After months of anticipation , yesterday afternoon , the moment many of us have all been waiting for finally arrived. The debut of Prada’s first collection since their announcement of Raf Simons’ appointment as co-creative director alongside Miuccia Prada. The SS21 collection was presented digitally and it seems to have ticked all the boxes of what one would imagine a Miuccia x Raf Simons collection would look like. Considering the current circumstances amidst the pandemic, a lot of the collection was shaped by the social restrictions , but the notion behind it was the idea of uniformity. The collection touched on different definitions of what a uniform should look or feel like , both through the eyes of Raf Simons as well as well as Prada being visual representations of identity as well as a representation of shared values.
Each look throughout the collection felt carefully constructed, with elements of both designers being quite evident. It was like a painting of some sort — Miuccia gave one brush stroke, followed by Raf’s splash of paint which all came together to create a picture that was not extravagant or questionable , but rather solid and finished. There were pleated skirts paired blouses with holes, hoodies paired with pleated skirts and kitten heels and many other other elements that had evident traces of both designers. Many pieces throughout the collections are held in hand , or drawn around the body, artworks by Peter de Potter one of Raf’s long time collaborators were transformed into prints but it also saw a revisiting or some of Prada’s archival prints. This collection felt like a perfect harmony, orchestrated with equal effort, perfectly setting the ground for that which is to come .
Paris Fashion Week is not a low key affair. It always has – and remains to be – where a large handful of historically iconic design houses show their respective wares amidst a flurry of theatrics and architectural grandeur. And one of the most memorable of AW16 was Christian Dior.
The fact that the world still awaits the name of a successor to the now departed Raf Simons was momentarily shelved, as the skill of the exemplary design foundations of the house took centre stage. This is a brand with creative and flair at its core, and although an effective ‘lead singer’ of the big fashion band is still yearned for, Serge Ruffieux and Lucie Meier – who worked in Raf’s former team – have more than proved that it’s not necessary for them to have one in place to be able to produce greatness.
This season followed on from the success of January’s couture collection, and was yet another show with a strong focus on the key ‘looks’ of the late Mr Dior, with “black silhouettes as crisp as the sheets of white paper on which they spring to life: dense, textured, embroidered and quilted.”
It also featured “hand-painted dévoré velvets, re-coloured jacquards inspired by one of Monsieur Dior’s iconic sketches” as well as, “fragments of colour, embroidered motifs atop prints, a touch of leopard.” It was a collection in which “everything lies in the mix and the compilation,” according to Dior themselves.
Image by Adrien Dirand for Dior
And the sets? Magnificent. Once again Bureau Batek made made illusion a reality, and used vast mirrors to disorientate in the entrance to the normally so familiar Musee de Louvre. Once you found your way in, it was a journey through spiraling tunnels clad in dulled metallic finishes and burgundy velvet. It’s was both reminiscent – many said it conjured the historic grandeur of a cathedral – and incredibly modern – we suppose, just like the clothes themselves.
Haute couture isn’t something that’s typically thought of as cool. Beautiful? Yes. Incredibly intricate, ostentatiously unique and mind-blowingly accomplished? Yes. Rebellious? Absolutely. But cool? No. Well, turns out, someone didn’t give the seven-strong team behind Christian Dior‘s spring summer 2016 collection that memo.
What was presented to a predictably packed audience in Paris’s Musée Rodin on Monday was as deliciously unkempt as the bookshelves lining the Seine. Despite the departure of Raf Simons – the undoubtedly refreshing and oft-lauded face of modernity at the historic French house – this was a collection of magnificently wearable, works of art.
Starchy silhouettes were compromised with flashes of bare shoulder – not in a calculated ‘cut-out’ manner – but as if the model had been gesticulating too wildly and somehow shrugged one side of her previously ladylike look off. Because of course Dior is ladylike. Even when it’s sending punkish sheer tops layered underneath prom dresses down the catwalk, the hair remains in a perfect side part, and the cheeks delicately rouged.
