By Haoran Xia
Published on: L’OFFICIEL China
June 1, 2022
Prolongue
Looking back through history, art and fashion have always lived side by side, endlessly renewing themselves through exchange and mutual influence. They point the way for one another, serve as reciprocal sources of inspiration, and become each other’s muses. Every stitch, every brushstroke pulses with creative energy in motion.
In the 1930s, Italian fashion designer Elsa Schiaparelli crossed paths with French Surrealist artist Salvador Dalí. With Dalí’s artistic intervention, Schiaparelli created the now-legendary lobster dress and surreal shoe hats - works that stunned the decade and turned both figures into luminous stars of the so-called “Golden Thirties” in Italy and France.
As time moved forward into the post-realist era, Stephen Sprouse and Andy Warhol became inseparable friends - talking endlessly in cafés and encouraging one another in their studios. In Sprouse’s Fall/Winter 1987 and Spring/Summer 1988 collections, Warhol became his show’s ultimate “secret weapon.”
Entering the contemporary moment, Marc Jacobs followed in the footsteps of his predecessors, searching for muses and collaborators within the art world in an attempt to inject Louis Vuitton with a sense of millennial romance. In 2003, Jacobs joined forces with the globally renowned Takashi Murakami, reimagining the iconic Louis Vuitton Monogram through a playful, manga-inflected lens. Thus began the thirteen-year chapter of Monogram Multicolore.
And now, the hourglass finally pauses at the present. After a three-year hiatus, the Venice Biennale has reopened its doors. This year’s exhibition, Milk of Dreams, gathers the world’s most important contemporary artworks, and within this grand artistic feast, fashion’s agile and deeply influential presence remains everywhere to be found.
Tracing the Branches
Louis Vuitton has, from the very beginning, been inseparably bound to art. At this year’s Venice Biennale, the house supported German artist Katharina Grosse in presenting her exhibition Apollo, Apollo at the Espace Louis Vuitton Venezia. Though this marks the first official collaboration between Vuitton and Grosse, dialogue and exchange between the two had begun long before.
Since 2013, Louis Vuitton has established cultural and exhibition spaces across major global cities - Beijing, Tokyo, Munich, Seoul, and beyond - each dedicated to local art and culture. The Venetian Espace is one of these sites. Within these luminous cultural outposts, Vuitton launched its “Hors Les Murs” project - literally translated from French as “outside the walls.” As if by fate, the historic yet modern fashion house seeks to scatter the artistic cells flowing through its bloodstream beyond the cold walls of Paris, allowing them to circulate across the world.
Since its inception, Hors Les Murs has hosted nearly one hundred exhibitions globally. For a house of such stature, art is a perpetual creative wellspring. These works - spanning disciplines and dimensions - build portals across time and space for those who love both art and fashion, while also constructing tunnels that allow artists to transcend geography itself.
Beyond Apollo, Apollo, Grosse will collaborate with Louis Vuitton twice more this year. In May, she will unveil The Splinter at the Fondation Louis Vuitton in Paris, followed by Canyon, set to arrive in autumn. From Paris to Venice, from Beijing to the wider world, Louis Vuitton’s journey with contemporary artists may be nearing its peak, yet at the same time, it feels as though it has only just begun.
Born in the Veneto region, Bottega Veneta shares a spiritual lineage with Venice itself. For the brand - where modernity and nostalgia coexist - the city functions less as an art reference than as a silent mentor, continuously offering nourishment through the slow passage of time.
At this year’s Venice Biennale, Bottega Veneta became the sole champion of the Dance sector. Not only was it the principal sponsor of the Biennale’s dance program, but it also quietly and elegantly unveiled its own dance work within Milk of Dreams.
This time, Bottega Veneta collaborated with Greek choreographer Lenio Kaklea, drawing inspiration from Contrapposto Studies, an exhibition curated by Bruce Nauman in Venice in 2021. Together, they presented a series titled Dancing Studies. Between the garments personally designed by Matthieu Blazy and Lenio’s fluid movement, layers of artistic meaning - wrapped in the souls of fashion and contemporary dance - were transmitted.
