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“The Dior Ball”（Dior舞会）的总体效果充满了戏剧张力，活力，有时还包含了满满的上流社会历史感——不过这里更注重娱乐大众，而非为Dior前进的方式和目标提出任何建议。

那么这场盛大的展览到底想要表达什么？难道是今天Christian Dior的设计依然根植于一位70多年前充满诗意的灵魂的创造？或者说无论后继者们在目标上是如何地不同和分裂，最后一切都将回归到Dior先生上？

这里有许多问题无法解答。这种由Dior领导的，设计师替换的整体系统，是否对时尚有益？或者能否说这种系统挑选出了新晋人才，却迫使他们按照一位距今越来越远的设计师的声音来设计？

越来越多的大牌设计师在本该退休的年龄依然坚守在设计岗位上，他们的离世是否会造成鸿沟，需要更多的新兴设计师来填补——当这些新设计师应该自由地创作个人作品的时候？

这场展示在很多方面令人惊叹。但我在这场统称为“Dior”的巨型展览上，得到的更多是有关在21世纪，品牌创始人的遗产问题，以及时尚从今开始该往何处去的疑问，而非深度的解答。

A room in the exhibition Christian Dior: Designer of Dreams at the Musée des Arts Décoratifs in Paris (until 7 January 2018)

Adrien Dirand

From Van Gogh to Matisse and Picasso, it would be impossible to imagine a 19th or 20th-century artist whose work was taken over completely by someone else, as opposed to that vague description ‘school of’.

Even Damien Hirst, with his team of assistants, summed up the importance of life in artistic work in the title of his pickled shark in 1991: The Physical Impossibility of Death in the Mind of Someone Living.

So how could Christian Dior, back in 1957, before his sudden and untimely disappearance at age 52, have imagined that his work – so personal, so tied up with artistic friends from his early years, so deeply and viscerally attached to his mother and her turn-of-the-century style – would generate a troop of six followers?

Some, like a young Yves Saint Laurent, the first replacement, went on to greater things. When Marc Bohan took over in 1960, he followed dutifully, if elegantly, for a long period in the founder's footsteps. Gianfranco Ferré, who took over in 1989, was rooted in his own Italian grandeur. The British/ Gibraltarian John Galliano was a wild card, rarely playing by the Dior rules until he was drummed out in disgrace in 2011, while Belgian Raf Simons (2012 – 2015)struggled for just three years with his own instinctive minimalism in the shadow of the floral flourishes of Monsieur Dior.

And finally, now, Maria Grazia Chiuri has brought a strong whiff of forceful feminism as an unlikely link with the shy Christian, a mother's boy.

Christian Dior: Designer of Dreams at the Musée des Arts Décoratifs in Paris (until 7 January 2018) aims to be an inexhaustible view of a designer brand with lasting power.

Yet it is only in the second half of this enormous tribute to the 70 years since the founding of the House of Dior that the six chosen acolytes are in full view, with displays of their designs with videos to bring them to life.

This sextet of those singing Dior's aria comes to a crescendo in a mighty, high-ceilinged room – looking like a Christian church (pun intended). It is all white, suggesting a heavenly atelier of teams of hand workers, with famous les petites mains of today working on a rota that brings them in from the actual couture atelier on Paris’s Avenue Montaigne to work in the museum.

One very tall room is dedicated to toiles, Christian Dior: Designer of Dreams at the Musée des Arts Décoratifs in Paris

Adrien Dirand

Who was Christian Dior – and why did he become a mythical fashion character, with his name more instantly recognisable than lofty Balenciaga and on a par in fame only with Mademoiselle Chanel?

“The Dior brand is so famous, everybody knows the name and they did even in his first ten years,” said Maria Grazia, “I found this unbelievable book and realised that in 1954, after only seven years, he offered it in different languages with projects from scarves and socks to perfume. I never knew that he was so worldwide and that gave me another point of view of the brand.” (责任编辑：admin)