Dior Haute Couture F/W 2015
So, after writing the Chanel Haute Couture Review- I got a little carried away walking down memory lane and somehow found myself looking at all of the previous Haute Couture F/W 2015 collections… Sorry… So here is my take on the Dior collection from last July, which was breathtaking. Hope you enjoy reading my perspective!
T’was the Rodin Museum, filled with orchidées blanches, which showcased the seamless symphony between mastermind Raf Simons and the iconic fashion house Christian Dior, admitting its audience to drift into a dream like trance and float among time traveling couture. From the Eighteenth Century French Court to a Sci-fi worthy space age, Simons has balanced the delicate, flamboyance of Dior with his own modern, powerful undertones allowing the beholder to appreciate complimenting contradictions such as geometric and organic elements or haute couture with utility. The show was divided into eight sets, each with no more than 10 looks, which concentrated the eye on the impeccable detail and craftsmanship of each piece. Suzy Menkes described the spectacle as an “Alleluia Moment for Dior” and I too agree, and would be bold enough to state we have witnessed one of the most iconic shows of the 21st century.
Each look was desirable, wearable, and an outright work of art:
The show debuted with an ironic twist: starting with ball gowns, which traditionally are revealed at the end of an haute couture collection. Simons wished to portray that everything is now and in the present- playing with the idea of time: What is the beginning and where is the end? Perhaps time is simply a cycle, a circle, looping into itself again and again- hence the oblong structure of the Rodin.
The Ball gowns emphasized the Eighteenth century, specifically the style of Marie Antoinette and the Rococo period. Another irony to point out is: decadence vs. nonchalance: flamboyant, Rococo-esque ¾ ball gowns, fit for a queen, styled with natural, untouched, “#wokeuplikethis” free flowing hair. It is a delight to witness a woman wearing such sheer elegance in the same way she would wear a t-shirt or a pair of jeans. Effortless beauty at first glance but complex and genius under the surface. Like a piece of art, these looks need time and concentration to be fully appreciated. I also question if the full-skirted ball gown is undergoing a revival- as we saw at the previous Met Ball Gala in May?
We now move to the Edwardian era, and I highlight the black ¾ length coats. Their sharp, jagged edges remind me of German expressionist artwork, and are beautifully tailored, referencing to Simons’ menswear experience. However, their dominance is delicately balanced with the subtle hair and makeup styling. Overall, one deduces this is a sophisticated, elegant, and powerful woman.
My favorite piece of the collection, which ties all influences into one, would be the white jumpsuit. It combines old vs. new, elegance vs. utility, art deco vs. rococo, power vs. grace and most apposite: Dior vs. Raf Simons. However, instead of one against another, these forces compliment each other highlighting their most aesthetic beauty. Just look at how the industrial belt is clenched at the waist and absolutely praises the embroidered sequence of the pastel flora. Also take note of the zipper- it doesn’t scream haute couture, but it fits perfectly! It demonstrates a long awaited compromise between Dior and it’s creative head, which have finally hit pitch perfect.
Continuing with the jumpsuit, one must grasp the reference to the space age and its likeness to that of an astronaut (Note: I did just watched Interstellar a few days ago- which blew me away...) The look truly is out of this world. Again the synched Dior waist and exquisite embroidery. Apart from astronaut, I couldn’t help but be reminded of a janitor- this is in no way a “diss” to the designer (it is stunning)- but with the pairing of gloves that could be used for cleaning dishes (or to wear to the ball), it is a relevant observation! This may be yet another irony of Simons- haute couture vs. cleaning wear and a blurring of social status.
The various patterns are also fun to note. For example, here we have a design that stems from a Kandinsky pallet and incorporates elements of geometry and pixel-like squares along with flowers and also a central Op-Art element of black and white; a walking canvas.
Through the time-traveled collection, of course there was an indication of the Roaring Twenties- that being a white midi flapper dress with subtle tassels. It is in all off-white apart from the right, where a spot of Yves Klein Blue is incorporated. One thinks of minimalism and an abstract canvas and appreciates this spot as almost an intentional “perfect mistake”. Without it, the look would be unfinished, which actually gives me some confidence- as we should all embrace our own little imperfections.
Continuing with the Yves Klein Blue, is this gentle chiffon dress with a crossed midriff and lovely stitching. The entanglement of black and blue highlight the red embroidery and compliment the silhouette to an hourglass shape, while still being lose and ever flowing.
Although haute couture can only be worn by a very select few, it is inspiring to all- whether you are a student, a designer, an artist, or an ambitious blogger like myself. It lets us enter a dream world and reflects influences from the society we live in. Ahhh, J’adore Dior!
