For Christian Dior Haute Couture Fall 2012 Raf Simons’ might not have unveiled the kind of magic that led John Galliano to catapult the storied house back into the stratosphere, but nevertheless, his debut collection certainly caught our eye.
And indeed, it is clearly a new day at Dior. From the serenity of the floral filled room to the steadied pace of the models on hand, its clear that at first glance this was a remarkable palette cleanser, albeit a masterfully rendered and conceived one at that.
Precise, clean architectural and assured where the first things that came to mind…
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Opening with a series of crisp if not sterile tuxedo suiting that was svelte and appropriately glamorous, the show moved on to a clear juxtaposition of rigorous separates paired with decorated peplum tops that came in proportions that looked fresh while at the same time respectfully couture.
A majority of the evening options were bandeau topped with symmetrically placed bead work that often resembled a geometric grid of sorts while punctuating the overall clean direction Simons had intended.
And while the accessories left little for the imagination to toy with, the confident nature of the silhouette’s and timeless appeal of the outings breadth suggests a limitless sense of possibility while forgoing the frivolity often associated with a $100,000 gown you can only wear once.
But maybe that is exactly what has been burdening couture all along… where do you wear that dress that is so particular you just couldn’t imagine wearing it again?
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And although Simons’ debut collection seemed a tad too restrained to justify those exorbitant price-points, maybe his new ‘era’ will bring on the dawn of women wearing couture more often in their daily lives rather than trying to emulate what the norms of ‘couture society’ lifestyles were, for today.