This week, I have been thinking a lot about Raf Simons at Dior and Jonathan Anderson in general (which is a whole other blog post I may write some time). So, in light of my musings on Raf and his work at the house of Christian Dior, I thought I would write a short blog post about it.
First of all some a very short background on Raf Simons and how he ended up at Dior. He’s a Belgian designer who launched his menswear label in 1995. In 2005 he was made creative director of the house of Jil Sander and then in early 2012, following John Galliano’s dramatic firing from the house, he was announced head of Christian Dior showing his first collection for the house at the Autumn Winter 2012 Haute Couture shows.
Probably one of my favourite Marc Jacobs for Louis Vuitton shows (perhaps even one of my favourites ever) was Spring Summer 2014. Which also happened to be his last at the house, before Nicolas Ghesquière took over having previously been head designer at Balenciaga.
The collection was shown amongst the sets from all the previous shows Marc Jacobs has done at the house, however all drenched in black. For example, the escalator was from Spring 2013, the hotel gallery Fall 2013. The lifts were from the Fall 2011 fetish collection and the Marry Go Round from the following Spring collection. Even the clock from his iconic steam train collection bad an appearance.
The most important thing to be said about Pre-Collections, like Cruise which is being shown by various large fashion brands now, is that it makes up most of the houses’ fashion income. I’m not sure of the exact figures, but I’ve heard numbers as large as 70% being thrown about.
Thus it is no surprise that some of the largest brands have begun treating Cruise collections as its own thing, in many cases dragging the fashion press as far afield as Seoul in South Korea and Palm Spring in California to see their collections.
Last Monday was the Met Gala. An annual event, hosted by Anna Wintour and held at the Metropolitan Museum of Art in New York, where a bunch of celebrities get paid to wear some frocks: to varying degrees of success. As ever, there is the good, the bad and the outright ugly. Invariably sprinkled with a handful of nude illusion gowns.
This years theme, based on the accompanying fashion exhibition, was China: Through the Looking Glass. Or in other words China through the eyes of Western designers.
About a week ago, John Galliano did an interview at the British Vogue Festival where he talked about his first two collections for Maison Margiela (S/S15 ‘Artisanal’ and A/W15 RTW). What interested me most about what he talked about was the way the Haute Couture or ‘Artisanal’ collection influenced and informed what he did for the following ready to wear show. The example he used, that also inspired me the most and was possibly my favourite part of the talk, was when he showed that the last look from his first Artisanal collection was actually a men’s tailored jacket, where the lining had been taken out and draped to create the dress.