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Showing posts with label couture. Show all posts
Showing posts with label couture. Show all posts
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| Backstage at Giambattista Valli Fall 2015 Couture via vogue.com |
Giambattista Valli
Giambattista Valli has proven himself to be the master of youth couture. Each collection is energetic and fresh and above all else, fun! Valli takes fashion design and construction seriously, but he knows that ultimately fashion is about having fun. For Fall 2015, the groovy sixties provided major inspiration, from the oversized round sunglasses to the mod shapes and electric colors. The dress-over-pants trend is sure to continue into fall thanks to Valli's stylish options.
What I love most about Giambattista Valli collections is that you can always understand the kind of "girl" he is looking to dress. This season, the Valli girl (not to be confused with the trashy Valley Girl) is a fun-loving socialite who frequents galas and modern art museums. She's hip in a quirky way. She may not even realize how cool she really is. She wears things because they are pretty and fun, and most importantly she wears clothing for herself. She couldn't care less what others thought about her eye-catching ballgowns of colorful tulle. She probably listens to old records and she has a Warhol in her living room. She's cool, but she doesn't care that she is.
Regardless, we all want to be her.
Ulyana Sergeenko
Ulyana Sergeenko is always good for some vintage Hollywood glamour. For Fall 2015 the theme was definitely starlets of the '30s and '40s, with luxurious silks and furs, long hemlines, and vintage accessories (caged veils, cat-eye sunglasses, and minaudieres) dominating the show.
What I love about Sergeenko's collections—as well as the general appeal of the fashions of the 1930s and '40s—is that they ooze sex appeal without being overly-revealing. There were plenty of plunging necklines and elements of intrigue, but even with this gorgeous dress and its sheer top, the skirt is so magnificent that the model hardly feels half-naked; the top is translucent but that isn't the point. These looks are sexy but they aren't overt, and it's something to appreciate in a time of miniskirts and crop tops. Rihanna is a fan of Sergeenko's designs. I can see her rocking these old-school glam looks with her signature edge.
Atelier Versace
The sixties really were all over Fall 2015 couture, and the Atelier Versace show did it in glorious style. With each model rocking a wavy, center-parted hairstyle adorned with a handmade fabric flower crown, this was the runway collection for the high-end music festival forest nymph. There's no doubt Donatella was feeling majorly inspired by Coachella and Woodstock, but there was a mythological etherealness as well, as if Versace were creating costumes for a modern-day version of A Midsummer Night's Dream (Titania would be alllll over these dresses).
I always appreciate Versace looks on the red carpet, but sometimes I find the brand's runway shows to be a little too severe, too sexy, too...well, too Versace. I really enjoyed this softer approach. These dresses really are beautiful.
Also, seriously, can you imagine if this was what Coachella fashion was actually like? That would be a dream come true!
Valentino
While couture shows are typically shown in Paris, Valentino decided to do something a little different and took their runway show home to Rome for a truly unique presentation. Guests received tours of the Eternal City curated by Maria Grazia Chiuri and Pierpaolo Piccioli themselves, with each stop featuring Valentino creations from couture shows past. Then came time for the show, which was set in the Piazza Mignanelli as the golden sun set. The clothes were primarily black, gold, and (of course) Valentino Red, but the simple color palette did not mean that the clothes themselves were simple.
There was plenty of lace, brocade, and embroidery, and the gold fabrics seemed to be coated with gold foil. Models wore jewels and crowns of gold, triumphant celebrations of the city of Rome. There were plentiful references to the city, from the gladiator sandals to the pleated skirt styles and the imperial diadems. The eagle was also heavily featured, being a symbol of Rome. The opening look was a dress with a neckline that resembled an eagle taking flight. Feathers featured prominently in the collection, and several necklaces featured eagle shapes.
