Christian Dior Haute Couture Fall 2013

Last resort season, Raf Simons was all about embracing a new sense of dynamic freedom, and that surely was translated within his Haute Couture Fall 2013 collection for the house.

Talk about complicated, for this collection Raf meshed global references (from Europe, to Africa, Asia and even America.) Noting that he was indeed for the idea of "freeing up couture" (Raf Simons), yet again he pursued the notion of haute couture in a more modern and dare we say it- accessible and wearable sense.

What a remarkable beautiful collection is was.



Attempting to re-structure fashion noms as we know them, Raf explored the future of haute couture, stating that "psychologically, emotionally, [couture] can be approached the same way as ready-to-wear: out there for women to enjoy and to wear.…It’s a psychology of how clothes can look in relation to a modern woman and the way she is living her life and experiencing the culture.” For us, this is the special thing about Raf Simons at Christian Dior. He allows the house to explore the limitations of the fashion world in ways which have not been done before.



So as Raf Simons strives to grant us freedom, we see a range of Parisienne tailoring (yes the good ol' bar jacket again), alongside traditional Asian and African influences. Almost disjointed, the collection is quite a rightful interpretation of Raf Simon's Internationalist nature, embracing the new-age Dior woman (client) in whichever part of the world she may reside in. Optimistic national emblems, bold shades, and the liquorice all-sort like stripes (which we have grown very familiar with) mark much of the energetic collection.

"If we don't adapt to what women in society are now about, couture might disappear"

-Raf Simons

CLICK TO VIEW MORE OF THE COLLECTION

Dior Homme Spring 2014

At the heart of Paris [Menswear] Fashion Week is Dior Homme.

This time around the palette comprised of cobalt blue's, rich burgundy's and black's. Van Assche also worked pixelated Mondrain-like references into the collection, with abstract rectangular like shapes cut into many of the looks.

Once again we see monochromatic looks take the rein, as leather blazers are dyed blue and paired alongside coordinating tailored shorts and shirt.

The Dior collection had many double breasted pieces, with the classic blazer being toyed with, cut here and there. There were even shirts complete with zip's straight down the middle instead of le usual [pain in the ass] buttons.

A very smart and arty collection, we'd say!

Photographs sourced via. Style.com

with love.

SHEER DRESSES: it's a resort thing

FROM LEFT TO RIGHT

Elizabeth and James, Zimmermann, Derek Lam, Chanel, Jason Wu, Christian Dior, Zimmermann, Chrisian Dior, Jason Wu, Christian Dior

[Photographed by: Helmut Newton '60s. UK Vogue]

with love.

Christian Dior Resort 2014

Raf Simon's took to the challenge of merging his new Dior to the world of Resort collections for the first time. Set in [not so sunny] Monaco, Simons was forced to pitch a plastic covered, white box-like structure next to a murky and grey raging Mediterranean. Of course, this make-shift construction was in place of what was meant to be a Hitchcockian like seaside venue. Word has it that Simon's even hoped that seagulls would visit. Never the less, Simon's still managed to put on the show that he hoped for.

So he began with "the clichés of what we all think about when we think about cruise", whilst "also want[ing] to bring a new materialization and work with fabrics that [he is] not used to". This exploration led to the embrace of lace, which Simons admitted to having shunned in the past for it's "old, [overtly] romantic and fragile" ways. This propelled him to take on the challenge of turning a 'stuffy' fabric into something "modern, edgy and kind of futuristic" (Simons). The lace allowed him to create a great contrast and interest (for lack of a better word) within each look.

Dynamic and futuristic was the collection, as the historic "Bar" jacket was painted bright red, and even the "New Look" esque skirts were cut down the middle and left flowing. Bright colours were painted in racing stripes and curved panels across the body, alongside metallic foils and other obscure materials. Lace was made to not appear feminine per say, but instead was merely embraced as another texture to the Dior quilt.

Even the idea of a conventional tailored pantsuit was deconstructed, paired with geometric printed crop tops. Azure and bright orange headscarves also featured, in an overall rather impressionist take on Dior, where asymmetry and dynamism was put at the forefront, with "a lot of freedom" (Simons).



Five things we can take from this collection

1. Metallic 50's style bikini bottom's

2. Middle split! (and sleek middle part)

3. That monochromatic pantsuit

4. Sheer dresses

5. COLOUR

(photographs sourced via. Style.com & WWD)

with love.