Author: aneekasandher

Photos: Marcus Tondo/ InDigitalTeam | Go Runway

It’s been a whole season since my last post and coincidentally I decided to return with another Dior Haute Couture review, the second of Raf Simon’s continuously impeccable designs for the house  (I’ve literally watched it multiple times and cannot stop thinking about it!). True to the spirit of Mr Dior himself, who actually named his first collection “La Ligne Corolle” after a flower’s inner petals, Raf was inspired by Dior’s love of the countryside, the gardens he would escape to and the flowers he grew there. Reading through Dior’s biography evoking these images, Simons said there was “such purity in that story“, and used these in his spring collection, the traditional metaphor for re-birth.

In line with what Alexandra Schulman of British Vogue described as a “very beautiful, modern and relevant take on couture” you could see Simons evolving from the archives he delved into last season, yet without straying too far from the traditions of the house itself — the peplums, jacket shapes, crops, and voluminous skirts were all present & accounted for. In fact, Simons talked about wanting to “let go” from the archival approach he took in the autumn/winter collection; this is seen in the asymmetry and clear aspects of déconstrué within the outfits. The flowers embroidered upon the looks were the kind used by Dior himself, yet Simons took them a step further with special effects of almost invisible beading, neon-pop colours and a cocoon of appliquéd blooms, something Tim Blanks described as “utterly intense about the couture handiwork that it can still the noise in a room” — which i’m sure it did.

Moving on to the show itself, the fashion season was “literalised” with Simons’ evolution from the sky blue shades of early spring evenings and dark grey night skies (seen in the opening ball gowns and pant suits) to a full on celebration of the coming season (seen in the bright colours and spring bridal-wear at the end). The growth of spring and actual bloom of the flowers could be seen in every outfit, each even more beautiful and brighter than the last. It wouldn’t be a Raf for Dior couture show without his signature bustiers & cigarette pants, and the every voluminous skirts with pockets. There were also exciting unconventional colour combinations of yellow, rose-pink, black satin, mint, and neon orange – which all seemed to compliment each other in the right ways and pop perfectly.

I couldn’t help but fall in love with the amount of detail in the embroidery: the 3-D effect flowers on the evening gowns and bold additions to the bustiers, dressing up the cigarette pants they were paired with, evoking textures and utter luxury. My absolute favourite looks included pretty much every gilet/bustier/trouser/skirt combination which, Simons evidently decided to layer upon one another – showcasing his ingenious architectural skill. The bright tangerine coloured coat paired with black trousers and a white floral bustier, and that baby pink peplum with almost invisible spaghetti straps — I could just dream about them all day. The two bubble dresses at the end were effortlessly beautiful and I would loooove to see Marion Cotillard walk down the Oscar red carpet this season wearing one of them, looking effortlessly chic as always. 

I can’t fail to mention the hair and makeup as well: Pat McGrath’s sequinned red lips – reminiscent of Dorothy’s red slippers in Oz – and Guido Palau’s pixie crop wigs, inspired by one of Mr Dior’s favourite models, completed the overall look of the collection and added a sense of glamour, youth, and even more femininity (as if you could add anymore amongst the blooms!).

It’s always hard to follow up the initial public offering of divine couture designs, especially with the amount of accolade he received with his first couture collection (as well as his RTW.. i’m already counting down to his next collection this coming March!), but with this showcase he really is building on what he presented before. He’s keeping true to what he loves, with the exquisite tailoring, creativity and feminine beauty that couldn’t possibly be lost in a collection such as this, and yet seems to keep pushing the boundaries, exploring every permutation possible.

A collection of  “a woman who dares to be different…” – words from the designer himself.

Photos: Marcus Tondo/  InDigitalTeam | Go Runway

photos courtesy of style.com

“A shift is happening” – words spoken by the man himself, Raf Simons, making his debut as new creative director at the most anticipated fashion show, well…ever?!

I mean just take a look at the list of designer attendees: Marc, Donatalla, Ricardo Tisci, van Assche, von Furstenburg (to name a very small few!). Ana Wintour was overheard speaking to Grace Coddington before the show about how amazing it all is – regarding the flowers a classic Dior obsession (and rumoured to have numbered in the millions) – covering the walls of the 5 private salons  in which the collection was shown: delphiniums in the blue room, mimosas in the yellow, and orchids in the white…you get the idea.