“In Lenio’s choreography, I see something radical,” Blazy revealed in an interview. “And those radical elements are exactly what I need for Bottega right now. That’s what drew me to her.”
Rewinding to February’s Fall/Winter runway, movement became the collection’s underlying logic: sharply tailored high-waisted trousers, fringed skirts with irregular lines, crisp white tank tops, and the newly introduced Kalimero bag, rooted in Bottega’s DNA. These pieces, both progressive and reverberant of the past, carried a form of balanced radicalism, like firm yet restrained declarations: this is Bottega’s new era.
“Ultimately, Bottega Veneta is a brand rooted in functionality,” Blazy said after the show. “No matter what, we must preserve its inherent sense of movement.” Perhaps, then, Lenio’s avant-garde rhythms serve as the perfect remedy, allowing Blazy to extend the past while composing the future.
Among the Biennale’s many radiant pavilions, the Italian Pavilion stood apart, enveloped in a sense of post-industrial decay and emptiness. Artist Gian Maria Tosatti divided the space into two sections: one a derelict factory saturated with the smell of ink, resembling a fashion archaeology site that transports visitors back to Italy’s 1950s sartorial golden age; the other, a boundless, pitch-dark shipyard, whose calm water records centuries of industrial history.
As if by shared intuition, Tosatti’s monumental installation echoed the creative philosophy of Pierpaolo Piccioli. After in-depth conversations with the artist, Piccioli decided that Valentino would become Tosatti’s official partner at the Biennale.
Born and flourishing in 1960s Rome, Valentino carries within it the memory of abandoned factories and declining ports - fragments of its formative years. Confronted with contemporary upheavals, Piccioli believes that only by tracing Valentino’s own memories and trajectory, preserving its distinctly Roman posture and its solitude within Italian society, can the house remain firmly positioned in today’s competitive fashion landscape.
It is precisely this clear-headed creative independence and aristocratic spirit that has enabled Piccioli to guide Valentino through successive historical thresholds. Notably, Valentino’s haute couture show last July was staged within Tosatti’s installation - history folding back onto itself, as last year’s vibrant spectacle became yet another sediment within Tosatti’s meditation on industrial decline. “Fashion comes from history, but it can also create culture,” Piccioli said at the Biennale. “That’s why it endures.”
Art’s richness, after all, is also rooted in science. After producing countless iconic collections and pieces, Miuccia Prada chose to return to the very core of art and fashion - replacing emotion with reason, calmly investigating a fundamental question: how does the human brain form and function?
In 2018, Miuccia launched a cultural-scientific project centered on neuroscience at Fondazione Prada. Today, the project has found its way to the Venice Biennale, offering art- and fashion-hungry visitors a rational counterbalance to Venice’s sun-soaked intensity. “We’re deeply interested in topics that shape our lives—especially those that seem difficult to understand,” Miuccia explained. “And perhaps the most difficult of all is our own brain.”
Since founding Fondazione Prada in 1993, Miuccia has envisioned it as a utopian enclave of curious, independent minds. Within this community, she is no longer the commanding designer of the runway, but a leader driven by wonder. From visual art to film, from literature to neuroscience, each bold exploration expands her understanding of the world, allowing her to grasp both fashion’s power and its humility.
“One’s thoughts are crucial,” she once said with a smile. “Without ideas, how could there be creation?” It is precisely this curiosity and relentless thinking that has allowed Miuccia to continue writing the Prada legend with fearless elegance.
Dialogues along the Margins
The Venice Biennale resembles a kaleidoscope - broadcasting countless artworks through diverse forms and media, transforming the city into a sanctuary for thought, cultural expansion, and fashion-sparked imagination. This year’s Biennale may well be its most inclusive to date, as curator Cecilia Alemani deliberately expanded representation for women and queer artists. In a world still largely governed by men, minority voices continue to carve new artistic paths.
