The increasingly complicit art of the Fashion Maisons, after Christian Dior with inspirations from the neoclassicism of Antonio Canova and his tempera paintings depicting "The dancing girls", even Chanel rediscovers femininity by proposing floral environments almost from Pre-Raphaelitism, and finally, now it's up to Dolce & Gabbana and the Baroque of Rubens who present the new collection with Vanessa Incontrada, a splendid testimonial worthy of the master's paintings.
As reported in the official Twitter profile, the collection is inspired by the rich and deep colors of a painting by Rubens. In the baroque scene Vanessa Incontrada wears a chiffon caftan with camellia print. Collection up to Italian size 54.
The passion for art on the part of the two stylists is quite well known and reflects the style that the Maison has always had over the years, where references to culture have never been lacking, primarily the Baroque one, first Italian and now also abroad . With this new campaign dedicated to the Flemish Baroque, the message seems even more addressed to all women of the world to celebrate a new beauty. A more inclusive feminine grace as Incontrada herself declared on Vanity Fair, for one of her naked images that appeared on the cover last October.
An even clearer message that fashion - which for years has proposed an "under weight" style, giving many girls the stereotype of exaggerated thinness and which for many of these has dramatically transformed into mental anorexia - wants women to be able and must feeling free from all those schemes of mere image and from those extreme, useless, dangerous and above all superficial models of beauty.
Even the Maison Chanel offers in its latest video for its spring summer 2021 collection a young woman who is the protagonist in the front row of the fashion show and who undoubtedly wears a larger size and with sensuality.
Through the art of Pierre-Paul Rubens (1577–1640) the full force of the Flemish Baroque is expressed. The painter, active in the city of Antwerp (economic hub of Europe in the XNUMXth century), amassed several hats: court painter, religious painter, history painter. To successfully complete his numerous commissions, the Homeric Rubens (to use Delacroix's term) surrounded himself with an efficient workshop. Especially since he was also involved in the diplomatic affairs of his time. Rubens enjoys an unusual artistic and social prestige for a XNUMXth-century artist. His influence will be decisive on the colored painters of the following centuries such as Watteau, Delacroix or Renoir.
Rubens, Peter Paul 1577–1640. “Venus, Amor, Bacchus und Ceres”, um 1613. (Sine Cerere et Baccho friget Venus) Öl auf Leinwand, 141,2 × 199,2 cm. Inv. Nr. GK 85 Kassel, Staatliche Kunstsammlungen.
