa in Madrid, titled Sex Workers 1995-2000, which was hailed for its penetrating, refreshingly nuanced portrayal of its subjects. An unstinting commitment to listening and sensitive observation is the hallmark of Godedâs work, which has allowed her to reveal so many layers of womenâs lives without clichĂ© or condescension. Goded has received numerous prestigious awards for her work, including the Guggenheim Fellowship, the FotoPres La Caixa prize and the W. Eugene Smith Memorial Fund.
Here, Charlotte Jansen speaks to Maya Goded about the breadth of her practice and how she views the world at this extraordinary time. They discuss how lockdown has forced each of us into a reckoning with ourselves and our lives and how this yearâs eerie silence has led to millions of personal examinations of the potential for change. They reminisce on Godedâs intimate portrait of Maria Grazia Chiuri and the brief, bonding time they spent together. They also reflect on the striking images Goded took of the Dior Cruise 2019 collection. Through her multifaceted and lovingly empathetic practice, Goded is an ideal figure to consider the question, what does it take to change the way we see a woman?
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Welcome to this 13th episode of the Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers, directors and creatives collaborating with Dior offers a radically new and progressive image of women.
In this new episode, series host Charlotte Jansen, a British journalist and author, talks to Alina Marazzi, the Italian director commissioned by Creative Director of Womenâs collections Maria Grazia Chiuri to create a short film to be unveiled before the Dior Spring-Summer 2021 show. Marazzi, who lives and works in Milan, has been an established name in the worlds of film and theatre direction for twenty years and is much respected for the focus on female subjectivity, motherhood and memory in her work. She has always been profoundly influenced by feminist theory, particularly â and coincidentally â by the work of Laura Mulvey.
Alina Marazzi was born in Milan in 1964. She lost her mother, the writer Luisa Marazzi Hoepli, in 1972 and this trauma informed Marazziâs work later in life. She studied film in London in the 1980s, focusing on documentary and experimental film. Her first feature, âUn'ora sola ti vorreiâ (âFor One More Hour with Youâ), about her motherâs life, was released in 2002, and since then she has released numerous further films, both documentary and fictional, as well as directing theater and contemporary opera productions. She has won various international awards for her work and her films have been screened widely, from BBC4 in the UK to the Locarno Film Festival in Switzerland. In 2014, she was a visiting lecturer at Warwick University, and she is guest lecturer at the Nuova Accademia di Belle Arti in Milan.
Here, Charlotte Jansen and Alina Marazzi discuss the phone call she received from Maria Grazia Chiuri, inviting her to create the short film for the Spring-Summer 2021 show, and the access the project gave her to the archives of the iconic feminist artist Lucia Marcucci, who has been a great inspiration both to her and to Maria Grazia Chiuri. The film creates a tableau vivant of Marcucciâs groundbreaking legacy and acts as a moving intellectual basis for the collection, as it were one of the pillars of the collectionâs conceptual manifesto. Marazzi discusses the foundational ideas of her films, the thinkers and critics who have helped to crystalize her own message. She contemplates the striking similarities and crossovers between her own and the Creative Directorâs working methods and the meeting of minds they experienced, which formed the basis of this beautiful short.
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Welcome to this 12th episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, speaks with Jodi Bieber, a Johannesburg-based photographer who eschews categorizations of her work and casts a singular, gimlet eye on the worlds she documents. Despite having photographed many distressing subject matters and harrowing events worldwide, she rejects the label of âphotojournalistâ and has no interest in objectifying or typecasting people or places. From her native South Africa to Afghanistan, from women prisoners to intimate portraits of her husband during lockdown, her work is characterized by a modest wonder at the richness and diversity of human life.
Jodi Bieber was born in Johannesburg in 1966. In the early â90s she trained under David Goldblatt and Ken Oosterbroek, two major figures of photojournalism and portraiture respectively in South Africa. Her first professional commission was to cover the 1994 South African general election, and in 2000 she documented the Uganda ebola outbreak for the New York Times magazine. She has continued to travel the world, working extensively with international NGOs, and has undertaken many commissions at home, such as her exquisitely honest images of the Soweto township. She has published four monographs of her photographs and her works feature in many major collections, including the Johannesburg Art Gallery and the Pinault Collection. In 2010, she won the World Press Photo of the Year award for her haunting portrait of Bibi Aisha, a young Afghan woman brutally disfigured by the Taliban.
