If you missed Part 1 < you can find it here. Part 3 to follow.
An unfamiliar name in my vocabulary. I have only so far likened Nina Ricci to her signature perfume although I know full well that she makes clothes too. But this is also why I am writing – to educate myself more in this area. And if you were to ask me, ‘Well, what separates Parisian fashion to the other fashion weeks?’ then my answer would be one word: Sensuality.
Sometimes the designer doesn’t have to be inspired by some crazy theme. They can simply just be inspired by a woman and a feeling for how they should dress, would want to dress. In part, I felt the fabrics were the inspiration with the lacquer blacks, shocking reds, glossy mauve and chestnut browns that were all somehow contrasting. Quite simply, the presence of these fabrics put together created texture, a palette, sensuality.
There are many looks that could be imagined in a Parisian evening setting. The outerwear pieces in particular were my favourite!
Fabrics were optimised fully to the way the model moved, to how it was cut. Beautiful.
The sharp red in particular propelled the collection forward, and made it pop.
With Raf Simons’ departure from Dior, I had not known what to expect. 2016 thus far, has announced many Creative Directors’ leave of a house brand, and I was most stoked about Simons’. Bare in mind too that the title says ‘favourite cuts’ and not so much suggests ‘favourite/best collection’, that Dior to me, is a brand where I really zoom in on the cutting, the seams and study the clothes.
Sometimes there is a stutter in the collection, when a new head designer takes over: ‘How does this even emanate the brand?’, but I didn’t feel this way when viewing the garments. They felt very Dior, and what the ideal Dior customer would wear. There were many details that if you are a technical whiz (and a bit of a geek) like I am, there was plenty to study.
The show began with all-black looks: an unusual take from Dior in my opinion…heavy. But going into the all-white looks, it was refreshing as if telling the story of Dior and its transition from old to new.
The collection channeled a 1940s vibe but refined in Dior-style particularly with print and embellishment.
The slight con may have been a lack of surprise or excitement, a bit more creativity but one may also say, ‘If you got it, why not flaunt it? Why not work with what you have already?’ I guess we’ll find out next collection what’s to stay at a Dior without Raf Simons.
Paris Fashion Week would not be complete without a Japanese designer’s aesthetic. The revolution that it brought for European – notably Parisian fashion is exactly that: revolutionary. So expect new fabrics, distressed fabrics, technology X fashion, new age experimentation. New to Japanese fashion? Start here, start now:
The collection began with sun-ray stripes in colour ways of purple and yellow which dusted out depending on the design of the garment. These looks were seemingly quite simple, or at least in comparison to the looks that later proceeded. Complex cuts that not only depended on a steady hand, but also an engineered print that moved in harmony with the body and with the shape of the garment. It was sublime.
What are your thoughts on this seasons’ collections? Don’t hesitate to tweet me @ahoyhoi 🙂 One more part to follow in my #PFW series!
Note: All images courtesy of Indigital.tv via Style, Vogue and BoF