Instead of shut down his ready to wear lines like Jean Paul Gaultier has decided to do, in response to the increasing speed and demands of fashion, Raf Simons has decided to slow things down in his own way. Instead of theorizing different inspirations for every collection(that’s couture and women’s ready-to-wear for Dior and then his own men’s line) the designer has decided, at least for this season, to reuse an inspiration point for one of his other collections.
That meant that in the mirrored box of the Louvre’s Cour Carree, anyone who had seen the designer’s latest couture collection might have felt that they were in a redux of that show. Even the venue told that story with it’s pared back, brightly lit aesthetic.
For the clothes there was a slight juxtaposition. For Raf Simons there’s always a push towards modernity, a cleanliness and bearability to pieces that has followed him from his own label to Jil Sander and now to Dior. That was here in spades(the first four looks were almost completely white, the first of which was a simple sleeveless turtleneck and pair of trousers) but set against an 18th century flare. As you can imagine, things were varied.
Some looks came out beautiful, indicative of Raf’s signature style. There was a parade of Bar jackets, sans belt, as well as a high waisted, curve hugging skirt with four buttons at each hip pocket, that were all standouts from the line. But there was, shall we say, a slight stumble in pieces like a long sleeved sateen coat in silver, and a few of the gauzy gowns that came before it that seemed slight stumbling blocks, fillers maybe for the designer. But of course the designer recovered brilliantly, the most glamorous reduces of bomber jackets and flight suits as well as a lineup of satin linen filets that referenced 18th century court coats but came modernized when layered over Bermuda shorts.