What's The Future For Dior?

With the sudden departure of Raf Simons at Christian Dior late last year, questions are swirling around the media concerning who will take over the post of creative director for the house. As the LVMH have already announced, the atelier design team will be taking the reigns for next season's couture and pret-a-porter FW16 collections, but that still doesn't prevent us budding fashionistas from pondering about who Dior will select for said role.

Included in my list of predictions are the likes of; Riccardo Tisci (creative director at Givenchy), Marc Jacobs (ex creative director at Louis Vuitton) and Olivier Rousteing (creative director at Balmain). In terms of their individual aesthetics, I think they each have something very unique yet intrinsically classical embedded into their DNA. This, perhaps, mirrors how well-suited they are in possibly designing for Dior.
 For example, Riccardo Tisci brings a poignant dark romanticism and Gothicism to all of his collections, alongside nuances of his signature streetwear look. For me, what is so incredible about his work is that he uses a perpetual array of reference points like the neo-gothic religious imagery he morphs into disproportioned t-shirts and the seemingly natural scattering of Victorian motifs on the most simplest of garments. I believe he could re-work the classicism and romanticism which we already associate with the house of Dior and drive it into a more diverse and modernized dimension.

 Neo-gothic imagery at Givenchy Fall 2015

 

American Vogue's 'Forces of Fashion' with Beyoncé (in Givenchy) and Riccardo Tisci

My second choice would be Olivier Rousteing. He is a strong contender for the role because he is able to bring that hype and attention from social media needed to bring clothing alive. As we all know, Balmain is, in no way, shape or form, at all traditional; in fact, Rousteing has completely gone against his brand's DNA but instead made up for it with this new appeal of luxury and opulence. Not only has he created a brand with incredibly successful profit margins but he has also made a brand which is adored by everyone (the celebrity cult especially). Perhaps this is what Dior needs, a refresh, a digital awakening?

 Balmain Spring/Summer 2016 campaign ft. Naomi Campbell, Cindy Crawford, Claudia Schiffer and Olivier Rousteing

Lastly, I had toyed with the idea of bringing in Marc Jacobs. He is without a doubt a legend in fashion. Throughout his 16 remarkable years at Louis Vuitton, it was noticeable that his design style and aesthetic grew immensely. I think it is fair to say that he 100% transformed the house of Vuitton from once being a tired, old independent fashion brand to a multi-million label with a net income of around $500 billion.  The real trick of his trade was that he used his imagination, he was a fantasist. Every single one of his shows he produced either for Vuitton or for his own brand told a story or rather a fairytale. The clothes themselves spoke depth and character, you could be transported into any time or place when you put them on. For example, Vuitton's Fall/Winter 2011 collection (one of my favourites) of 40s arch provocateurs- patent trench coats, sheer capri pants and leather corsets in rich tones of burgundy, brown and bottle green.

 

Louis Vuitton Fall 2011 by Marc Jacobs

 

Jourdan Dunn in a patent snakeskin trench coat with a cinched in waist

 

 Leather corsetry and volumized proportions

 

 Kate Moss

 

I for one do hope they appoint a female designer, simply because I feel like the industry as a whole lacks female presence. Don't get me wrong, we do have some exceptional female designers such as: Phoebe Philo at Celine, Claire Waight Keller at Chloe, Stella McCartney and Mary Katrantzou, who could all potentially step up to the plate. However, at this point in time, the industry is very much one of the only businesses which is so extremely male dominated.


Please note: I do not own any of these images, courtesy od Vogue.co.uk and Vogue.com

Chanel Mademoiselle Privé

Going into the Chanel Mademoiselle Privé exhibition at the Saatchi Gallery, I had high expectations. After waiting in a snaking queue for 50 long minutes, I think anyone would have had similar expectations. 