The celebration of the rich history of Rome was on full display, of course, but I was also detecting hints of northern medieval influences. Was it just me, or did some of the looks (in particular the all-black ensembles) feel like they could be costumes in the upcoming film adaptation of Macbeth? There were definitely some dark, witchy vibes going on, but ultimately this was a collection about the splendors of Rome, and Chiuri and Piccioli wonderfully succeeded in celebrating the beloved home of Valentino. As the models made their final walk through the piazza, they were met with a full standing ovation from the crowd. You don't have to be that into fashion to know that this doesn't happen often (the fashion world is fickle and always vaguely disinterested in everything). But really, this was one of the best Valentino collections in years. Maybe they should always show couture in Rome!
(all runway images via style.com)
What was your favorite collection?
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| Christian Dior Fall 2015 Haute Couture via style.com |
Let's discuss the Fall 2015 shows, then, shall we?
Armani Privé
With blindingly vibrant shades of neon pink, electric blue, and radiant green, "Shocking" truly is a great title for the Armani Privé Fall 2015 couture collection. Armani's collection was deeply inspired by Elsa Schiaparelli and her signature hue, "shocking pink" (hence the title and the abundance of pink on the runway). This collection was full-on 80s luxe, with strong shoulders, androgynous forms—from the abundance of suits right down to the shaggy pixie cuts of the models—and a powerful, eye-catching color palette that can only be described as a cool sunset.
This being a couture collection, there was no expense spared, no detail deemed too extravagant. That meant lots of feathers, sequins, crystals, and velvets. Luxe, indeed.
As is usual with Armani Privé, we will be seeing plenty of these designs on red carpets in the coming months, and I cannot wait. Whoever is bold enough to wear these stunning designs (I especially cannot wait to see the final dress in action) is sure to make a splash.
Chanel
As usual, the set at the Grand Palais was incredibly creative and cheeky; for Fall 2015 couture, head designer Karl Lagerfeld had models walk through a Monte Carlo-style casino where Chanel muses like Julianne Moore, Kristen Stewart, and Lily Rose Depp sat at poker tables, gambling away while identical, robotic models passed by. Robotic being the key word here, because many of the early looks in the show were 3D-printed and created with computer technology. With handmade detail being so integral to the institute of couture, I'm not quite sure if 3D-printing technology has a place in high fashion, but you've got to give it to Lagerfeld for always being innovative and ready to try the newest thing.
Stylistically, the daytime looks at the Chanel show just did not do it for me. Their odd stiffness is better explained when you consider the use of 3D-printing, but to be honest I often feel this way with Chanel shows as of late; the first half of the collection is repetitive at best, always the same tweed skirt sets and 1920s shapes that have been Chanel staples since the era of Mademoiselle Coco herself. The creative process might have been an innovative gamble (if we are to go with the casino theme) but the tweed suit is hardly a risk.
But the second half. That's where the magic is with this collection. From frilly cocktail dresses to decadent gowns, these are the clothes that are going to sell with the couture crowd.
Also, can we just talk about the la mariée suit worn by it-model Kendall Jenner? That is how you take elements of Chanel tradition and have some fun and innovation with it. Here's hoping some celebrity or high-fashion favorite is getting married soon and wanting to wear this, because this wedding suit needs a moment.
Christian Dior
Raf Simons is one of the—if not the—best designers in the business. He outdoes himself with each collection he delivers for Christian Dior, and to think I have gone from being skeptical of his appointment to absolutely ecstatic each time he does something new is crazy. After delivering a knockout resort collection in Cannes, Simons has done it again with the Fall 2015 couture collection. He has an obviously minimalist approach to haute couture, which at first I was nervous about (how can one be both minimalist and opulent and luxe enough for couture?) but I have come to appreciate how Simons has time and time again managed to make wearable, commercial, but no-less extravagant clothes for his couture collections at Dior. I think it's easy to confuse high fashion with high concept, and it's nice to see that there's a way to present straightforward, beautiful clothes that are going to impress.