Here, Charlotte and Jodi talk in depth and across the board, from Bieberâs dedication to the education of her students in Johannesburg and the unique and idiosyncratic project she undertook through lockdown, photographing her husband François in a variety of bizarre and surreal costumes. She considers the juxtaposition of the seriousness of much of her subject matter with the humor and absurdity necessary to cope with the unique circumstances of 2020. She describes the multiple faces of her hometown, the beautiful light and the diversity which makes it such a remarkable city. She also shares her razor-sharp observations about the current conditions and challenges of making images of women in South Africa and indeed worldwide and the extraordinary pictures she took of the Dior Cruise 2020 collection.
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Welcome to this eleventh episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, speaks with one of the legendary figures of photography in the last half century. Bettina Rheims has been prominent and highly prolific in the world of portraiture, and also fashion photography, for four decades, having first picked up a camera in 1978. She started by photographing a group of female striptease artists and became fascinated by capturing the femininity, power and corporeality of womanhood. This is a fascination which she has maintained ever since in a long and varied career.
Bettina Rheims was born in the Paris suburb of Neuilly-sur-Seine in 1952, into a family deeply involved with the worlds of art, literature and the media. Her passion for photography evolved in the late 1970s, after she had already had careers as a model, journalist and gallerist. She had published almost twenty books of her images from the 1980s to the 2010s. She has photographed Catherine Deneuve, Charlotte Rampling, Madonna, Marianne Faithful and Claudia Schiffer amongst many, many others. She has also undertaken advertising campaigns for numerous fashion labels and worked with countless international magazines. She has always combined her skill in capturing the unique qualities of her famous female subjects with an interest in the bizarre, shocking and subcultural. She has had solo exhibitions at the Centre Pompidou, the Kunsthal Rotterdam and the MusĂ©e dâArt Contemporain, Lyon. In 2016, as part of the #TheWomenBehindTheLens project initiated by Maria Grazia Chiuri, Rheims photographed Laetitia Casta for Dior Magazine as the embodiment of a modern, liberated woman.
In this weekâs episode, Jansen speaks with Rheims about her radical ideas of beauty and femininity, and how these have evolved over the years. Having taken portraits of prisoners, porn actors, political figures and countless women both cisgender and trans, Rheims has constantly expanded and developed notions of womanhood and womanly strength. When asked why she photographs women, Rheims answers with characteristic honesty, âThis is the question I have been asked the most. I havenât yet found an answer.â This episode represents a treasured opportunity to hear her deepest thoughts on this and other prescient subjects.
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Welcome to this tenth episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, talks to Nadine Ijewere, who is making major strides in the world of fashion photography at a remarkably young age. Despite a childhood passion for the art, Ijewere decided to forego the usual career ladder of studio apprenticeships and assisting, identifying early on a profound lack of true and representative images of women of color in the fashion industry, something she has consistently worked to rectify. From her first images of her group of ethnically diverse girlfriends to her work for major magazines, galleries and photo festivals, she hones her critical study of concepts of beauty and builds on her ongoing project to turn physical imperfections upside down.
Nadine Ijewere was born in 1992 and grew up in South-East London with Jamaican and Nigerian heritage. Photography was a creative outlet for her through her school years and she went on to study it at the London College of Fashion. After graduating she chose the atypical step of working in interior design, whilst continuing to shoot images of her friends in her spare time. Concerned by the crass stereotyping of ethnicities and cultures in fashion imagery, she worked with models of color from the start and posted her early work on social media. Quickly gaining recognition for her refreshing and searching depictions of multiracial subjects, she has since been in great demand for her ability to create beautiful fashion images which, through their reflection of her own diverse heritage and community, have offered a sorely needed break from the clichés and compartmentalization characteristic of the industry. In 2019, at the incredibly young age of 27, she became the first woman of color to shoot the cover of any Vogue magazine, with British Vogue. She has worked with many major publications around the world and has exhibited her work widely, including at Tate Britain in 2016 and the Lagos Photo Festival in 2017.