After entering the building we were directed into the first room, consisting of the replica of the famous glass staircase which links the Chanel Rue Cambon flagship store to Coco's apartment. Following on from that was meant to be a re-invention of Mademoiselle Chanel's hat shop in Deauville, which she started at the very beginning of her career. Unfortunately, there was only a room comprised of walls plastered with monochrome prints of a shop window and with the addition of card hats popping out of cardboard boxes. I would have appreciated some colour and not from going on a constantly crashing app to get the full picture.
Afterwards, we entered yet another room which supposedly represented Coco's apartment; however to me it resembled nothing of the sort. We had a continuation of those printed walls. I think it is safe to say that it lacked lustre to the extremist degree.

 

Moving on into the next area, we were presented to a birdcage which held a colossal copy of one of Chanel's diamond star necklaces from the exclusive Comète Collection. However, this just seemed to be a rotating plastic beaded sculpture.

 

We then walked into a room which was entitled 'Totems', I am sorry my dear readership but has anyone ever heard of Chanel Totems? No, we have not. They were the most unusual things. Firstly, we had a tower of strings of pearls encapsulated by what only could be described as a giant fish bowl with even more pearls. The next was called 'Lucky Numbers', essentially some dominoes placed into the shape of a robot, apparently carrying the meaning that all those numbers were lucky, despite the fact we saw every number. Lastly, there was one constructed out of wheat. Like wheat, what did that symbolize? I, personally, did not have the faintest clue. I simply didn't understand how those representations translated into fashion or art for that matter. 

The last two rooms on the ground floor I can deem faintly interesting. For example, one included a selection of hanging white sheet fabrics which you could touch. The last room on the ground floor was meant to be the Chanel No5 scent room - where these big electronic canisters filled with the individual notes which make up the timeless scent of Chanel No5 opened, revealing an array of garishly-toned brews. However, after standing over the jasmine pool for a lengthy amount of time, I smelt no jasmine. In fact, there was no overall smell of Chanel No5. It was more about the installation than the purpose.

 

 

Ascending the stairs we entered the room which showcased Chanel's finest jewels- Bijoux De Dimants, and thank goodness we actually saw clothes. Although they were not just clothes, no no no, they were evidently Karl Lagerfeld clothes. This is what I simply cannot comprehend. In this exhibition Lagerfeld is paying homage to Coco Chanel, shouldn’t they have displayed some of the archived pieces from Coco's time. For example, we had that really chic cropped blazer, paired with the full A-line chiffon skirt which was undoubtedly one of my favourites, until I looked at the shoe. The couture trainer.
They also did not think through the layout of the exhibit either. Everyone was forced to inch round the walls of the tight room by fierce looking security guards who shouted at us if we even dared to bend our necks forward to be in the 1 metre radius of viewing an emerald green velvet dress with the intricate diamond clasp. I do, however, have to say that some of that jewellery was divine.

What was also quite interesting to me was that there was hardly any written information. Yes, there was the faint Voiceover of an actress playing Coco Chanel but no indication as to what anything was. Similarly, I did not like the idea of having to turn to that interactive app for extra information; it was not as easily accessible as Chanel probably would have wanted. Nevertheless, I do not consider that an exhibition, having to seek information on your phone, instead of actually looking at the physical presentation, is a good idea. 

Overall, I felt that the exhibition did not know what it wanted to be. It was neither an aesthetic appreciation of the finest things we usually associate with the house of Chanel, nor did it offer a comprehensive history.

                Picture Courtesy of me and Vogue.co.uk

Chanel Spring/Summer 2016

I used to be the biggest fan of Chanel. I think it is fair to say that I much prefer Chanel show spectacles like the Supermarket from the Fall 2014 collection rather than the actual pieces in the shows.

My general feeling about Lagerfeld at Chanel is that he's lost his touch, completely. Don't get me wrong: we still have a reference to Coco - sharp structured tweed suits in now a multitude of newly developed sporty neoprene fabrics and garish marbled colour palettes; somewhat ruining her pioneering, signature looks, however.
 