On April 23, the Biennale committee announced Sonia Boyce as the recipient of the Golden Lion. She became the first Black woman in Biennale history to receive the honor. Among her sources of inspiration, Boyce cited Kobena Mercer’s 1994 essay Black Art and the Burden of Representation as pivotal. From it, she understood that as a Black female artist, her work inevitably speaks both for an entire community and for her own singular sense of belonging.
As the sponsor of the British Pavilion, Burberry appeared to echo the same message - belonging - a word that has defined Riccardo Tisci’s tenure since taking the helm. Raised in Italy yet immersed in London’s pulse, Tisci has long navigated the tension between heritage and selfhood.
In his Fall/Winter collection this February, he stepped beyond traditional British frameworks, grounding his vision in his personal sense of belonging. “The UK is vital to me and to this brand,” Tisci reflected. “I used to feel confused about where I belonged. Now I know: this country gives meaning to what I create.” Through season after season, Tisci has proven that his Italian origins and London’s energy can coexist. His sense of belonging becoming the engine that drives Burberry forward.
Elsewhere, a quieter yet daring corner of the Biennale drew attention: Tom of Finland (TOF) arrived in Venice, seamlessly connecting with Diesel. For queer communities, TOF is both art and textbook. For Glenn Martens, raised in a conservative Belgian town, TOF was a revelation. “When you grow up somewhere narrow-minded, you think something is wrong with you,” Martens admitted. “Then you see these works, and you realize you’re normal.”
That moment of recognition shaped Martens profoundly. As a member of the community himself, he feels a responsibility to extend that affirmation to younger generations, allowing Diesel’s platform to carry TOF’s message of diversity and inclusion even further.
Echoes of the Past
Beyond collaboration, fashion, like water, quietly flows into other realms, shaping history with subtle force. Dior, in particular, wove itself into Venice’s canals, gently restoring the city’s narratives and façades.
As the Biennale’s largest sponsor, Dior funded the restoration of the Ca’ d’Oro Museum. Yet its relationship with Venice began earlier, in 2019, when Dior hosted the Tiepolo Ball at Palazzo Labia, honoring both the city’s heritage and the legendary 1951 Ball of the Century attended by Christian Dior himself. Sixty-eight years apart, these moments declare Dior and Venice’s enduring romance, both classic and contemporary.
This year, Dior adopted a quieter approach. Inside its Venetian boutique stood Mosaica, a golden artwork by Fabrizio Plessi, inspired by the Lady Dior bag. Crafted from gold, the piece symbolized permanence, much like the house itself. “Gold can be preserved forever,” Plessi said. “And Dior is a brand worth preserving.” Venice, gold, and Plessi once again became Dior’s keywords this April, recording the house’s private memories within the city.
Illuminating the Future
Art and fashion mirror the past while illuminating the future. They strike the heavy bells of history, even as they sound crisp notes of what lies ahead. Chanel, through music, dance, film, and even gaming, sketches its vision of tomorrow.
During the Biennale, Chanel hosted the inaugural Next Prize Dinner, gathering ten award recipients in Venice to begin building their futures together. Though Chanel has long navigated art and fashion, this initiative signals readiness for challenges beyond aesthetics, particularly in nurturing future cultural talent.
As Gabrielle Chanel once said: “Ce qui va arriver.”
What is to come, is Chanel.
Yet even if the future belongs to Chanel, it also belongs to every fashion house that has armed itself with art over time. Fashion and art are not a tragic romance like Romeo and Juliet, but more like Carrie Bradshaw and her friends: a myth of mutual support, shared growth, and enduring companionship.
