Between wall flowers, catwalk making his way among the spectators and toilet sewing subtly modern, the first parade Raf Simons for Dior launches a new era for the brand in Paris. Honoring the house codes while trying to instill its own grammar, the successor of John Galliano seems to have found the recipe to bring Dior in the 21st century.
Steeped in humility, informed references and daring visionary, the first haute couture collection designed by Raf Simons boasts Dior offer a more contemporary than ever. Here, no showy sterile passed to the filter purifies the legendary wardrobe of Dior woman sees each of its strengths revisited smoothly.
Under the fingers of Belgian designer jacket the famous bar and comes in a discreet smoking sage carbon when not inspire the convex curved metal coats or skirts tops sensual jewelry. New energy carriers where portability and science volumes balanced lines are the watchwords, the glamorous red feet Barnyard gray chic tuxedos and other sewing dear to Christian Dior also appear in perfect harmony with the personal grammar Simons.
Thus evening dresses open simplissimes on some black pants, the toilet organza sublimely ornate fantasy flirt with a two-tone aesthetic creations and “red carpet” insolent reveal lines and bold colors.
Not to mention the models astrakhan elegance transgenerational pockets giving a quickdraw nonchalant to the toilet and most precious prom dresses unearthed in the archives house that Raf Simons chooses to shorten drastically (so they will breathe contemporary).
If they are undeniably rigorous, beautifully graphic and neo-romantic (while being respectful of the heritage Dior), early Raf Simons at the head of the Parisian house remain no less a debt rationality a bit too wise. A studious restraint which will fade quickly to leave their full potential this “new couture” that Raf Simons is calling for.