Christian Dior Haute Couture SS16
In addition to this, hemlines of voluminous silk dresses cascaded messily from beneath embroidered, tobacco-hued wool coats that were just that bit too short, and the breast-plate of stiff tops exploded provocatively in a fanning wave of ruffles around models’ décolletage.
There is no denying that haute couture as a whole, has become infinitely more realistic in its approach to cut and day-to-day use in recent years. Even the handful of super rich clients who buy this stuff have some kind of ‘cost per wear’ gauge. But – that doesn’t mean it’s become boring. Far from it. In fact, the true inventiveness now is in the attitude conveyed by the most beautiful of clothes. As Christian Dior themselves echoed in their statement this week:
“The spontaneous, relaxed Parisienne of today is Couture by nature, down to the smallest details, but modern in spirit. It’s her attitude, her way of moving, her way of simply being.”
You don’t have to have Instagrammed Corrine Day’s iconic Kate Moss shoot for The Face to know that youth culture has shimmied around fashion’s dance-floor since time began, throwing shapes and intoxicating every wisened creative as it went. Whilst Joan Didion for Celine may have piqued an interest for a mature, savvy model, really it’s the arresting, intangible power of youth that continues to enthrall the industry. From Friday, London College of Fashion will celebrate this preoccupation in an all-star exhibition Mad About The Boy at the Fashion Space Gallery.
With a timely opening on the first day of London Collections: Men, Mad About The Boy promises to cast a discerning spotlight on the relationship between fashion and beautiful males. If the subject alone didn’t have you intrigued, the fact that it’s curated by SHOWstudio’s Lou Stoppard definitely will.
Thanks to contributions from game-changing designers and creatives such as Raf Simons, J W Anderson, Nick Knight, Meadham Kirchhoff and Larry Clark, the exhibition is set to continue last year’s legacy of mixing fashion and art (did you already forget about McQueen mania?), to great effect. Attendees can expect a sensory experience thanks to audio recordings of designers and photographers discussing their memories alongside editorials, films and select looks from seminal collections.
Martin Margiela may be the most elusive figure in fashion. Never has he given an interview, or been photographed in regards to his designs, however now he is the subject of the YOOX Group’s first documentary.
The Artist is Absent, directed by American writer and director Alison Chernick, reveals the vast, groundbreaking impact of the Belgian creative genius who changed the way in which fashion is seen and the enigmatic mind behind some of the most exquisite creations of the two last decades.
This intriguing narrative tries to unveil the true essence of Martin Margiela’s deconstructivist revolution. He becomes real through the images of the documentary, frames of his creative path, and interviews with some of fashion’s greatest names who have been part of his incredible life, including Raf Simons, Jean-Paul Gaultier and Suzy Menkes.
Today sees the release of Dior & I, the latest documentary from filmmaker Frédéric Tcheng – his solo directorial debut – that follows Raf Simons as he starts his role as Creative Director at the Parisian fashion house.
You find yourself immersed in the world of Dior, from the ateliers, to the business and communications, and even in the legend that is Christian Dior himself. Throughout the film we see vignettes of Christian Dior in black and white, using voiceover quotes from his autobiography. It’s these snippets that emphasise the work ahead of Simons as he embarks on the task of creating his very first haute couture collection for Dior, modernising the legacy for a new generation. They also act as a reminder of the past, baring weight on the shoulders of the designer of the future.
There are times in the film where things don’t always go to plan. Which, expectably, there would be. Simons is known as a minimalist (although he does not see it that way) and has never designed a couture collection before, let alone in eight weeks, and so these mishaps were bound to happen. But, what you notice is that every hurdle is handled in a rather elegant manner and only once do we witness a tiny designer tantrum – if you could even call it that.
A sense of thrill and excitement hangs over the experience; you are anticipating the grand finale right from the very start, cheering on the rather timid designer and Pieter Muller, his right-hand-man, the entire length of the movie. Tcheng does this by creating a crescendo of sorts. The voiceover shifts from the past to the present as we draw near to the catwalk show, and it acts as a commentary on Simons’ whole experience. When the collection finally does walk the runway, in a beautiful slow motion scene, emotions are high, and watching this little slice of modern couture history evokes those same feelings in anyone with a place in their heart for style.
