A Look Back At Paris Fashion Week – Christian Dior

In true Dior style, the old has been blended with the new. Raf Simons’ first couture collection with Dior was one of the most anticipated of Paris Fashion week and in one very stylish and respectful move, Simons established something beautiful.

Rooms adorned with flowers, supplementing the usual wallpaper, the classic pieces of Dior’s ‘New Look’ of 1947 were dusted off and new life breathed in. A voluptuous collection of elegant suits, evening wear, gowns and modern dresses bore bold colours and decorative techniques with classic silhouettes of the New Look. What was most striking perhaps was how well the old mixed with the new, in a way, merging the new path Dior has with Raf Simons, whilst maintaining the elegance of the label that Dior sought to establish.

Day wear was classically clean and elegant, perfect for central coffee dates and long business lunches. Suits were varied from the perfect cut of cigarette trousers and fitted jackets in black to pairing them with beaded bustier tops, boasting oversized peplums. In contrast were the elegant skirt suits, reaching down to the shins with matching texture jackets in pastel shades of blue and pink. Waists were tightened up with circular belts, polished metal pieces, for a bionic addition to the New Look ensemble.


Evening wear was a cosmopolitan collection of modern colour, classic decoration and timeless shapes. Red, yellow, pastel pink and black stood out in more classic cuts of the strapless dress with a full skirt. What was most thrilling though were vast tent-like dresses, some with a tiny waist, with solar-system like prints and colours, splashed across the skirt panels. Suit dresses and dress-coats also appeared in shades of grey, charcoal and light blue for more office appropriate attire – true to the Dior woman and her lifestyle.


To finish were dresses that flawlessly merged the history with the future of the house. Full-length skirts of red and fuchsia split to reveal the same cigarette trousers, layered with silk or tulle. Lastly, muted tones of grey and peachy-pink were layered over white silk in a slim line dress with beads for extra glamour.


Considering the recent move to the label, Simons’ scope of understanding the primary characteristics of the label is very impressive. Not only did he capture the essence of Dior and what Lady Dior wears, but flawlessly merged new ideas and creative techniques for a fresh face for the label and its years to come. The splashes of neon colours and metallic make-up added the perfect modern touches. Although they were out of character for the collection, they provided an interesting contrast, a hint to how the collections of Dior will be in the future; something fun and modern, whilst respectful to its roots.

Rosie Feenstra


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