Dior SS15


“The near future” or “modernity of past” – a modern edit of the previous spring Christian Dior prêt-à-porter collection with historical costume references.


Crisp white tanks tucked into egg shape paniered skirts.
Astronaut inspired jumpsuit in a small-scale floral print.
Knee-length embroidered vests paired with boyshorts.
Nightgown inspired shirtdress sparingly embellished with broderie anglaise.


Satin, Lace, Jersey, Velvet


White, White, White, Floral, Red Velvet, Blue Tulle


Simons made his point much more boldly when color was involved, from the pale pink of a shapely linen coat (the highwayman came to mind again) to the orange satin linen gilet that closed the show. It referenced an 18th-century court coat, which evoked the historicism of Christian Dior’s original Bar silhouette. Fashion present floats on an ocean of fashion past; Simons simply chose to ride the time machine a little further back. But he paired his gilet with Bermuda shorts. It was a look you could imagine piquing the interest of the women he’s drawn to Dior. A judicious blend of fantasy and reality—the Apple Watch of fashion. -Tim Blanks, Style.com

“What is modern?” is what Raf Simons asked himself as he worked on his spring Christian Dior prêt-à-porter collection. […] It simply became a starting point to send the Dior ateliers into hyperdrive, fusing historical romanticism—rounded sleeves on billowing shirttails–hemmed chemises, paniered skirts whose birdcage volumes contrasted starkly with the gleaming white tanks they were worn with—with a design language that’s redolent of the present day; consider that the second-skin sculpted-heel boots, to the ankle or knee, came in a stretch mesh akin to Nike’s Flyknit. Elsewhere, he quoted the absolutely impeccable tailoring of his couture. There were exquisite leather coats, their narrow shoulders and slim bodies falling into full skirts, a silhouette amplified by the placement of belts that cinched above the natural waistline, while embroidered silk and jacquard bomber jackets were worn with perfectly cut trousers. So in the end, did Simons answer the question he posed to himself? Yes. -Mark Holgate, Vogue.com

As always, Simons stressed the goal of modernity; in this case, he looked back to move forward. What he left unsaid was the deliberate weirdness he brought to this process. This was one strange amalgam of courtly, monastic, athletic, virginal, street, latent hippie and — oh, yes — archival influences. Yet it never felt forced. Rather, it coalesced into a buoyant expression of chic with edge — just the right amount of edge to take the powerhouse that is Dior into what Simons called “the near future.” –WWD.com

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