Dior

Dior AW16: Sets Appeal

09.03.2016 | Fashion | BY:

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.

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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.

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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.

Main image taken by Lena C. Emery for Dior

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