Talk about drama. Given Dior’s yearlong hunt to fill the role of creative director, the scandal that had opened the position in the first place and Raf Simons’ blockbuster finale for Jil Sander punctuating what was, in effect, his unceremonious, bizarre firing, the designer’s Dior show on Friday afternoon would prove the most eagerly awaited ready-to-wear debut at a major house in years.
Well worth every drop of anticipation and every second of the wait, Simons blew past expectations. In 14 dazzling minutes (albeit with lots of intense work prior), he thrust Dior into a place it hasn’t been in some time, a place where clothes count as more than glossy foils around which to explode cash-cow accessories and beauty businesses. This collection pulsed with that Holy-Grail fusion of currency and cool.
It’s difficult to imagine Simons’ emotions during the prelude to the big event. If at all unnerved, he gave no indication in a preshow conversation with WWD. Unlike his open, bright white front-of-house, Simons’ private salon backstage was tented in black and fitted with a dark sofa and a pair of chairs. Calm but animated, the designer was open about his thought process coming into Dior and declared his exit from Sander “so out of my system.” He also took issue with past characteristics of himself as a minimalist.
“Everyone thought I was a minimalist,” Simons noted of his tenure at Sander. “I love minimalism. There will often be that kind of aesthetic; that kind of concept will be very often a part of my world. But it’s not the only thing that I’m interested in.”
He would soon illustrate that point in a collection that established Dior’s new baseline: controlled but decorative, feminine, sensual. And, to use his word, “liberating,” a concept he insisted was first brought to the house by its founder.
While by today’s standards the New Look hardly seems liberating, Simons begged to differ. “Mr. Christian Dior was giving a reaction to the aesthetic of the moment, which was a restrictive aesthetic,” he argued. “He brought fantasy again, and the whole idea about sensuality and the female body. And [the focus on] the waist, and the hip and the breast. It was a way of freeing up from a certain kind of restriction.”
Simons wants to wave the freedom flag as well. While he considers the current rush of minimalism often attractive and “probably necessary,” he identified a lack of forward motion resulting in too-familiar clothes and a mundane dilution of the original concept. “Why does it look so related to what it was in the Nineties? That’s my question. Why is it so much white cotton shirting [buttoned] up to the neck? And why do I not see sex, and why do I not see fun in that world, and why do I not see movement in that world? And why do I not see the female body in that world? I think it’s interesting to bring part [of minimalism] into the world of Dior, but I also want to make it very sensual and sexual and very free. Liberated is probably the most important message.”
In the lead-up to this show, Simons immersed himself in the house archives and pondered how to best achieve such integration. In fact, he had a considerable head start. Beginning with his “couture” collection for Sander several seasons ago, he had begun to incorporate more obvious flourish into his work. For Dior, he liked the notion of a futuristic spin, not only in the expected (from him) intellectual sense of constant forward projection, but in the more playful fashion sense, through a Sixties lens.
Taking the final spot on the mens’ portion of New York Fashion Week calendar next month will be none other than @tomford. Though he’s shown his men’s wear in New York in the past, this will mark the first time the designer has shown his men’s collection alone during New York Fashion Week: Men’s. His runway show will debut on February 6 at the Park Avenue Armory. #wwdfashion
London-based couture house @ralphandrusso has certainly been in the spotlight, having its dresses worn by @beyonce, Angelina Jolie, Meghan Markle in her engagement photos and more. For couture, Tamara Ralph focused on ornamentation — think: feathers with chain mail, jet embroidery and clusters of pearls and crystals. See the rest of the collection on WWD.com #wwdfashion #couture (📷: @giovanni_giannoni_photo)
Minnie Mouse celebrated her 90th birthday by getting her own star on the Hollywood Walk of Fame. For her celebratory luncheon, @coach’s creative director @stuartvevers dressed her in a custom made prairie dress, complete with Vever’s take on the polka dot – black sequined versions – under a cropped motorcycle jacket. The designer also put his own mark on Minnie’s classic red shoes, infusing the color with sparkles and adding some Coach crystals. “We chose colors that were very Minnie and also represented quintessential Coach elements,” said Vevers. #wwdfashion #nationalpolkadotday (📷: George Chinsee)
@nickjonas is unveiling his first-ever apparel collection through a partnership with John Varvatos. The limited-edition capsule, which makes its debut in spring, also marks the first time the designer has collaborated with anyone on a line. “The process in working with Nick is amazing. It’s inspiring to be around someone who is not only connected with the trade that they do, but also with what’s happening in the environment around him, and how that connects to what we do with style,” said Varvatos. (RG: @johnvarvatos) #wwdfashion
@margotrobbie steps out onto the red carpet wearing @miumiu. The actress is nominated for “Outstanding Performance by a Female Actor in a Leading Role” in “I, Tonya” at the #SagAwards. (📷: Stewart Cook) #wwdfashion
For @massimogiorgetti of @msgm, the Nineties are his favorite decade. “They had a huge impact on my personal growth. What I like of the Nineties is that they are not so precise in terms of style as other decades…there was actually a bit of everything,” he said. As seen on MSGM’s Spring 2018 show: tie-dye and a bit of grunge, two styles that are synonymous with the decade #wwdfashion #wwddecades (📷: @kukukuba)