Christian Dior -Haute Couture Collection Autumn/ Winter 2014/15 (with interview)
Raf Simons is inspired by the past in order to create the future in his latest haute couture autumn/winter 2014/15 collection for Christian Dior.In the gardens of the Musée Rodin, a wall of orchids make up the floral setting for the autumn-winter 2014/15 Christian Dior haute couture collection. The long haired models, with gold or silver eyeliner to subtly accentuate their eyes, arrive in groups into the circular space through several doors. Raf Simons is inspired by the past in order to create the future, shifting the 18th century into the 21st. He reinterprets delicately embroidered jackets or overcoats with supported waists and rounded sleeves. Silk jacquard pannier dresses open the show and seem to float on the body, as Raf Simons refines the silhouette to the maximum in order to give way to lightness. The future is expressed through embroidered silk suits. He also revisits wardrobe classics, with pea coats made in blue ink wool worn over straight black wool trousers, or through long overcoats pleated at the back or with gigot sleeves. The show is brought to a close by a series of pleated dresses in soft colours such as almond green, powder pink, Dior grey or off-white, which are contrasted by an electric blue. This is one couture that does not forget the past and that keeps moving forward, intelligently orchestrated by Raf Simons. Interview: Raf Simons: You are surprised about how things evolve, you know, like the main topic at the opening of the show was the ‘robe à la française’ which evolved into the ‘robe à la anglaise.’ There was 20 to 25 years in between, and it was all about restricting women less and less, like taking boning away, taking the cushions away, from creating the volumes and creating the aesthetics from that moment in time, to pleating techniques. And for me that was a very Dior thing to do, he was a very very incredible architectural constructor. Let’s say like there is a 50s spirits which goes towards the modernizing period of the 60s and the liberation, but still has a strong interest in the aesthetic and architectural aspect of how garments were constructed in the 18th century. It is actually interesting to think about today and to go very far in the past because its more about changing attitudes, and to kind of relax the way clothes are produced and especially the way they are worn. I didn’t want to have control on the show in terms of how these girls should walk, these girls just walk the way they want to walk. I didn’t want to have a girl like every 10 seconds; we just made them do their own thing.