作者：夏浩然
发表于：L'OFFICIEL时装
二零二二 六月一日
导语
回顾历史，艺术与时尚双双生生不息，它们相互交流、影响，为其指引方向，互相成为灵感泉眼，充当着彼此的缪斯，每一针，每一笔都充满着流动的创意细胞。20世纪30年代，意大利时装设计师Elsa Schiaparelli与法国超现实主义艺术家Salvador Dalí结缘，Dalí加持Schiaparelli创造出震撼30年代的龙虾裙及鞋帽，让双方成为在黄金30年代里，闪耀意法两国的明星。时间推进，进入后现实主义时期，Stephen Sprouse与Andy Warhol亦是在咖啡厅无话不谈的好友，也是在工作室互相鼓励的伙伴，而在Sprouse的1987秋冬系列及1988春夏系列中，Warhol成为了他的秀场最佳“助攻”。到了当代，Marc Jacobs也紧跟前辈步伐，在艺术领域中寻找自己的灵感缪斯和合作伙伴，尝试为Louis Vuitton增添少许千禧一代的气息与浪漫。2003年，Jacobs与声名远扬的村上隆发起合作，为经典的Louis Vuitton Monogram再添几分漫画色彩，开启了Monogram Multicolore长达十三年的篇章。时间沙漏最终停在今日，时隔三年，威尼斯双年展再次开启，今年的艺术展——“梦想之乳”（Milk of Dreams）聚拢全球顶级艺术作品，而在这场艺术盛宴中，时尚那灵动又极具影响力的影子，依然随处可寻。
勾勒枝末
Louis Vuitton自始至终都与艺术有着不解之缘。在本届威尼斯双年展中，Louis Vuitton协助德国艺术家Katharina Grosse在威尼斯Espace文化艺术中心展览她的作品“Apollo, Apollo”。虽然这是Louis Vuitton第一次与Grosse合作，但双方就艺术与时尚领域却早早开启了交流与分享。自2013年以来，Louis Vuitton便在全球各大都市 —— 北京，东京，慕尼黑，首尔等，创建属于当地文化和艺术的展览中心，位于威尼斯的Espace则是其中之一。在这些光彩熠熠的文化中心里，Louis Vuitton也开启了‘Hors Les Murs’项目，即从法语直译为“墙外”，冥冥中，这座古老又摩登的时尚大家希望能将流淌在它血液里的艺术细胞，撒出围绕巴黎那冰冷的城墙，传播至全球各地。从该项目开启至今，Louis Vuitton已在全球各个文化中心开展接近百个艺术展览，作为时尚大家的它，艺术自然是它源源不断的创作之泉，这些横跨多个领域及维度的艺术作品，不仅为全球热爱艺术和时尚的人们建立跨越时间与空间的艺术任意门，也为艺术家们建造超越经纬度的隧道。除开‘Apollo, Apollo’之外，Grosse今年还将与Louis Vuitton展开两次合作。在五月，Grosse将在位于巴黎的Fondation Louis Vuitton揭开她的第二个作品‘The Splinter’，另一件作品‘Canyon’也将于秋天登陆Fondation。从巴黎至世界各地，从北京至威尼斯，Louis Vuitton与当代艺术家的传奇之旅虽接近顶峰，却又刚刚开始。
诞生于威尼托地域的Bottega Veneta，同一地域的水城威尼斯对于这所集现代与复古于一身的时尚品牌而言，仿佛一个独立于艺术之外的精神导师，在静静时间长河中，不断地为其提供精神食粮。在今年威尼斯双年展中，Bottega Veneta成为了其舞蹈领域的唯一捍卫者，它不仅仅为本届威尼斯双年展舞蹈展的主要赞助方，更在‘梦想之乳’艺术展中，高雅从容地拉开它舞蹈作品的帷幕。这一次，Bottega Veneta与希腊舞蹈家Lenio Kaklea基于Bruce Neumann于2021年在威尼斯办的展览——‘Contrapposto Studies’，共同呈现一系列‘Dancing Studies’，在Matthieu Blazy亲自设计的舞蹈服装与Lenio灵动的舞步之间，传递着一个个被时尚和现代舞灵魂包裹的艺术信息。