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

Alexander Wang Fall 2015

Dark, gothic goddesses at Alexander Wang last night. Wang produced an entirely black collection, featuring grungey plaid, Frankenstein boots (double-soled) and a myriad of heavy metal hardware that doused black silk robes and boxy tailored suits. 

 

There were influences from Marilyn Manson and Gene Simmons of The Kiss; figures who lived their lives covered in notorious noire. Japanese references fluctuated loosely through the collection. Perhaps the masculine silhouette: cropped trousers which sat loosely on the hip paired with a heavy, square jacket decorated with miniscule metal plates to create the look of a bulletproof jacket.

 

 

 

 

 

 

 

 

 

 

 

Hints of the dominatrix described the evening wear. The iridescent fabrics which layered over sheer skirts, tied together with an obi belt; had quite a menacing quality about it.

 

 

 

 

 

 

 

Picture Courtesy Style.com

 

 

 

Normally an all black collection has a tendency to be quite safe. However, with the right amount of styling and attention to detail, as shown, we see a extremely dark and powerful portrayal of the Alexander Wang Woman.