Saying all this, Karl seems to have a tendency to push everything out of proportion. In a typical prêt-a-porter show, we normally see a strong 40-50 looks that fit perfectly into a set theme or incentive. However at Chanel, we see a frankly lack-lustre 90 or more looks, most of which are the exact copies of the ensembles we have seen prior to that specific collection. 

 

 

 

To buyers and editors, enthralled would be an understatement; they feed off the giant branding sets which today took the shape of a Chanel Airport. A set which we have seen in the past, to be exact Spring/Summer 2012 Couture- Cara Delevingne's runway debut, was the collection which allegedly showed the future for Chanel's Haute Couture. 

However, I digress. This season's Chanel was all about the jet-setting life of the super-rich (hence the presence of Kendall Jenner who closed the show).

photo 1-1

photo 1-2

The clothes simply did not radiate quintessential Coco or even the basic essence of Chanel for that matter; they emitted a futuristic angle which was more tacky than anything: giant orange mirrored aviators covered the faces of the models paired with flat-formed plastic drawstring boots and bubble-gum PVC coats.

 

 

 

 

In contrast to my rather pessimistic point of view, there were some undoubtedly beautiful pieces- the sour-toned checked tweed jumpsuit which opened and the layering of kick flares underneath full chiffon or leather skirts, dabbled with the ideas of classicism meets the digital era. The branded wheelie luggage bags and petite airplane brooches will definitely get the global e-commerce soaring.

 

 

 Kick flares which sat loosely under full-skirts

 

There was a definite sense of diversity, albeit eclectic, in relation to the overall execution of the show; diversity was shown through the model casting and the new, fluid silhouettes sent down the runway.
At this point in time, it seems that futurism is the only theme that Lagerfeld can bring to the Chanel check-in desk. For example, those trainers he put in one of his Couture shows, or those crushed Camellia flowers which emblazoned a tweed overcoat. I'm sorry to say this, but I do believe it is time for a change. The brand is in need of a new lease of life, Karl has led an incredible legacy, but he's coming to the end of his time.

 

Please note: I do not own any of these images, courtesy of Vogue.com & edwardlewisstyle.com,

Christian Dior Fall 2015 Couture

The 16th century pilgrims meet the impressionist art movement is how I would summarise Raf Simmons' latest collection for Dior.

Last season Simmons explored the concept of 'the future as seen by the past', with the use of David Bowie being his main inspiration. I felt we had been introduced to a much more harsh, almost fetishistic version of the Dior Woman. 

However, this season we still had that futurism yet it was mitigated by Simmons' historical aesthetics- the journey back to the archives which brought us a more innocent, (I hate to use this word) sexy yet sinister vision. Perhaps those 40s ('New Look') coats which clinched in at the waist to open up into a full-skirt briefly dabbled in the darker side with heavy metal chains. 

        

We also saw quotations from previous collections: the scarf neck-line, the tulip skirts which embraced more of a classic 50s silouhette in contrast to the distinctively audacious spirit captured by Simmons last season and lastly, the deconstruction of the defining coat. By deconstruction I mean Simmons took the basic structure of the overcoat and added a flare from his imagination- the bell sleeves (which deemed popular this couture season, especially at Atelier Versace), the glimpse of a fur stole, as one would call it, that appeared through a sleeveless caban and those jacquard chain-mail nets which sat over an ethereal gown.

        

         

        

The opening look comprised of a white organza flowing gown of tissue-thin transparency setting this look of purity within a demure silouhette.

It was evident to me that Simmons was playing with perhaps the imbalance of lightness vs darkness, for example the design of the tulip skirts, which presented a rigid structure was downplayed by the pastel kaleidoscope which splashed its surface, to create perhaps a false vision of softness.

For me it was about the contrast between old and new. With this historical aesthetic that Simmons releases every season, he attracts a much more youthful audience, even aesthetic.

                         Fur stoles 

 

                  

                     Picture courtesy of Style.com