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Christian DiorHaute Couture Spring Summer 2014 Paris

Runway Review
1/20/2014 Ed Kavishe/fashionwirepress.com & Matteo Volta/Imaxtree.com

Most of France’s famous fashion brands – from Chanel and Dior to Lanvin and Vionnet – were established in the first half of the last century. Even the upstart – Yves Saint Laurent – is over 50. Those mighty traditions can become cages for designers who are used to roaming freely at their own houses. Today, however, Raf Simons, now well into his second year at Dior, showed how the silhouettes of the past can look fresh all over again.

Having toyed with Dior’s famous full-skirted, wasp-waisted New Look, Simons turned his attention in this spring/summer 2014 collection to the sack dress, the loose, chemise-style sheath with a gathered cape back that Dior launched in the 1950s. In fact, Balenciaga acolytes claim Dior “borrowed” the innovation from their man, but the truth is, it originated in the 18th century.

Confining himself mainly to a colour palatte of navy, ivory and some sugar almond pastels, Simons’s preferred surface embellishment was of the lasered, textured and tone-on-tone embroidered variety rather than the rhinestone kind. Book-ended with a blockier version of the Virgule (or comma shaped) heel first invented, as Dior freely admits, by Roger Vivier, Dior’s woman is becoming an intriguingly angular/amorphic creature.

Simons is on a mission, it seems, to align Dior with a certain kind of star wattage – last week he dressed Emma Watson for the Golden Globes in a backless long red dress and cigarette pants.
In other words, he’s a modernist – presumably that’s why the show took place in what the programme notes described as “a blend of white angular modernism and biomorphism echoing the female form”. It looked like an igloo. The clothes meanwhile looked ideal for all red carpet warriors searching for a new take on formality – with or without the biomorphic femininity.

View Runway
1/20/2014 Ed Kavishe/fashionwirepress.com & Matteo Volta/Imaxtree.com

Most of France’s famous fashion brands – from Chanel and Dior to Lanvin and Vionnet – were established in the first half of the last century. Even the upstart – Yves Saint Laurent – is over 50. Those mighty traditions can become cages for designers who are used to roaming freely at their own houses. Today, however, Raf Simons, now well into his second year at Dior, showed how the silhouettes of the past can look fresh all over again.

Having toyed with Dior’s famous full-skirted, wasp-waisted New Look, Simons turned his attention in this spring/summer 2014 collection to the sack dress, the loose, chemise-style sheath with a gathered cape back that Dior launched in the 1950s. In fact, Balenciaga acolytes claim Dior “borrowed” the innovation from their man, but the truth is, it originated in the 18th century.

Confining himself mainly to a colour palatte of navy, ivory and some sugar almond pastels, Simons’s preferred surface embellishment was of the lasered, textured and tone-on-tone embroidered variety rather than the rhinestone kind. Book-ended with a blockier version of the Virgule (or comma shaped) heel first invented, as Dior freely admits, by Roger Vivier, Dior’s woman is becoming an intriguingly angular/amorphic creature.

Simons is on a mission, it seems, to align Dior with a certain kind of star wattage – last week he dressed Emma Watson for the Golden Globes in a backless long red dress and cigarette pants.
In other words, he’s a modernist – presumably that’s why the show took place in what the programme notes described as “a blend of white angular modernism and biomorphism echoing the female form”. It looked like an igloo. The clothes meanwhile looked ideal for all red carpet warriors searching for a new take on formality – with or without the biomorphic femininity.


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