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11 Artists Turned Dior’s Iconic 'Lady' Bag Into a Work of Art—and the Results Are Mesmerizing

This is what happens when art meets fashion.

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The worlds of fashion and art have always been intertwined, often complementing and taking inspiration from one another. Some may even argue that fashion is art—for proof, look no further than the latest edition of the Dior Lady Art project.

This time, the brand’s artistic director, Maria Grazia Chiuri, invited 11 artists from around the world to put their unique, creative spin on Dior’s iconic Lady Dior handbag, which will celebrate its 25th anniversary next year. The artists—Athi-Patra Ruga, Eduardo Terrazas, Jia Lee, Joana Vasconcelos, Kōhei Nawa, Marguerite Humeau, Maria Nepomuceno, and Mickalene Thomas, Raqib Shaw et Wang Guangle—essentially turned the handbag into a work of art by “infusing its architecture and charms with their individual universe and inspirations.” Dior calls the results “an ode to freedom and creativity” and we wholeheartedly agree.

Blending technology and art, French contemporary artist Marguerite Humeau printed the handbag in 3D giving it a wave-like shape as if to defy the laws of gravity. This is actually the first time that Lady Dior’s silhouette has been so drastically re-sculpted as part of the Dior Lady Art project, which was launched in October 2017.

Another notable version of the handbag is the one of New York-based artist Mickalene Thomas, who draws inspiration from art history and pop culture. In her design of the cult accessory, she evoked Claude Monet’s Giverny gardens by incorporating a water lily as a charm that stands in for the letter “o” in Dior.

And then, there is Eduardo Terrazas, a pioneer in contemporary Mexican art, who infuses his work with elements from architecture, museology, urban planning, and design. He transformed the Lady Dior by taking inspiration from geometry and American Indian huichol techniques.

Now scroll down to see all 11 versions of the classic Lady Dior handbag and prepare your eyes for a visual feast.

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