Part 60s hippie, part modern medieval princess, and with a touch of New Look tradition thrown in, this collection had a lot going on, and yet it all felt incredibly cohesive. As usual, Simons has taken up Christian Dior's interest in flowers and has used fauna as the starting point for many of his collections, but here it takes a less literal approach than it has in the past. There are floral motifs here and there, and the set definitely had references to flowers, greenhouses, and naturalist painting, but it's not the petal-like creations that Simons started out with.
If people were still comparing Simons' vision of Dior to Galliano's, they shouldn't be doing that anymore. This is the Christian Dior of Raf Simons, and it is incredibly successful. In fact, it's kind of crazy to think back on the days of over-excess to the point of tackiness. Now, Dior couture is just as luxurious, but you could actually see well-dressed women wear these pieces out and about. And even with couture, the pinnacle of high fashion, you should still want women to wear your clothes in real life. Simons has made that a reality.
Elie Saab
Elie Saab shows may not be cutting edge or innovative in the same way that other couture shows tend to be, but Saab has made a career out of the pretty, sparkling gowns that grace the runway season after season. One comes to expect plenty of lace, embroidery, and embellishment, and yet, each season one marvels at the fun twists in Saab's designs and the stunning color palettes. We may know what to expect out of an Elie Saab show, but we love it each and every time.
For fall, Saab went a vaguely Gothic route, with a moody color palette of glittering emeralds and rich burgundies, medieval dress styles, and golden crowns atop the head of every model. He also added fur trims to the sleeves of dresses for added autumnal flare. This collection will appeal to the large list of royals who flock to Saab's creations as well as Hollywood princesses. The burgundy caped-jumpsuit, for example, better make an appearance on the red carpet (perhaps the Golden Globes?) or I will be incredibly disappointed. Another beautiful turn from the man who loves to create beautiful dresses.
(all images via style.com)
What was your favorite collection? And be sure to check back for Part II tomorrow!
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| Giambattista Valli Spring 2015 Couture |
Like a flash of lightning, Paris Couture week has come and gone, but the clothes presented over the four days will echo throughout the year. Though the styles themselves are rather unobtainable for the average shopper, the trends and styles that debuted in Paris this week will dictate many of the trends that trickle down into brands that sell at friendlier price points.
One look I noticed at a few of the presentations? The face veil. Usually black, netted, and cut at the nose, the chic headwear (facewear?) accessories are vestiges of a bygone era when women really got glammed up and wore way more hair accessories than they do now. Face veils (veil masks? I'm not even too sure on what to call them) remind me of women in the forties smoking long, slender cigarettes and wearing black gloves and possibly plotting the murders of their husbands. Very noir, and very fashionable.
Chanel, Giambattista Valli, and Ulyana Sergeenko all featured black netted veils in their couture collections. I must admit that it looks cool, mysterious, and sophisticated, though I do wonder about the tan lines those could create.
What do you think? Would you ever wear a netted face veil?
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| CLOCKWISE FROM TOP LEFT: Chanel, Giambattista Valli, Chanel, Ulyana Sergeenko |
"Alice in Wonderland. Utopia/dystopia. Edwardian. Urban tribe."
These were some of the notes I took while watching the Chanel Spring 2015 Haute Couture show (from my computer, of course, not from the front row—one day...). What a jumbled pile of notes and thoughts I had while I watched bare-midriff models traipse down the runway in the finest clothes in the world. For any other designer, the conglomeration of words and inspirations would feel like a jumbled mess with no real coherence, but this is Karl Lagerfeld we're talking about. Somehow, he always has a way of making seemingly unrelated and often dichotomous concepts come together in splendid form.
At the Grand Palais (per usual) the runway was decorated with hundreds of fake, mechanical flowers, like a vibrant dreamlike scene from a Disneyland attraction. The clothes were just as resplendent, full of metallic blooms and blossoming details as well as the design staples we have come to expect from Chanel.
There was emphasis placed on both past inspiration (Edwardian hats, evening gloves—perhaps Amal Alamuddin is to blame?—and 90's-style midriffs) and the dream of the future (electric colors, artificial flowers, inventive silhouettes), as well as some fabulous fantasy world that is all Lagerfeld's own.