Dior & I follows Raf Simons as he started his role as Creative Director at one of the most infamous fashion houses. Filmmaker Frédéric Tcheng captures those first moments working for the brand and continues up until his first haute couture collection was presented to the world.
This soon to be released documentary gives you insider access into the mind of a designer, but also shows how everything from the ateliers to communications find a way to work together and create something as magical as a couture fashion show.
“I began by looking at women from different continents and cultures,” explained Raf Simons when talking about the recent creations he sent down the catwalk during couture fashion week. His third collection as artistic director of the infamous house was worldlier than its predecessors. “The collection evolved to be about Dior not just being about Paris and France, but about the rest of the world and how many fashion cultures impact on the house and on myself,” the Belgian designer added. These influences came from Europe, America, Asia and Africa and the collection itself was split into four, each lending its own culture to the beautiful designs.
Not only were we introduced to a more modern, multi-cultural Dior women but we were also introduced to Dior Haute Couture the way four very different, highly respected fashion photographers see it. Willy Vanderperre (The Americas), Terry Richardson (Africa), Patrick Demarchelier (Europe) and Paolo Roversi (Asia) were given their own nation to express and took photographs before the show, which were then projected above the catwalk as the models walked down the runway.
With a magnitude of embroidery, billowing silk and a plethora of silhouettes, now the Dior woman can be transported to the country of her choice when dressing for that special occasion.
The S/S 13 season was eventful to say the least: Twitter feuds between Hedi Slimane and NY Times fashion critic Cathy Horn, Ready To Wear debuts at the houses of Saint Laurent and Dior, and between it all, some wonderfully accomplished collections.
Twin looks back at which collections made us say je l’adore.
Chanel
Presented in a setting of solar panels and wind farms instead of a crystal landscape, Karl Lagerfeld went a bit more down to earth this S/S 13 season. A-lines, bolero jackets and rounded silhouettes with floral embroidery in every colour under the sun were topped off with oversized pearl necklaces. Like its staging, the collection was the perfect mix of technological linearity and natural materials and forms.
Christian Dior
Raf Simons may have already shown us his haute couture offerings for the house of Dior, but nonetheless there was still a great anticipation for what the Belgian designer would bring to the Ready To Wear table. The answer? Expert tailoring mixed with modern femininity. Pleated office attire was given metallic panels, sequined evening gowns a sheer overlay and nude shift dresses an exposed neon lining. With so much love for detail, it’s hard not to give Simons a congratulatory thumbs up for his efforts.
Comme des Garcons
In fabrics of toile and velvet, Rei Kawakubo crushed, sculpted and draped an intriguingly beautiful collection. Save for a flash of royal purple or fire red, the collection kept mostly to CDG signature colours of black and white. While the surrealist-style crowns designed in collaboration with artist Graham Hudson and linear white make-up may have given the models an otherworldly look, there was still something beautifully fragile about the body — and person — in these clothes. As with all things Kawakubo, this collection is definitely worth a second look.
This year’s Autumn/Winter 2012 haute couture shows were another testament to signature style. Be it the modern romance of Valentino’s Maria Grazia Chiuri and Pier Paolo Piccioli or Giambattista Valli’s ever-enticing plays on volume and silhouettes, the one unifying factor throughout every collection was a representation of each brand’s true essence, underlined by highly-refined tailoring and draping.
Twin selects our favourite personal visions of the season…
Bouchra Jarrar
Couture cool is Jarrar’s calling card and although those expecting overtly dramatic ball gowns or extravagant embellishments from couture may be disappointed, her softly draped tunic dresses and forties-esque trench coat top and A-line, knife-pleated skirt combinations add a modern yet elegant touch to the couture circuit. As they say, sometimes less is more.