Here, Charlotte Jansen and Nadine Ijewere chat about London life, the diversity of the city and the very specific experience of being a child of mixed heritage in a white majority society, from the attitudes to black womenâs hair to the preconceived perceptions which are invariably never far away. They discuss Ijewereâs modest disbelief at being invited to shoot the cover of Vogue, as well as her recent receipt of the International Center of Photographyâs 2020 Infinity Award. She describes her surprised excitement at the rapid trajectory of her career and the influential and inspiring figures she is collaborating with. Not least, she reflects on the experience of shooting the Dior 2020 Cruise campaign and working with Creative Director of Womenâs collections Maria Grazia Chiuri.
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Welcome to this ninth episode of the Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, speaks with young fashion photographer Paola Vivas, who is making waves in the fashion world with her fresh, natural perspective on femininity and gender. She speaks about her unlikely move to London and the diversity of the city which she finds so inspiring and also reflects on her Mexican roots and their influence on her aesthetic. She also discusses her 2018 collaboration with Dior.
Paola Vivas was born and raised in Merida in southern Mexico, an area of great beauty with a very distinctive culture and way of life. She initially came to London for a holiday while she figured out her next move after studying fashion design in Mexico. That holiday became a permanent relocation when she signed up for a course in fashion photography at the University of the Arts, having fallen in love with the creativity and diversity of the city. Since then she has moved quickly, becoming part of a new wave of young female photographers changing the boundaries and language of the depiction of the female body and the portrayal of womanhood and gender in fashion imagery.
In this new episode, Paola Vivas tells Charlotte Jansen about her complex relationship with London and how it has changed and influenced her work over time. They talk about her experiences of lockdown as a creative and image-maker and how it has enriched her understanding of urban space and possibility. In 2018, Paola Vivas was one of a group of Mexican women photographers commissioned by Maria Grazia Chiuri to shoot the Dior Cruise 2019 collection and she chose the extraordinary location of Luis BarragĂĄnâs architectural masterpiece, Cuadra San CristĂłbal, as the setting of her Dior Magazine story. She elaborates on her collaboration with Dior and the beautiful, moving homage to Mexican female artistry which resulted.
generation of young women photographers, and her collaboration with @MariaGraziaChiuri for Dior Magazine.
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Welcome to this ninth episode of the Dior Talks podcast series âFeminist Artâ. This podcast series will explore the connections between Creative Director of Womenâs collections Maria Grazia Chiuri and contemporary women artists and curators.
In this episode, series host Katy Hessel, a London-based curator, writer and art-historian, speaks with Mickalene Thomas, the New York-based painter and multimedia artist, about her career as an observer and documenter of African American womanhood in all its variety, and her lifelong fascination with the black female experience, from her own family members to the world at large.
Mickalene Thomas was born in Camden, New Jersey, in 1971 and was raised by a remarkable mother who introduced her to visual art as a young child and raised her as a Buddhist. Thomas studied pre-law and theater in Portland, Oregon, before completing her BA and MA in Fine Art at the Pratt Institute and Yale School of Art, respectively. Based in Brooklyn, she has exhibited her paintings, collages, photographs, films and videos around the world, including in major exhibitions at the Brooklyn Museum, ICA Boston, Aspen Art Museum and Baltimore Museum of Art. She has also completed many commissions, amongst others at MoMA PS1 in New York, the Norton Museum of Art, and a mosaic mural for the wall of the U.S. Embassy in Dakar, Senegal.
Thomasâs work and research processes involve multiple reference points, including the history of art, the representation of black femininity and black power and the seminal 1970s âBlaxploitationâ genre. She has painted many iconic African American women, including Eartha Kitt, Whitney Houston, Oprah Winfrey and Michelle Obama, and is renowned for her deft use of classical traditions of fine art in her penetrative portrayals of the black experience.
