Daniela Puppa, I'm so happy
to finally have this conversation with you
because I have so many questions.
Obviously, I would really like to know
about your creative work on the Lady Dior
during the Gianfranco Ferré period,
because it's a House icon.
And seeing as I took the liberty this season
to do my own interpretation of it,
I wanted to know exactly
how the project was born between you and Gianfranco Ferré,
because you arrived at Dior with him.
I often say that for fashion, I did a job of "high anonymity."
That's it!
I mean I differentiate myself from the design that is my signature.
The idea was to do something very simple, almost a square,
A minimal square
to which I added a handle attached on one side.
I drew one side.
I worked on it like this, I attached it in a certain way.
And that’s how it worked.
The “cannage” motif, it's part of the history of Dior, a memory.
I started to see this, the Vienna straw.
Let's imagine the chairs used to seat guests at the fashion shows.
They are still there and they are a symbol.
I tried to make a work like that.
I thought about the four letters.
And then I thought, well how can we work with them?
The idea was not to show them.
And so I did this.
It added some femininity, more than anything else.
A sound instead of a shape.
Beautiful!
I must say that many transformations were possible.
Obviously, the icons, in my opinion, we don't touch them.
Instead, this year,
I wanted to do a Lady Dior remembering where it comes from
and that would be a sort of evolution of this project.
As you know, nothing can be invented,
but everything can be revisited with fresh eyes.
So, my idea was to have a shape that was more rounded,
much more welcoming.
And I also liked the idea of playing with these references,
Vienna straw and the “cannage” motif,
with new technologies
where you can experiment with different sizes.
I was looking for a round handle with this hand-sewn seam.
This year I made this collection
referencing many historical elements,
from the Bar jacket to the corset, and even the shoes.
So, I said: no, we're not going to
not put the Lady Dior among the other iconic elements,
because it’s super emblematic of the history of Dior.
A wardrobe is made up of a set of pieces
of which the dress is also an element.
I'll tell you more.
My approach to fashion, and also to the clothing part,
is to work with the same logic as an accessories designer,
where each piece is conceived individually,
and all the pieces can be combined
in different ways by each individual personality.
I think today, this is the most important thing.
Because you always want to show your own personality,
in your choices and how they can combine with your own taste.
Because it is up to each of us to decide what is most important,
and what we want to put the focus on from time to time.
The bag is an object,
it's a little house that you take with you.
The house for moments and feelings.
And that's exactly why I wanted so much
to have this conversation with you,
to highlight the value of the accessories designer.
Maybe also because we call them accessories,
we always think of them as
something that has less importance
than the other things that live next to it...
In a way this conversation with you serves to say the opposite.
We have dispelled this myth!
And also, the authors must also be treated as subjects,
because they are great authors.
Here, the proof is the work that you do with such passion.
You too!
Thank you so much for this opportunity.
Great job!