Chanel
This season Karl Lagerfeld saw it as his mission to put a new spin on vintage. While the collection managed to revamp classics such as the tweed suit, tea dresses and peter pan collars in a colour palette that included soft shades such as petal rose and cream, its true appeal was in the unmatchable craftsmanship of the house of Chanel. Hundred upon hundreds of hand-sewn sequins and a breathtaking feather, lace and tulle finale dress were just two examples that further solidified the label’s spot at the top of couture pyramid.
Dior
Couture week undoubtedly belonged to Raf Simons. Although he might have not been the most obvious successor to Galliano’s theatrical showings, the Belgian designer’s minimalist aesthetic has proved the perfect partner to Christian Dior’s original elegant and strongly feminine designs. Peplum waist tops and dresses paired with straight cut trousers, not to mention the two-sided evening gowns with crystal embellishments put a refreshingly modern spin on New Look-esque silhouettes.
Gambattista Valli
Nymph creatures and a fairytale narrative were woven into every fibre of Valli’s designs. Rich emerald greens and ruby garnet florals were printed on high-necked ruffled cocktail dresses and evening gowns cinched in at the waist with gold ivy belts. With a beautiful play of volume and colour, the collection was an all-round dream.
Givenchy
Riccardo Tisci’s tribal warrior was equipped with face-obscuring sunglasses and menacing dogs, but that didn’t keep the collection from being feminine and alluring, thanks to halter necklines and iridescent ombre fringing. In short, it was a well-balanced mixture of elegance, urbanism and the beauty of nature.
Maison Martin Margiela
In the light of the brand’s upcoming collaboration with high street retailer H&M, some fear that the house of Margiela will succumb to commercialism. However this collection was a piece of avant-garde artistry. From the crystal face masks to the dynamic collages of fabric and textures. Refreshing and original, it proved why Maison Martin Margiela more than deserves a permanent spot on the haute couture schedule.
Valentino
Midnight blue dresses, fully-sequined, brocade printed and embroidered cocktail pieces, as well as floor-length pleated chiffon gowns made this collection one of typical Valentino glamour, whilst canary yellow, magenta and blood red added rich pops of colour. In our eyes, Chiuri and Piccioli can do no wrong.
Ever since John Galliano’s departure from Dior in March last year, the fashion industry has been playing its own game of ‘designer ping – pong’ bouncing names back and forth in speculation as to who will take the creative reigns of the Parisian couture house. Jacobs – Tisci – Ackermann – Jacobs – Simons – Kane – Ackermann – Simons… It went on.
However after a year-long debate the rumours were finally put to rest yesterday as LVMH CEO, Bernard Arnault, announced that Raf Simons will take over as Artistic Director. Having left his previous post as Creative Director at Jil Sander earlier this year, Simons will commence work at his new design home with immediate effect, preparing for what will be his first Dior collection, which will be showcased at Couture Fashion Week in Paris this July.
Tucked down a side road in Dalston, in a 6000sqft basement is Late Night Chameleon Café. Known by the acronym LN-CC the self-proclaimed ‘retail concept’ opened its doors this month.
The store is the brainchild of former Selfridges and Harrods buyers John Skelton and Daniel Mitchell who enlisted Twin favourite, set designer Gary Card to create the rabbit-warren interior.
A cylindrical corridor leads to the three fashion rooms showcasing the best of cult fashion design. In one room Damir Doma, Rick Owens and Ann Demeulemeester are ready-styled on mannequins or hanging from suspended rails. Emerging brands like Nonnative and SASQUATCHfabrix are in another while in the third room Raf Simons sits alongside Lara Bohinc and Mawi.
There is a fourth ‘Celestial’ space full of rare art, fashion books and records. All the favourites are here and then some: Jean-Michel Basquiat, Phyllis Galembo, Maison Martin Margiela and Harmony Korine.
But it’s the details that set this boutique apart from other retailers. The brands are carefully handpicked, cleverly edited and curated so that the space feels more like a gallery than a boutique. Built-in benches encourage thorough perusal of the records and art books. Oh and did we mention the changing rooms are on wheels?
LN-CC is a shopping landmark in the making; book your appointment now.
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