To the rhythm of the beats of Aphex Twin Windowlicker and in some rooms whose walls were literally covered with a million flowers made his debut as creative director Raf Simons's collection for Dior Haute Couture Fall-Winter 2012/2013. The premiere, as usual, was done under the watchful eye from the front row of the most important fashion journalists and celebrities of the moment, but this time also sat in the front row guests some much less common: Azzedine Alaïa, Pierre Cardin, Christopher Kane, Marc Jacobs, Donatella Versac and with his daughter Allegra, Diane Von Furstenberg, Oliver Theyskens, Riccardo Tisci and Alber Elbaz, and can be interpreted as the backing of the entire profession to this new era in Dior.
As expected, the 54 outputs have many points in common with his latest show for Jil Sander and the imagery of the house to which he confessed to feeling closer in the press release that was released when his contract was confirmed . Even the flowers that covered the walls were present on the catwalk in his last show for Jil Sander. Perhaps too many parallels to be a debut in a new brand with a past as well defined. Simons option had to be to explore the simplicity and minimalism, its strengths and away from the work of Galliano, always lush, but in my opinion is a mistake to seek inspiration in the work of some of their Belgian colleagues (prints reminiscent of Van Noten, silhouettes that are pure Ackermann), which touches Dior must be sought in some jackets or in the volumes of some clothes, but not present in many of the outputs that could be perfect for his style to a collection of ready-to-wear but remain quite low when considering them as haute couture.
What is clear is that Simons has chosen to create a new way into high fashion, away from the excesses of sequins and glitter to the commonly associated and has opted for the sobriety of the colors black and flat, with small concessions the "Prince of Wales" and "tie-dye." May later explore the vast archives of the house but in this first collection is extremely self-referential, even in areas that may seem like the taste side by an architectural style in shoes or the simplicity of the stains.
A parade does not define a career, and this is probably a good start in a time when simplicity is a rising, but the haute couture should not lose that bit of showmanship and excitement and this may be the weak point of the parade , forgetting that in addition to building a "New Look 2012 version" should get more than just remove the guests in their chairs (some with visible faces of boredom).
Photos | GTres
Official Website | Dior
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