“在Lenio的舞蹈中，我看到了一些十分激进的元素，这些元素也恰好是目前我为Bottega设计需要的元素之一，我觉得这是她吸引我的原因。”Blazy在采访中透露道与Lenio合作的故事。时间退回至今年2月的Bottega秋冬T台秀，时装的动感成为了系列底色，剪裁分明的高脚裤，线条不一的流苏裙，简单清爽的白色背心，以及汲取Bottega基因的全新Kalimero手袋，这些标新立异却又回音过去的秋冬新品，拥有中庸般的激进，仿佛一条条坚定不堪的独立宣言，告知着“这是属于Bottega的新时代”。“到底，Bottega是一家注重实用的时装品牌，不管怎样，我们都需要保持它独有的动感”，Blazy在2022秋冬发布会后说道。那么或许，Lenio舞蹈中先锋激进的韵律则是Blazy掌舵后延续过去，创作未来的不二灵药。
在所有熠熠光辉，百花齐放的艺术展厅中，唯独意大利展厅被笼罩上一层后工业时代的腐朽和空洞，整个展厅被意大利艺术家Gian Maria Tosatti切割为两部分，一个部分为废弃的被油墨味覆盖的厂房，犹如时装考古遗迹现场，将我们带回意大利时装兴盛的20世纪50年代；另一部分是暗黑无际的没落船港，船港里安详的水纹之间记载着上千年的工业历史。而正所谓英雄所见略同，Tosatti庞大的装置刚好与Pierpaolo Piccioli的创作理念如出一辙，在与Tosatti深度交谈后，Piccioli决定Valentino将成为Tosatti在双年展中的合作伙伴。出生并繁华于20世纪60年代罗马的Valentino，废弃的厂房，没落的船港纷纷承载着它成长记忆中的千秋与万象，而面临当下的种种时代变迁，Piccioli认为，追寻Valentino自身的回忆和轨迹，保留Valentino那份独处于意大利社会中的时装姿态和罗马基因，方能让Valentino立身于如今的时尚争锋之中，而也是基于Valentino那清醒于外界的创作意识和傲骨灵魂，Piccioli一次次带领这所经典的罗马时尚品牌突破接二连三的历史重围。有趣的是，Valentino去年7月的高级定制系列同样举办于Tosatti艺术装置场所，仿佛冥冥中，历史车轮滚滚向前，Valentino去年惊艳多彩的历史已成为Tosatti反思工业历史作品的另一沉淀。“时装是来自历史的，它也能创作文化，这也是为什么它能一直不朽的原因。”Piccioli在双年展现场采访中谈道。
艺术的多彩缤纷也基于科学的严谨务实。在无限地创作多个经典系列和单品后，Miuccia Prada这一次决定回到艺术及时尚的内核，用理性取代感性，冷静沉稳地思考并研究，人类大脑结构究竟如何形成并作用？在2018年，Miuccia便在Fondazione Prada开启了以人类大脑为研究核心的文化科学项目，而时至今日，该项目成功在威尼斯双年展中展出，给热情如威尼斯阳光的艺术时尚追求者们，一剂来自理性的镇定剂。“我们对于影响生活的各类话题都十分感兴趣，特别是那些看起来难以理解的话题，而最难理解的估计就是我们的大脑了”，Miuccia在今年双年展中解释道开展这个项目的初衷。自Fondazione Prada于1993年创立以来，作为主席的Miuccia，一直将Fondazione看作一个汇集了一群优秀，独立，好奇学徒的乌托邦小部落，而在这个部落里，她不再是那个在T台上叱咤风云的设计师，而是一个对万物充满好奇的领导者，她一次次带领部落开拓新的领域，从视觉艺术至影像，从文学作品至大脑科学，每一次对于未知和陌生的大胆探索，无不充分扩大了她对另一个新世界的认知，使她感受到时尚强大的同时，也体会到时尚的渺小，从而，她成为一名谦逊的学生，潜心却大胆地探索，学习一切。“人的想法很重要。没有了想法，哪来的创作呢？”Miuccia在一次采访笑着说道。正是这种对万物的好奇，和才思不断地思考，让Miuccia成长至今，肆无忌惮地续写Prada传奇。