In particular I found myself thinking of the new Peter Pan film and the character design of Princess Tiger Lily (controversially portrayed by Rooney Mara, but that's a whole other issue...) with the darkened makeup across the eyes and the colorful, exaggerated shoulders. The clothes are gorgeous and fantastical but also decidedly utilitarian, which I've come to expect from Chanel—the clothes will always be extravagant and decadent, but never will I look at a piece and ask myself, "Who would possibly wear that?"
And with the connotations of Tiger Lily and fairy princesses and far-off destinations, I came to the conclusion that the cult of Chanel is very much a tribe in and of itself, a collection of impossibly chic women who adore clothing and who dress in a very particular way, the Chanel way, if you will. They mix the urban and the traditional, they show their belly buttons off with tweed pencil skirts, they love florals but aren't afraid of an all-black ensemble either. One might say that the Chanel girl is a contradiction, but I believe that it is the contradictory nature of her style, the way she always keeps you guessing, that makes her so fascinating.
One doesn't look at a collection like this spring's and say that only one girl could wear all these different looks. Each look is a variation on a theme, made for different styles and different women, but all of them do fit into the Chanel brand, there's no denying this. Both Kendall Jenner and Ines de la Fressange (both Chanel muses) can pull looks from this collection that fit their personalities and their personal styles, but it won't be the same one. Or maybe it will be! That is the beauty of Chanel.
The most captivating looks of the collection were, for me at least, the three pictured above. Models Alexandra Elizabeth and Lindsey Wixson donned high fashion capes with their ensembles, looking very much like fairy princess superheroes, with their capes and latticed eye masks. If only The Avengers donned costumes like these, perhaps I'd be a little more interested.
And of course, there is the lovely hooded piece that Soo Joo Park wore on the runway, a brilliant feathered shrug that echoed the overall runway set. Between these three looks, I fell in love with the collection in a way that I rarely feel when it comes to fashion shows anymore. So often it comes to be about the consumer, about providing reliable products that are sure to sell, that true art in fashion is often set aside for profit. For this reason I am so thankful that couture week continues to exist, as it allows designers to explore their deepest creative desires without so much of the financial pressure. That isn't to say that this collection isn't a success; quite the contrary, I think both critically and economically this Chanel show stands out as a true win, but there is a beautiful sense of spirit in this collection that sometimes feel to be subdued during regular seasonal presentations.
In the end, what Chanel achieves is a little glimmer of true fashion magic—a challenging feat for today's consumerist-driven society—and once again I am delighted to be given just a glimpse of Karl Lagerfeld's gorgeous fantasy world.
(all images from style.com, edited by me)
The best fashion collections always seem to stem from the simple idea of representing the life of a girl through clothing. I love being able to picture a woman living her life in a fantastic and eccentric wardrobe, as was the case with the Giambattista Valli fall 2014 couture collection.
Models walked the runway with thick white scarves wrapped in whimsical bows around their heads and round sunglasses shielding their eyes. They had a mid-century air to them, as if they were fashionable housewives who had escaped to the Spanish Mediterranean coast for some much-needed rest and relaxation.
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| Giambattista Valli on his fall 2014 couture collection (via style.com/image source) |
Valli dressed his eccentric women in stripes, florals, and every other print in between. These girls don't care if their outfits are bold and loud; to be honest, they prefer it that way. They aren't attention-seekers, they just happen to find the spotlight focused on them. They love to garden and may or may not train parrots to speak passages of Hemingway. They are unique without apology (as it should be) and we love it.
I love that Valli allows his designs to be unabashedly feminine and strong. A full-skirted floral dress is as statement-making as it is girly, and the same woman who has an affinity for old-fashion florals can also rock the room in a killer lavender fur coat with exaggerated shoulders. The Valli girl really doesn't care about normcore or if she's trendy or even if she attracts men with her outfits (I hope Leandra Medine enjoyed this collection as much as I did!) She dresses for herself, celebrates herself with her fashion choices, and if you don't like it you can GTFO.
