Particularly expected, the first parade ready-to-wear Dior Raf Simons tries to break with the era of John Galliano by writing a partition which purifies and effectiveness replace theatricality and opulence.
In deciding to open his show on various versions of the tuxedo (jacket from proportions mastered bar, pants and dresses Fittes-jackets), Raf Simons sets the tone: the Dior woman has finally finished with corsets and other traditionalists shackles. Led by the Belgian designer sleeping beauty is indeed free of inheritance Galliano and embraces a new femininity, made of strong lines, sensuality and timelessness.
With its minimalist grammar must Simons imagine him as a wardrobe as elegant and contemporary, with the cornerstone dress blazer. Declined from every angle, it plays with the notion of sex appeal, while a note on combining ultra chic. We note in passing the reappearance – in a more refined – micro couture dresses spotted at the show in July, which appear here sometimes sublime, sometimes a bit less convincing.
Will follow in subdued passages, where experimentation often takes on the prettiness of silhouettes. Difficult indeed to be transported with enthusiasm to the mix blazers / organza and other toilets with patches sequins missing evidence …
Raf Simons soon, however, to regain power by delivering mischievous creations asymmetrical pleated train in fluid dripping on further carbon shorts and then condenses on a single dress all his creative magic: between line A and subtle perforations acid yellow lining, the creator comes here to marry harmoniously classicism, radical and innovative twist.
We also note the presence of some successful changes around the little black dress (including games pleated sufficient to infuse a delicate appearance pornography), not to mention the sublime toilet strapless navy blue skirts with asymmetrical and poetic modern energy .
And if we regret that the parade has not reached on this elegant note “night” (final dresses combining ample skirt and flowered top carbon slightly translucent doing a little thinking too much about the appearance of somewhat failed Léa Seydoux in Dior fall / Winter 2012-2013), one can only applaud the overall provision of Raf Simons.
In deciding to free the woman from her frilly baroque Dior and offer a DNA revisited marked by minimalism, it indeed manages to bring a good time for all in the 21st century.