Stating the obvious truth that all trends come back around in the long-term, Christian Dior’s Autumn/Winter 2014-15 Couture show exhibited the most elegant pieces, all having an extensive association with the eighteenth century French court. How? Every piece included a reference to the genuine art of Edwardian tailoring adding dimension therefore greater dominance.
As always spectators were invited consisting of Peruvian fashion photographer, Mario Testino, as well as the former actress of Bianca Jagger. Regarding the recent media, Hunger Games actress, Jennifer Lawrence sat front row accompanied with usual show-attender, Emma Watson. Attiring an elaborate and spatial dress, Emma made an obscure assemblage appear mature and appropriate. Additionally, she combined the dress with a classic black clutch bag and diagonally strapped and ferociously pointed stilettos providing a level of sophistication.
On the other hand, Jennifer decided to incorporate a vintage aspect by a high-waisted white pencil-skirt once again reflecting that of a developed feel along with the artistically printed top that just managed to make an appearance. Focusing on accessories, we see a supplementary clutch bag however this time in the authenticity of white corresponding with the fundamental shade of the outfit. Likewise to that of Emma’s, primly the pointed heels implement the sense of vintage style and emphasize Dior’s original characteristics included all the designer’s pieces.
Dior’s chief, Raf Simons was the obvious dictator of this ambiguous runway show. Acquiring cream orchids towered above the spectator’s gothic seats that read intertwined branches totalling to the naturalistic aspect that delivered the overall eerie atmosphere. Uniquely, astute models walked around the circular runway that made resemblance to an extra-terrestrial UFO room. Quoting “Confronting what people now think is modern”, Simons was able to remind everyone that the iconic spirit of Victorian fashion is now viewed as a modern statement of our everyday clothing decisions. As if every time we combine pieces, there is still an influence from vintage style involved even-though this may be unnoticeable. Overall, the setting was developed to combine the two eras of classical and contemporary.
With the pre-eminent aim of allowing the audience to focal point the key aspects of each piece, Simons gave the collection in sets of a maximum of ten looks. Doing so highlighted the singularity of each feature and built up the impression of indulgence and originality. Concentrating on the model’s aesthetics, it was no surprise that Simon’s went with his usual contemplation of completely straight hair contrasting with the instinctive pale skin. As a result, Simons was able to convey the eighteenth century component of the show by conveying how bleached skin was classy, this vastly contradicts the thoughts of now-a-days where a sun-kissed glow is considered to be good-looking.
As stated in Vogue “the show started at the end” meaning that it evolved from beginning with the punctuality of Victorian centred gowns to further come to a close by consideration of the recent health-fad through athletic related attire in addition to an outfit that of a typical urban Parisian is redeemed to wear. Another aspect I noticed was the revolution from an absence of quantity and colour to the definite engagement of accessories and vibrancy. Having vibrancy induced the model’s dim skin-tone, one again portraying disparity between two phases in generation. Casually, none of the outfits had an involvement of heels climaxing the adaptation that the pieces can be worn during every-day life for example strolling through towns and cities, despite this the lavish materials of mink, chinchilla and cashmere made up for the shoes depth vacancy.
Furthermore, I am now going to present you with my three favourite pieces included in this differentiating group of outfits.
To start with, we have beautiful early gown that involves the angelic flow of a gather-skirt combined with the opulent rose print upon the top. Being a mix of geranium pink and poppy pink, the roses provide a hint of excitement and transfer the paucity of technology during the eighteenth century. Although, a slight appearance of knitted badges along the right sleeve foreshadow a today as they come across as very metropolitan. To complement the piece, Simons has incorporated plain black flats to bring the audiences eyes towards the centre-piece gown.
Secondly comes a very Valentino style long blazer that truly reflects wealth by the use of gold embroidery and artistry. With the circular collar it highlights the idea of sophistication however unusually includes two layers maintaining texture. Corresponding with the petals of decoration, its knitted flowers illustrate essence and the style of former centuries. Not only essence, but the outfit acknowledges royalty in addition to opulence bringing a sense of higher-class and higher-standards.
Regarding the later outfits that annotate the present-day views of fashion, we have a largely collared ultramarine blue trench coat that doubtlessly aids in drizzly and bitter atmospheres therefore being exceedingly suitable for outdoor terrains. This piece helps even the most busy of people to still look impressive yet feel complacent and assured. Combined with the business wear of some sleek tailored trousers, this outfit captures everything appropriate for the urban city-goer. Also, we have this paired with the proclamation of black pointed flats prioritizing the how relevant this piece is to the the twenty-first century.
Throughout this catwalk, Simons successfully made us query how different times can contribute to an output of outfits we wear every day of our lives. Justifying how trends are on a constant recycle, it presents a use of old clothes and reclaimed vintage meaning that we should hold spotlight on our wardrobes contents instead of holding spotlight on our wardrobes quantity. Due to this there needn’t be extra money spent on the latest trends but instead just a thorough rummage through past attire.