In his second ready to wear-collection for the house of Christian Dior Raf Simons brought art and Dior closer together. You could see it on the clothes with Andy Warhol’s early, sensitive drawings as a recurring graphic. Warhol also echoed in the silvered spheres suspended in the room and the Laurie Anderson soundtrack reflected the right mood. But also Dior and Simons got closer: the Bar jacket was paired with baggy pants in a navy or black denim wool.
The message seemed to be about control. Just look at the way the classic “lady” silhouettes—bustier, full-skirted—were translated into black leather, or the Dior houndstooth was transmogrified into a sexy little bustier with a wrapped silk dress. They’ll likely be the ambassadors for the new Dior.
Raf Simons surprised the audience with a feminine and refined collection. Almost like a literal clean slate, the show opened with a series of crisp black suits and neck-scarves, before descending into jacket dresses and mini ballgowns. Styles which Raf Simons described as both “feminine” and “complex” in equal measure. The finale consisted of couture-worthy silhouettes with voluminous printed skirts and skintight black tops. It was beautiful, strange and unusual – so precise but so varied.
There are no words to describe the beautiful, elegant, French, chic yet modern collection Raf Simons designed for Christian Dior.
With all the rumors about Dior he must be under a lot of pressure, but boy did Bill Gaytten show an amazing collection. It might just be his last one, and if so, he’s definitely leaving with his head held high.
Gracefully dressed women walked his runway in soft modern dresses and skirts. Again materials were combined in one look. Like for instance a pink dress with a diagonal leather band on it. Or a woolen embroidered version with a metallic part on the models’ breast. And not to mention those gorgeous evening gowns which had transparent sleeves or fronts and lottts of tule.
Every single design was feminine to the max; accentuated waists, flowing (New Look) skirts and ultra soft shades (nude, rose, burgundy). Also the large necklaces gave the looks extra reason to stand out.
A total of 56 looks may have been a little too much. Yet there wasn’t one look that didn’t belong in this jaw dropping collection. Props for Gayten and fingers crossed he might get to stay at Dior.
The house of Christian Dior is still in transition. And while they are in this vacuum, the only thing the design-team can do is designing commercial stuff. The loyal customer still wants to buy new clothes, no?
Bill Gaytten showed a new, subtle version of the Bar jacket with a wide neckline and more streamlined silhouette. The collection never went to the extremes. The jacket was worn over organza blouses and bubble skirts done in airy fabrics. It looked pretty and feminine in pale colors as well as a few shots of red. The color was a light contrast to the graphic black-and-white check motif and geometric embroideries on shirts and dresses. For evening, it was a steady stream of filmy silks, plied with tulle and lace.
Christian Dior caused quite a mob-scene outside the Rodin Museum yesterday, where the fashion-house built a big black tent in the gardens for the show. Approximately 300 to 500 people gathered in the Rue de Varenne trying to get a glimpse of celebrities but also Bernard Arnault – ceo of LVMH – and other vips, cameracrews, photographers, journalist and curious tourists fled the street. Eventually the police tried to put everybody behind the gates.
And there was only one single man who symbolically tried to speak out for John Galliano. And let’s be honest – we will miss Galliano. A lot.
It was not the strongest collection of Galliano for the house of Christian Dior, but is was for sure a memorable one. Not only because of the scandal the designer caused last week, but also because of the fact Dior fired the designer, the speech that Sidney Toledano – chief executive of Dior – held before the show this afternoon and the atelier that received a standing ovation at the end of the show. In his speech Mr Toledano didn’t mention Galliano at all, but he decried racism while reminding guests of the long heritage and bright future of Dior (see parts of the speech below)
Outside the showvenue – the Rodin Museum – the scene was a mob. Police closed the street to accomodate the hundreds of people invited to the show waiting to get in.
The collection – that was finished by the couture house’s staff – was ultra-feminine. It reflected flirty styles from the early 20th century – and seemed primed for flappers, knickered ruffians, and ladies in their boudoirs. Boots were over-the-knee and on platforms, and the bags were big and roomy – looks that haven’t been seen on other runways this season, where shoes and bags have tended to be more prim and structured.
Parts from the speech Mr Toledano gave before the start of the show (quoted from New York Times):
“Since its founding by Monsieur Dior, the House of Christian Dior has lived an extraordinary and wonderful story and has had the honor of embodying France’s image, and its values, all around the world. What has happened over the last week has been a terrible and wrenching ordeal to us all. It has been deeply painful to see the Dior name associated with the disgraceful statements attributed to its designer, however brilliant he may be. Such statements are intolerable because of our collective duty to never forget the Holocaust and its victims, and because of the respect for human dignity that is owed to each person and to all peoples. These statements have deeply shocked and saddened all at Dior who give body and soul to their work, and it is particularly painful that they came from someone so admired for his remarkable creative talent.”
“Christian Dior’s values were those of excellence in all that he undertook, of elegance and craftsmanship reflecting his unique talent.”
“The heart of the House of Dior, which beats unseen, is made up of its teams and studios, of its seamstresses and craftsman, who work hard day after day, never counting the hours, and carrying on the values and the vision of Monsieur Dior.”
Friday was Lanvin-day. Besides Balenciaga, Celine and the Japanes designers the fashionworld is eager to receive the message Alber Elbaz has to tell. His connection with women is unbelievable, he can sense them and translate their needs into modern, urban chic. As he did yesterday. But the collection is not complete with the beautiful and strong jewelry from designer Elie Top. For summer he got his inspiration from bees, flies and butterflies. I’ll have to start saving money now, I guess.
Also: the setup of the Lanvin shows is giving me goose-pimples all the time. A dark, long runway with just one accent (last season a stairway to heaven, yesterday a line of poles) and models that seem to appear from the dark. Their long walk builds up the tension.
When I saw the pictures of Yamamoto I was struck by the faded colors in one outfit. The show seemed very Yohji with big dresses, draped and folded. But I loved the way he mixed the colors with his signature black.
And then Dior. It was a very commercial and upbeat show, and that’s what it should be if they want to sell. It seems Galliano is only allowed to push the boundaries at haute couture, and that’s a pity. Anyway, windbreakers and parkas never looked so sexy. And as a real Dutch girl I really liked that.
The Dior spring summer 2011 collection was inspired by sailors, the fourties and pin-up girl Bettie Page. The result was colorful, feminine, light and a lovely mix of sailor and elegance.John Galliano made up the story of an imaginary Polynesian naval base where the sailors could kill their time by looking at Bettie-Page look-a-likes.
The British designer mixed the sexy 40′s pin-up clothes with Polynesian colors and flowers plus sailorstyle. A windbreaker never looked so sexy and elegant. There were sailorpants in white and khaki, navy shirts and casual jackets and parkas. The more feminine touch came from short dresses in tropical colors and prints plus Hawaian necklaces with flowers .
John Galliano kicked of the haute couture fashion week with a ‘flowerful’ collection. His creations were based on the most exotic flowers. They had outstanding shapes (resembling the shapes of famous flowers) and gorgeous colors (yellow, purple, cobalt blue, turquoise and red).
To stress the floral theme large flowers were the backdrop of this couture show. Plus, the model’s heads were packed in colorful plastic, like bouquets.
Galliano came up with his designs after studying real flowers for hours and hours. He for instance watched the light change on a tulip, which resulted in some stunning shades and a few amazing degrade effects.
Galliano paid attention to every details of his couture gowns. The ruffles, the feathers, the pleats and the lovely volume of his dresses were all close to perfection.
On the night of the next big gala event, Blake Lively, Jessica Alba, and Lou Doillon, who attended the show, will be fighting over these smoking hot couture creations.