Christian Dior Couture fashion moments represented here.Whoever said couture was dead? As new reports this week say the average customer haute is getting younger, the presentation of Christian Dior AW14 last night showed that terribly expensive (but totally fine) art form is having a very modern moment.
The question of the future hangs heavy over Europe at this time – on whether Italy will succeed in convincing Germany that budgetary restrictions of the European Union must change; whether Britain leave the union; whether former President Nicolas Sarkozy of France can make a political comeback given its current legal status – so it may be surprising that in the beginning of the couture season. Yet his last collection for Dior Couture-the most complete to date, as beautiful as her debut two years ago, if not as bold as their continent-spanning collection that since July last year found him looking-backwards.
And more than that, he said later, he found himself thinking about the fascination of Christian Dior with the Belle Époque and wondering: “If I was [working] at that time, what would be my interest, conceptual or technical or architecture What I would be excited? ” Extended into six segments, dressed in everything from evening wear full-skirted coats long fur, receipts silk chiffon and embroidered boilersuits parachute models walked around a circular room wrapped in white and chrome cover – floor to ceiling – in white orchids. It even had a soundtrack of alpha experimenters Sonic Youth. The first row includes actors Charlize Theron and Sean Penn. Overall, it was an expression of the dizzying creative director Raf Simons vision for this venerable Parisian house: red carpet friendly and futuristic arthouse once. The first segment uses this form as its center and mixed with touches of other inspiration – astronauts.
The insignia as those used by NASA employees sleeves dotted dresses. How to reconcile the need to recognize and preserve their heritage while at the same time, so it is relevant to today? How do you honor the past, while the alteration (literally) to anticipate what’s coming? These are not specific to fashion questions, but the answers of fashion, or at least his explorations are as relevant as any other. The other thing that keeps Simons forward is his claim that the seams do not need to be for special occasions.
The real treat is to spend five or six figures and the use of something, not once or twice, but its incorporation into the everyday wardrobe. Sweeping coats longline (Edwardian) and jacket familiar bar (1950) became familiar with exaggerated shawl collars, will prove tempting for customers. Coats of exquisitely detailed cut and cut jackets (wool, velvet, even astrakhan) were equally believable as everyday use, combined with classic knits and pants.