The quartet of colorful feathered gowns that finished the show were absolute showstoppers. In an increasingly minimalist fashion climate, it's nice to see that a colorful princess skirt can still capture the hearts of so many. These dresses were possibly the looks of couture week. I mean really, who can resist the allure of vibrant ruffle skirts, let alone four of them side-by-side? Even if you don't fall for a full skirt so easily, you can still marvel in the sheer manpower required to create such magnificent ballgowns.
I don't know who I trust to rock these gowns on the red carpet, but boy I hope someone has the guts to do so. These gowns deserve to be seen and admired by all.
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| image source |
Raf Simons was mainly inspired by two things for his fall 2014 Christian Dior haute couture show: the first being Antoinette; the second, flowers (snow white orchids in particular). In fact, Simons has adopted flowers as muse with the same fervor as Christian Dior himself. This season there were plenty of floral motifs, but they were more muted and less literal than they have been in seasons past. Instead, the historical Rococo era took center stage, as Raf imagined what it would be like if Marie Antoinette was traipsing around Versailles and telling people to eat cake in 2014.
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| Paniere skirts at Christian Dior Fall 2014 Couture |
The show opened with a group of panier-skirted dresses in snow whites, emphasizing the season's inspiration early on. These dresses were the most literally Rococo-inspired pieces of the show, but accents and motifs of the 18th century remained.
There were so many beautiful looks from this collection (as it tends to be with couture shows) but surprisingly my favorite looks were a trio of elaborately beaded and embroidered coats over plain black sweaters and pants. The coats were magnificent, the kind of detailing that can only exist in the world of haute couture, and I love seeing Raf simons—long heralded as a king of minimalism thanks to his previous position at Jil Sander—embracing the fanciful side of couture.
There were so many beautiful looks from this collection (as it tends to be with couture shows) but surprisingly my favorite looks were a trio of elaborately beaded and embroidered coats over plain black sweaters and pants. The coats were magnificent, the kind of detailing that can only exist in the world of haute couture, and I love seeing Raf simons—long heralded as a king of minimalism thanks to his previous position at Jil Sander—embracing the fanciful side of couture.
I've been delighted with Raf at Dior thus far, but this collection has quite literally taken the cake as the best yet. You can see that he is growing more confident with designing for an historic fashion house that has a long and rich legacy to uphold.
Of course, the fact that the collection was based on Marie Antoinette doesn't hurt!
Of course, the fact that the collection was based on Marie Antoinette doesn't hurt!
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| Embellished coats and jumpsuits take the cake |
All the best from the fall 2012 couture shows
Couture is always exciting. Couture challenges designers to push the artistic boundaries of fashion to the edge. Everything is fantastical, dreamlike, surreal. Couture focuses on ancient techniques and futuristic technologies alike. Couture is magical.
You've already heard my thoughts on the Christian Dior show, but here are my opinions on the rest of Fall 2012 Couture.
Alexis Mabille
Alexis Mabille is always good for a fantasy-inspired show, full of glimmering gowns and dramatic capes and cuts. The designer used jewels as his inspiration, allowing him to take full advantage of emerald greens, ruby reds, and sapphire blues. Maybe I've just been looking at this Game of Thrones "What Would They Wear?" Blog too much, but I wonder if Mr. Mabille has the HBO masterpiece on his TiVo. Daenerys Targaryen would totally work that shimmering blue dress; Cersei would be sassy as usual in that ruffled cream cape confection; Sansa would look princess-like and innocent in the midnight-blue dress with the bow on the shoulder.
