Talk about complicated, for this collection Raf meshed global references (from Europe, to Africa, Asia and even America.) Noting that he was indeed for the idea of “freeing up couture” (Raf Simons), yet again he pursued the notion of haute couture in a more modern and dare we say it– accessible and wearable sense.
What a remarkable beautiful collection is was.
Attempting to re-structure fashion noms as we know them, Raf explored the future of haute couture, stating that “psychologically, emotionally, [couture] can be approached the same way as ready-to-wear: out there for women to enjoy and to wear.…It’s a psychology of how clothes can look in relation to a modern woman and the way she is living her life and experiencing the culture.” For us, this is the special thing about Raf Simons at Christian Dior. He allows the house to explore the limitations of the fashion world in ways which have not been done before.
So as Raf Simons strives to grant us freedom, we see a range of Parisienne tailoring (yes the good ol’ bar jacket again), alongside traditional Asian and African influences. Almost disjointed, the collection is quite a rightful interpretation of Raf Simon’s Internationalist nature, embracing the new-age Dior woman (client) in whichever part of the world she may reside in. Optimistic national emblems, bold shades, and the liquorice all-sort like stripes (which we have grown very familiar with) mark much of the energetic collection.
“If we don’t adapt to what women in society are now about, couture might disappear”
Photographs sourced via. Style.com