对话边缘
威尼斯双年展犹如万花筒，以不同形式、不同媒介传播着万千艺术作品，让威尼斯进化为一个又一个印发思考，拓展文化维度，引燃时尚火花的艺术圣殿，不过或许，今年的双年展是最具包容性和多元性的一届，因为总策展人Cecilia Alemani将更多席位分别给了女性艺术家和酷儿艺术家。而在一个仍由男性统领的世界，少数群体的声音仍是众音之巅，为艺术另辟蹊径。
4月23日，艺术展委员会宣布英国艺术家Sonia Boyce夺得金狮奖，而她也是双年展历史中第一位获得该荣誉的黑人女艺术家。在鼓励她创作的所有灵感中，Sonia提到Kobena Mercer于1994年发表的论文‘Black Art and the Burden of Representation’是她创作的最大动力，因为她从中领悟到，作为一名黑人女艺术家，她所创作及她所表达的，代表了所有黑人群体和独属于黑人的文化，也映照了她内心那份独一无二的归属感。
作为双年展英国馆的赞助伙伴，Burberry似乎也与Sonia勾勒着相同的信息，因为‘归属感’三字，恰好也是Riccardo Tisci接任Burberry创意总监以来所寻找的关键词。成长于意大利的Tisci，在掌舵这所英式时尚品牌时，终日游走于自我的意大利血液和无尽的伦敦节奏中。在今年2月的秋冬系列里，Tisci跳出传统的英式框架，将思维与灵感附属与自己的归属感中，赋予自己更多自由空间的同时，架空于自我和品牌之上，汲取着伦敦和意大利先祖所给予的一切。“英国对我的创作以及对这个品牌来说太重要了，我以前对我的归属感感到很迷惑，但现在我觉得很明朗，因为我知道这个国家对我的意义是什么了，那就是要带给世界意义”。Tisci通过一年又一年的系列设计，向世人证明了，他，这名来自意大利的设计师，已经习得Burberry的叙述和风格，他内心也深知，他的归属感能为他的创作带来最强马力，而这一切的创作与再创作回应了Burberry历史，回应了伦敦这片能创造梦想的土地，也回应了他那热情如火的故乡意大利。
Sonia夺得金狮奖之外，双年展的另一个隐蔽又大胆的角落吸引了更多注意力，因为常年位于炽热加州的“Tom of Finland”（以下简称TOF）今年也现身温情威尼斯，而这些跨越历史和东西半球的同性酷儿艺术品，则与Diesel无缝衔接。对于同性恋群体而言，TOF亦是艺术亦是教科书，而对于成长于一个比利时小镇的Glenn Martens而言，TOF更是他对世界的启蒙。“因为我从小成长在一个很狭隘的环境里，所以一直觉得自己有问题，但当你看到这样的作品的时候，你会觉得你是正常的，他让我知道我没有问题”，Martens在采访中诚恳地答道。正是这种开启自我认识的启蒙，以及包容自我的肯定，让TOF一直留在Martens脑海中，挥之不去，而作为该群体的一员，Martens自感身负重任，他有义务让更多年轻人感受他的感受，让TOF与Diesel的多元和包容对接，传承至更广阔的酷儿群体中。
回音过去
艺术合作，激发创作思潮之外，时尚如水一般，润物细无声般流淌进其他领域，在不同地域承担着不同角色，使用他们独一无二的力量，精细塑造着艺术下的沉淀与历史。Dior则悄无声息地穿梭在水城的各个运河之间，重塑着威尼斯的故事和面庞。
今年，Dior承担着威尼斯双年展最大赞助方，为其提供资金修复刊载这座城市历史与繁华的黄金宫（Ca’D’Oro Museum），不过Dior与威尼斯的情缘早在2019年发芽。在2019年，Dior在威尼斯文化遗产基金会拉比亚宫（Palazzo Labia）举办Tiepolo舞会，一方面与基金会组成协议，共同威尼斯的珍贵遗产；另一方面，该晚会致敬了1951年由Charlie de Beistegui举办的同名舞会。该舞会被称作为“20世纪最有影响力的晚会”（Ball of the Century），当年，众多社会名利及王公贵族纷纷参与其中，观赏艺术，享受时尚，品味水城，而Christian Dior则是舞会的主要参与者之一。前后纵跨68年，无论是2019年Tiepolo舞会上Dior一心致力传承威尼斯历史，还是1951年Christian Dior纵身将Dior带入民门望族眼帘，历史轨迹高傲地宣布着，Dior与威尼斯的爱恋，是经典之乐，是流行之趋。
