Dior hosts a fascinating photoshoot at the Acropolis
In 1951, Christian Dior hosted one of the most iconic photoshoots in Greek fashion history, capturing women standing in front of the Parthenon on the Acropolis. This month, the fashion agency recreated this famous photo for its new show in Athens.
The venue for the performance was set up at the Panathenaic Stadium in Athens, where the first modern Olympic Games were held and the only large stadium in the world built entirely of marble. The exclusive content that Dior posted on social media regarding the show at the Panathenaic Stadium had more than 85 million views in just five days.
The Central Archaeological Council (KAS), the main custodian of Greece’s cultural heritage, has given the green light for the use of several key sites for filming.
Dior’s choice to present the new collection in Athens not only favored the country, but also generated direct revenue for the state; some 700,000 euros just for filming authorizations in archaeological sites and museums.
Talk to Greece is, Dior’s communications director, Olivier Bialobos, didn’t quite agree with the word ârevivalâ to best describe the aesthetic spectacle underway. âI would say it’s a new take on a historical photograph. We certainly did not attempt to recreate the 1951 photo â.
The French have selected 10 Greek women photographers with whom to work exclusively on this project.
Maria Grazia Chiuri was inspired by the works of the pioneer of Italian surrealism Giorgio de Chirico. Based on deep memories of Greece, Maria Grazia Chiuri depicts a supernatural scene condensed in the contrast of silent light and shadow.
Mihalis Lefantzis says he has always had a positive attitude towards the project, so the result only justifies his stance.
âThe pauses, pauses, and the pace of this visual event were very interesting,â he says.
âUntil recently, the old-fashioned ‘gesture’ of contrapuntal ruptures of clothing in harmony with fragments of monuments in the background attempted a formalist veneer of holiness, frozen in space and time. But there is nothing static or unchanged about holiness.
âDespite the contrapuntal breaks with many historical references, I discerned that Dior’s modern attempt is not a simple ‘promotion’ of the iconic brand on the Acropolis; it is a deep dialectical interaction with monuments, redefining the idea of ââholiness with particularly refined aesthetic criteria.
âOn the opposite side of the spectrum, I see a conservative version of this veneer of holiness, which is played with to promote subjective needs and claims on monuments and archaeological sites. Of these two versions, the more experimental but also the most progressive is the first, that adopted by the Greek state.