Chanel
For Karl Lagerfeld, fashion can be quite the conundrum. Fashion is all about giving people something new, something fresh, but it is all rooted in the past. For the Chanel Fall 2012 Couture Presentation, the theme was "New Vintage" or a blending of future and past. In true Lagerfeld fashion, the clothes were only part of the presentation: the invite was a pink and grey sketch of Mademoiselle Coco done by Lagerfeld; the space was designed to look like Chanel's original salon de couture (source); the guests sat at white wicker chairs and tables with macarons and other vintage delights. But the clothes were the true stunners. Pink was the color of the night, and girls walked out in sequined skirts and glittering grey tights (and the sure-to-be most-wanted-accesory, sequined knit hats slung back on the models' heads. "New Vintage" indeed. 1930's silhouettes abounded, and yet, as usual, Lagerfeld made everything appear to be almost futuristic! My personal favorite? The dust pink sequin dress with fuzzy pom-poms protruding; I hope the right person wears that dress and kills it!
Elie Saab
Titled In Constantinople's Wake, the Elie Saab show was the usual tour de force that I always look forward to. Sure, perhaps Saab's love of sequins and sparkle can grow to be predictable, but he knows how to create something beautiful each and every time. I enjoy the designer's use of color stories as he transitions from one hue to the next and thus allows the show to evolve with each passing frock: first black gowns in lace, then contrasting ivory and peaches, then soft blues, and finally to golden-tinted neutrals. There are so many red-carpet looks here, as usual, and I cannot wait to see these gowns in action, but perhaps my favorite is the blue with gold brocade, vaguely miltary-esque dress (second from left). There is something so strong about it, and yet the glimmering details soften it, making in a dress of perfect balance.
Ulyana Sergeenko
Ulyana Sergeenko is Russian. If you didn't know that already, you would have figured it out by the time you looked at her debut couture show. Long winter military coats, fur hats and gloves, babushkas: Miss Sergeenko is very interested in her homeland. The street-style star turned designer has proven herself, for her way of dressing certainly carries over to her way of designing. She shows strong silhouettes and makes her style be known, but there is a whimsicality of the collection that makes it lighthearted and, to be honest, fun! Details are exaggerated and proportions are played with (she pairs a fur cap and gloves with a military-inspired bodysuit). Many fear that the theatricality of couture has been lost, now that Galliano is out of the game (for now, at least) but perhaps Sergeenko is the new torch-bearer of fun fashion.
Valentino
Finally, a Valentino collection that doesn't look like the costumes for the movie adaptation of a Jane Austen book! While we are talking about past Valentino collections, I don't think people were this up in arms about the new designers after Mr. Valentino himself left, and today's Valentino collection is far removed from the foundations, unlike Raf's Dior Debut. But I digress... This show was darker than past collections, but there was something very regal about the cut-out velvet gowns and brocade coats in lemons and sorbets. (Oddly enough, Tim Blanks referenced Game of Thrones in his review of the show for style.com; perhaps the show is on every top designer's TiVo these days!) This was perhaps the most ornate Valentino collection created by duo Maria Grazia Chiuri and Pier Paolo Piccioli to date, and yet nothing is overdone. Everything is still very aesthetically pleasing and poised, which I'm sure is the point.
Giambattista Valli
If Christian Dior's main inspiration was flowers, then butterflies are that for Giambattista Valli. Valli has been a favorite of mine and I think his is absolutely perfect for couture, and although his couture label is young, it is one of the strongest around. Butterflies were everywhere -hair, belts, even lips- and nature reigned today. Valli is not afraid to be bold, as evidenced by the strong pallet and structure of the clothes presented. The standouts? That forest fairy queen cape and gown (can't you just see Titania of A Midsummer Night's Dream wearing that?) and the sculpted asymmetrical peplums that bring new life to the season's biggest hit. Like his inspirational insect, Giambattista Valli is soaring.
What were your thoughts on all the couture shows?
(images from style.com)
*but seriously this is Star Wars epic status
The drama concludes (or has it just begun?) today, as the highly-anticipated Christian Dior couture debut of Raf Simons is revealed. The bloggers are already going absolutely insane with either high praise or high disapproval, but this review is solely my two cents on Mr. Simons' new collection.