虽然没在各大艺术展馆中高声喧哗自己与威尼斯的爱恋，Dior以另一种低调而奢华的方式，揭开今年在威尼斯的艺术篇章。在威尼斯精品店中，一副黄金的，似曾相似的艺术作品映入眼帘。它名为Mosaica，来自Fabrizio Plessi，作为今年Dior的特邀艺术嘉宾，他基于Lady Dior手袋的形象，利用黄金这门元素，二次创造了手袋形象，打造这幅令人为之震撼的先锋艺术作品。同样，两年前，Dior便与Plessi共同携手创作了映射整个威尼斯St.Mark广场的影像作品，而今年的作品Mosaica不仅代表着永恒如黄金的Dior，更彰显了Dior那值得被艺术不断挖掘，不断翻新，不断再创作的价值，正如Plessi所说“黄金是我个人十分喜欢的元素，因为我觉得它是可以被永久被保存的。而我想和Dior合作的原因也很简单，因为Dior就是这么一个值得被永远纪念的品牌。”两年后，威尼斯、黄金、Plessi再次成为这个4月Dior的关键字，他们静静书写Dior在这座城市的故事，也客观记录着Dior的独家记忆。
Plessi当之无愧是Dior多次合作的意大利艺术家之一，Dior那份低调而又高贵的灵魂也无时不刻吸引着众多艺术家与其共同创作，而在艺术展馆里，则有更多艺术家分享着Dior的难忘回忆。Carla Accardi，Tomaso Binga，Leonor Fini，这些参展双年展的女艺术家们，在过去和现在都与Dior有着千丝万缕的联系。Binga曾在2019-2020年秋冬系列协助Maria Grazia Chiuri设计T台造型。Binga将T台造型打造为她的早期作品 ‘Living Writing’，即她自己拍照记录了由自己裸体构成的英文字母表，这大胆、原始的视觉表达将Dior平面的造型立体化，带进另一个视觉空间。热爱文字和文学的Chiuri则爱上了Binga的表达，她从这些人体字母表中不仅感受到了空间的张力，也看到了散落四处的想象。在与Binga合作后，Chiuri也希望能与更多女性艺术家合作，为Dior注入新的血液，作为女权主义者的Chiuri，女性思维和女性想法是她接棒Dior以来，最在乎的元素。当然，Chiuri手中的Dior我们都有目共睹，她为当代女性带来了最强有力的武装。
映亮未来
当下发生的艺术与时尚映照着过去，也烘托着未来，他们在当下敲击着沉重的历史钟声，也这个平行时间里，吹响着清脆的未来之音。Chanel则通过音乐，舞蹈，电影，甚至游戏，勾勒着未来世界的点点滴滴。借着本届双年展机会，Chanel在威尼斯举办了首届Next prize晚宴，欢迎奖项十位赢家齐聚威尼斯，在水城开始他们未来的搭建之旅。作为Chanel的首届Next prize，备受业界瞩目也备受人文压力，虽然Chanel百年来只身于时尚与艺术叙述，但这所百年时尚品牌似乎已经全力准备好时尚之外其他领域的挑战，这挑战不仅仅来自降服专业，也在与培养社会的梯队人才。正如Gabrielle Chanel所说‘Ce qui va arriver’（这是接下来所会发生的）。冥冥中，百年前Chanel创始人已为这所经典品牌写好命运 —— 未来的，即是Chanel。
也许未来属于Chanel，即便如此，被未知填满的未来同属于其他长久以艺术武装自己的时尚品牌。时尚与艺术，不是罗密欧与朱丽叶的悲剧爱情传说，而是纽约女郎Carrie与她闺蜜们那彼此成就，相互宽慰的不朽神话。