Looking at the photos, it really was a sight to be seen. Simons went straight back to ultra-feminine Dior roots, analysing the codes interpreted by Dior in his time, yet mixed in his own signature minimalism (would you expect anything less?) – a strong and promising start for the iconic brand.

Look No 1 set the tone of tradition with a black wool tuxedo jacket and matching cigarette pants.. repeatedly used throughout the show with bustiers, series of cut-out dresses, and ballooning evening gowns – big stand out favourites.

The archived research was clearly evident in the Dior Red cashmere “Bar” coat with a Dior basque on the hips and a black tulle bustier evening dress with beautiful blue velvet embroidery – inspired by the “Esther” dress from a/w 1952 Haute Couture (both shown above).

There was also classic Dior tweed reworked in a grey Prince of Wales checked wool jacket and skirt and (of course) the stand out white organza dress – intricately embroidered with Pointillists degradé chiffon, hundreds of tiny confetti reproducing the flowers inspired by the original Miss Dior dress.

The selection of furs in astrakhan and mink in electric colours showed the decadence of the couture creations and were definitely among the other noted favourites on my fantasy couture wish-list! Joining the striking blues and bright crimsons were pale pinks and pastels, some injected through the embroidered feathers on the evening dresses – another traditional aspect to add to the rest!

Finally, ending the amazing display of mastery, was a long organza and tulle dress with a pink embroidered front and blue floral embroidered back – a remake of the historical Dior designs paired with futuristic interpretations by Simons.

Just absolutely breathtakingly beautiful and classic Dior. Some of the pieces did remind me of Raf’s last collection for Jill Sander, especially the long draped evening gowns (although they lacked the ability to bring a tear to my eye like the Sander show.. it really was amazing!) and maybe I was expecting something a little more shocking, what with all the hype and anticipation around the show. Nonetheless, it was a strong and promising start to Simons’ career at the eponymous label: unmistakably beautiful, feminine and soft – and I just cannot get over those trousers!

Raf Simons’ showcase of Dior’s New Look (pun intended!) really was exquisite and definitely does embody the definition of the day, described as “a blueprint” by the creative director himself. 

I’m back from a minor break this spring due to various technical difficulties and a little exam distraction BUT all is right with the world as i’ve decided to pick Couture Week to start it all off again… and with Donatella’s collection for Atelier Versace, what a start it has been!

With a celebrity packed front row at the Ritz Paris – home to Gianni Versace’s couture shows for 8 years – the traditional sentiments within the pieces were unsurprising and full of class, including pastel chain mail, hip-high slits (i’m assuming these will be Angelina and Anya’s favourites for showing off those mile long legs!), and scarf prints on sculpted body-con micro minis – signature Versace sexiness!

Lindsey Wixson opened the show in an A-line trench constructed from thin strips of ivory patent, woven through rose gold buckles, her waist cinched with a belt that took everyone straight back to the recent men’s collection. As the show continued, the game of peek-a-boo became bolder with slashes of skin on beaded evening dresses joined together with tiny strands of crystals or silk chiffon – daring yet not quite overstepping onto the road to tacky.

Tiny circles and hexagons were hand cut out of leather (as seen on the baby yellow trench, one of my favourites) showcasing the exquisite detail seen throughout the pieces. The woman represented was a “sexy, strong warrior” according to Jessica Alba, and Christopher Kane even suggested that Donatella herself should have modelled – which she could have with those minuscule waists much like her own!

Being her second couture catwalk since 2004, Donatella described the process of coming back as “very emotional” after having previously stopped showing Versace’s couture collections on the catwalk seven years ago. I was a little unimpressed with the initial collection, it didn’t really rub me the right way, so my expectations were wary whilst awaiting the second…

This season’s collection however was softer, more feminine and less “in-your-face” than the last one… Compared to the bright neons and acidic colours, combined with the architectural structure of last season’s pieces, Sunday’s show was much softer by sticking to a simple, clean colour palette of sorbet shades & jewel tones (which masterfully matched the rings worn on the index fingers of the models, made from yellow diamonds, emeralds and topazes – ah yes, the eye for detail…) and was a lot easier to take in. Sure, it may not have emanated the “strong, powerful woman” in such an obvious way, but the effect was still there within its own subtlety (possibly even in fuller force).

“Ultra sexy and feminine” & “signature Donatella but really updated” – the words of British Vogue’s fashion director, Lucinda Chambers – effectively sums it up and the verdict is in… a strong and beautiful start to the week. I mean really – what’s not to like?!