For the Dior Cruise 2020 collection, Maria Grazia Chiuri commissioned Thomas to reinterpret Christian Diorâs iconic âBarâ jacket, a timely collaboration and an opportunity for the two creatives to combine their passions for the historical and the contemporary, along with their mutual dedication to feminism and female creativity. In 2018, Thomas was invited to create a new and striking take on the âLady Diorâ handbag, as part of the limited-edition âDior Lady Artâ series.
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Welcome to the eighth episode of the new Dior Talks podcast series âFeminist Artâ. This series will highlight some of the key practitioners in the pioneering and evolving field of feminist art, a source of endless inspiration for Maria Grazia Chiuri, Creative Director of Womenâs collections.
In this episode, series host Katy Hessel, a London-based curator, writer and art-historian, speaks with Marinella Senatore, the Rome-based multimedia artist, about her challenging and politically uncompromising approach to making her work.
For the unveiling of the Cruise 2021 collection, Maria Grazia Chiuri commissioned Senatore to collaborate with local artisans on a series of mammoth light sculptures â luminarie â for the audience-free show, streamed live from Lecce in Puglia, Italy. These works incorporate varied phrases which inspired Maria Grazia Chiuri during the creation of the collection, the spirit of which is summed up by the statement, âWe rise by lifting othersâ.
Marinella Senatore was born in Italy in 1977 and studied at the Accademia di Belle Arti di Napoli, the Conservatorio and the Scuola Nazionale di Cinema in Rome. This expansive education has influenced her impressively wide-ranging artistic practice ever since, as she works with video, action, photography, installation, sculpture and painting. Fascinated by ideas of participation, dialogue, history and social structures, she is highly prolific and has exhibited widely. She has shown at the Centre Pompidou, MAXXI, the Queens Museum, Kunsthaus ZĂŒrich and Castello di Rivoli amongst many others, and has participated in numerous group shows, screenings and residences.
Her all-encompassing approach to making art was a perfect contribution to Maria Grazia Chiuriâs concept for the staging of the 2021 Cruise show, and the unique set of cultural and social conditions present in the province of Puglia, which was also the collectionâs primary inspiration. Senatore is constantly inspired by communities and the actions and creations achievable through a site-specific, in-person approach to examining concepts of physical and virtual space and the challenges posed by the technical limitations of photography and cinematography. With Katy Hessel she discusses the collaboration and the origins of the bond she and Maria Grazia Chiuri formed over their shared passion for Italian feminist art.
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Welcome to this eighth episode of the new Dior Talks series âThe Female Gazeâ. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.
In this episode, series host Charlotte Jansen, a British journalist and author, talks to Pamela Hanson, a major figure in the world of fashion photography. She has always formed a unique bond with her subjects and has turned her lens on the major figures of the fashion world, building a formidable body of work in the editorial, advertising and portraiture spheres.
Pamela Hanson was born in London and grew up in Geneva. She originally moved to the USA to study fine arts at the University of Colorado and has lived and worked in New York for three decades. Throughout her career she has broken through entrenched gender barriers, working with and photographing generations of key players in the industry. She has seen first-hand the changes and evolutions which have taken place and has worked across media, creating a formidable catalogue of photographic and moving-image work. She has worked with all international editions of Vogue, Vanity Fair, Harperâs Bazaar, Elle and GQ, among many others, and has photographed and filmed a multitude of campaigns. In 2001, she published Girls, a book featuring over 200 examples of her personal and professional work, following this with Boys in 2006.
In this weekâs episode, Charlotte Jansen speaks with Hanson about the position of women in fashion, discussing her how she views the changes which have taken place and whether these changes will prove lasting and meaningful. Hanson set up her first darkroom at the age of 13 and, as such, has been examining her own observations of the world ever since. She discusses her initial interest in art history and her unlikely entrĂ©e into the world of fashion. Her long and varied experience provides the backdrop to her trademark personal, intimate relationship with her subjects.
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