1
Credits: Gio Staiano
2
Credits: Gio Staiano
3
Credits: Gio Staiano
4
Credits: Gio Staiano
5
Credits: Gio Staiano
6
Credits: Gio Staiano
7
Credits: Gio Staiano
8
Credits: Gio Staiano
9
Credits: Gio Staiano
10
Credits: Gio Staiano
11
Credits: Gio Staiano
12
Credits: Gio Staiano
13
Credits: Gio Staiano
14
Credits: Gio Staiano
15
Credits: Gio Staiano
16
Credits: Gio Staiano
17
Credits: Gio Staiano
18
Credits: Gio Staiano
19
Credits: Gio Staiano
20
Credits: Gio Staiano
21
Credits: Gio Staiano
22
Credits: Gio Staiano
23
Credits: Gio Staiano
24
Credits: Gio Staiano
25
Credits: Gio Staiano
26
Credits: Gio Staiano
27
Credits: Gio Staiano
28
Credits: Gio Staiano
29
Credits: Gio Staiano
30
Credits: Gio Staiano
31
Credits: Gio Staiano
32
Credits: Gio Staiano
33
Credits: Gio Staiano
34
Credits: Gio Staiano
35
Credits: Gio Staiano
36
Credits: Gio Staiano
37
Credits: Gio Staiano
38
Credits: Gio Staiano
39
Credits: Gio Staiano
40
Credits: Gio Staiano
41
Credits: Gio Staiano
42
Credits: Gio Staiano
43
Credits: Gio Staiano
44
Credits: Gio Staiano
45
Credits: Gio Staiano
46
Credits: Gio Staiano
47
Credits: Gio Staiano
48
Credits: Gio Staiano
49
Credits: Gio Staiano
50
Credits: Gio Staiano
51
Credits: Gio Staiano
52
Credits: Gio Staiano
53
Credits: Gio Staiano
54
Credits: Gio Staiano
55
Credits: Gio Staiano
56
Credits: Gio Staiano
57
Credits: Gio Staiano
58
Credits: Gio Staiano
59
Credits: Gio Staiano
60
Credits: Gio Staiano
61
Credits: Gio Staiano
62
Credits: Gio Staiano
63
Credits: Regis Colin
1
Credits: Regis Colin
2
Credits: Regis Colin
3
Credits: Regis Colin
4
Credits: Regis Colin
5
Credits: Regis Colin
6
Credits: Regis Colin
7
Credits: Regis Colin
8
Credits: Regis Colin
9
Credits: Regis Colin
10
Credits: Regis Colin
11
Credits: Regis Colin
1
Credits: Regis Colin
2
Credits: Regis Colin
3
Credits: Regis Colin
4
Credits: Regis Colin
5
Credits: Regis Colin
6
Credits: Regis Colin
7
Credits: Regis Colin
8
Credits: Regis Colin
9
Credits: Regis Colin
10
Credits: Regis Colin
11
Credits: Regis Colin
12
Credits: Regis Colin
13
Credits: Regis Colin
14
Credits: Regis Colin
15
Credits: Regis Colin
16
Credits: Regis Colin
17
Credits: Regis Colin
18
Credits: Regis Colin
19
Credits: Regis Colin
20
Credits: Regis Colin

Christian Dior Couture Fall Winter 2014 Paris

We have lift off. In a stellar Christian Dior haute couture show on Monday, designer Raf Simons elevated fashion into a new stratosphere. Where the gilded lily era of Marie Antoinette merged with that of the crisp and clean age of space travel.

This time the designer's continued love affair with blooms expressed itself via an antiseptic white circular show space, it's reflective sliver walls festooned with pristine white orchids. Once all the VIPs, including but not limited to Charlize Theron with Sean Penn, Rosamund Pike, Olivia Palermo, Ziyi Zhang, Isabelle Huppert, Valérie Trierweiler and Marion Cotillard, took their seats (Jennifer Lawrence and Emma Watson would grace the front row of the second show) Simons began his graceful presentation accompanied by a jarring Sonic Youth soundtrack.

 

 

In sartorial vignettes the designer sent out clusters of girls all dressed in different rifts on the same fundamental idea or silhouette. Simons started off with a group of modest floral motif gowns that balance voluminous skirts with sporty, mostly sleeveless tops. As the fresh faced models moved randomly about the central stage, the gowns floated as if puffed up by a gust of air, making them feel both futuristic and yet reminiscent of something from 18th century. It was this blurring of the lines of time and space, so that everything felt familiar and new in equal parts, that was the challenge the designer sent out for himself this season.

“What I was attracted to was an idea of architectural construction-that is a very Dior attitude- and how the foundations of one era are based on another, how the future is based on the past; that is what I found fascinating,” read a quote by Simons in the show notes.

From those ultra feminine opening gowns Simons moved into a series of delicately embroidered cosmonaut silk jumpsuits or dresses crafted with an oversized bomber jacket style. Again the looks were both familiar and fresh, particularly when paired with ombre “talons virgule” heels courtesy of consulting cobbler Francesco Russo.

Then he moved into tailoring, creating long and lean floor slimming coats in luxe furs or dark wools paired with strong hued trousers. In fact, the coats in this collection were some of the best the designer has ever done for the house. Besides the down to the ground options, Simons also designed some stunning, delicately beaded, frock coats (which probably already have a wait list) and a selection of shorter shawl collar options that will be perfect for those looking for a more understated statement outerwear.

 

Simons name checked a number of time periods that he wanted to reinterpret on the runway- 1920s flappers, 1950s Dior, 1910 linear lines. But it was the mélange futurism and modern fantasy of the 18th century court dress that came across most strongly in this collection. If there were one caveat to this show it would be that perhaps the designer had spread his exploration out a bit too far. It would have been better served if Simons had cut back on a sequence or two.

However, that is a minor quibble for a collection that really was out of this world.