Set in an abandoned mansion with five salons walled with reportedly a million flowers, a tailored black tuxedo suit appears on the curving marble runway. From the first look it is apparent that this is not a Galliano show - but that's okay! Because isn't the point of getting a new designer to go in a new direction? Or maybe that's just me.
The channeling of New Look silhouettes is obvious, but Simons does it in a fresh way. Perhaps my favorite looks were the peplum tops, the nipped waists with these exaggerated skirts, all over straight-leg pants. I think those did the best job of utilizing New Look styles while going in a modern direction. This makes me eager to try my own oversized peplum/pants combo.
Now, a common complaint among bloggers is that Raf Simons doesn't "get" couture, or that this show lacked the theatricality of Galliano's couture shows. These complaints are silly for several reasons.
On the first point, about Simons not understanding the idea of couture (and by that they mean the clothes aren't over-the-top enough) nowhere in the Couture Regulations does it state that couture clothes require a certain amount of beads per square inch or a minimum of 20 yards of fabric per dress. People should also know that most other couturiers aren't nearly as flamboyant as Galliano or Lagerfeld. Look at Bouchra Jarrar who, as told by Nicole Phelps of style.com, "has yet to put a single beaded ball gown on her runway". Couture is about something more than elaborate sets and theatrics - it's about telling a story through beautiful clothing, about showcasing old-style sewing and designing.
On the second point, the whacky sets and over-the-top productions are fun and amusing but can be distracting, and the setting of this show was frankly stunning - beautiful but not so overwhelming that the staging overshadows the clothes.
I think Simons did an excellent job with this first couture collection (and his first ever collection for Dior, which is even more pressure!) and yes, he played it a bit safe with his heritage-based looks, but they were exquisite and flawless in their constructions. People miss Galliano and the excitement, but frankly, the hype that surrounded this presentation made it the most anticipated Dior show in a long while. Raf Simons is not John Galliano, and I am so totally fine with that.
Be sure to check back for more Fall 2012 Couture reviews and let me know what you thought about Raf Simons' debut at Christian Dior!
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| Raf Simons channels Christian Dior's iconic NEW LOOK for his Dior debut |
The drama concludes (or has it just begun?) today, as the highly-anticipated Christian Dior couture debut of Raf Simons is revealed. The bloggers are already going absolutely insane with either high praise or high disapproval, but this review is solely my two cents on Mr. Simons' new collection.
Set in an abandoned mansion with five salons walled with reportedly a million flowers, a tailored black tuxedo suit appears on the curving marble runway. From the first look it is apparent that this is not a Galliano show - but that's okay! Because isn't the point of getting a new designer to go in a new direction? Or maybe that's just me.
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| Peplums and pants are my favorite silhouettes from the show |
The channeling of New Look silhouettes is obvious, but Simons does it in a fresh way. Perhaps my favorite looks were the peplum tops, the nipped waists with these exaggerated skirts, all over straight-leg pants. I think those did the best job of utilizing New Look styles while going in a modern direction. This makes me eager to try my own oversized peplum/pants combo.
Now, a common complaint among bloggers is that Raf Simons doesn't "get" couture, or that this show lacked the theatricality of Galliano's couture shows. These complaints are silly for several reasons.
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| Red Carpet Ready |
On the second point, the whacky sets and over-the-top productions are fun and amusing but can be distracting, and the setting of this show was frankly stunning - beautiful but not so overwhelming that the staging overshadows the clothes.I think Simons did an excellent job with this first couture collection (and his first ever collection for Dior, which is even more pressure!) and yes, he played it a bit safe with his heritage-based looks, but they were exquisite and flawless in their constructions. People miss Galliano and the excitement, but frankly, the hype that surrounded this presentation made it the most anticipated Dior show in a long while. Raf Simons is not John Galliano, and I am so totally fine with that.
Be sure to check back for more Fall 2012 Couture reviews and let me know what you thought about Raf Simons' debut at Christian Dior!
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