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Ready-to-wear, act I; Raf Simons, act II. September 28th, 2012, in a white box built in front of Saint-Louis des Invalides, one of the most famous churches in Paris, the designer showed his first Dior ready-to-wear collection, and his second outing for the house after his debut haute couture collection shown this past July. Naturally the work was different, and the inspirations, too. But both collections shared the same vision of fashion, the same vision of women and femininity – a modern woman, an attitude. The Bar jacket, that symbolic representation of the work of Christian Dior, with its defined waist and exaggerated hips, opened the show, paired with cigarette pants and a wide ribbon tied in a large bow at the neck.
Enjoy Raf Simons's after-the-show interview and the new DIOR Sunglasses Spring/Summer 2013 video! LoL, Andrea
The silhouette was precise and sharp. Then the pants disappeared, the jacket transformed into a short dress, with the movement of the peplums giving a boule effect. It next became a bustier dress, for all the world looking like two distinct pieces, but in reality cut in one piece with the ends of the jacket like a layering of fabric over the skirt. Or closing across the chest, in men’s tailoring fabric to better draw attention to the ultra feminine nature of its cut. A smattering of pleating on skirts and the end of dresses adds a sense of volume to the looks. This Bar jacket, which first saw the light of day in Christian Dior’s first show on February 12, 1947, never ceases to evolve and reinvent itself: it’s never the same, and yet each one of its reinterpretations forges an unmistakable link to the original that inspired it. Its instantly recognizable silhouette is sometimes accentuated by a line of embroidery that serves to further underline its curves.
Next come the colors – yellow, green, orange and pink, lustrous, pale, in satin duchesse and metallic organza. Draping glistens, with black shorts peeking out below. The same effect appears at the ends of embroidered dresses, glimpsed beneath long dresses, themselves embroidered, for graphic impact. Futuristic materials are fluid and airy; the advanced technology never overwhelms. Colors pop and clash: the inside of a yellow dress contrasting with the pink exterior, with pink and red to follow. The long panels of a short dress flutter in the air, seemingly held in place by little more than a single pleat at the waist. The architectural rigor of the clothes is rendered lighter still – freedom infiltrates not only fashion, but the woman wearing it, too. Freedom is nothing less than the collection’s pulsing heart.
Ready-to-wear, act I; Raf Simons, act II. September 28th, 2012, in a white box built in front of Saint-Louis des Invalides, one of the most famous churches in Paris, the designer showed his first Dior ready-to-wear collection, and his second outing for the house after his debut haute couture collection shown this past July. Naturally the work was different, and the inspirations, too. But both collections shared the same vision of fashion, the same vision of women and femininity – a modern woman, an attitude. The Bar jacket, that symbolic representation of the work of Christian Dior, with its defined waist and exaggerated hips, opened the show, paired with cigarette pants and a wide ribbon tied in a large bow at the neck.
Enjoy Raf Simons's after-the-show interview and the new DIOR Sunglasses Spring/Summer 2013 video! LoL, Andrea
The silhouette was precise and sharp. Then the pants disappeared, the jacket transformed into a short dress, with the movement of the peplums giving a boule effect. It next became a bustier dress, for all the world looking like two distinct pieces, but in reality cut in one piece with the ends of the jacket like a layering of fabric over the skirt. Or closing across the chest, in men’s tailoring fabric to better draw attention to the ultra feminine nature of its cut. A smattering of pleating on skirts and the end of dresses adds a sense of volume to the looks. This Bar jacket, which first saw the light of day in Christian Dior’s first show on February 12, 1947, never ceases to evolve and reinvent itself: it’s never the same, and yet each one of its reinterpretations forges an unmistakable link to the original that inspired it. Its instantly recognizable silhouette is sometimes accentuated by a line of embroidery that serves to further underline its curves.
Next come the colors – yellow, green, orange and pink, lustrous, pale, in satin duchesse and metallic organza. Draping glistens, with black shorts peeking out below. The same effect appears at the ends of embroidered dresses, glimpsed beneath long dresses, themselves embroidered, for graphic impact. Futuristic materials are fluid and airy; the advanced technology never overwhelms. Colors pop and clash: the inside of a yellow dress contrasting with the pink exterior, with pink and red to follow. The long panels of a short dress flutter in the air, seemingly held in place by little more than a single pleat at the waist. The architectural rigor of the clothes is rendered lighter still – freedom infiltrates not only fashion, but the woman wearing it, too. Freedom is nothing less than the collection’s pulsing heart.
"Since childhood I've always been fascinated by the idea of having an architectural calling", Christian Dior wrote in 'Christian Dior et moi'. Today, Raf Simons express that same passion for architecture, as evidenced by the show setting.
"Underlined with electric eyeshadows and set with crystals, lit up with delicate and vibrant colors, the eyes for the DIOR fashion show primmed with pulsing energy."
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| DIOR RTW Spring/Summer 2013 by Raf Simons |
Selections by ANDREA JANKE Finest Accessories
Photo Credits/Source: © The House of DIOR
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