Fall 2014 Couture at the House of Dior was such a Staggering feat of The Extraordinary that anyone who witnessed it live or on video, that person was left forever Transformed. It was a Commune with the Almighty. Raf Simons created something so Indefinable that Scholars and masters in Linguistics would have to work tirelessly for months on end to quantify the Colossal Magnitude of what he created. Not only did it succeed on Levels of Purely Exquisite Fashion, it also conquered the Emotional and Intellectual heights, both of which were of Olympian caliber.
Spring 2015 saw Simons not fully done with that Sojourn into the Past, Present and Future of Dior and beyond, and that endeavour was Foolhardy from the outset. He should have left well enough alone. He captured that colloquial "Lightning In A Bottle" with the Couture, to try and advance that idiom any further was akin to Jackson Pollock thinking he could improve the Sistine Chapel ceiling with some Splatters of paint! It was Doomed to fail from the Get-Go! Graciously, it wasn't a Spectacularly Epic kind of Fail, but in the broadest scope of the Defile... It was Deeply disappointing.
If the Couture had not happened, or hadn't been of such Crystalline Clarity and Concise Perfection in Dynamism and Expression of an idea, had it had ANY Weak links, this collection would have been seen as do-over maybe and a chance to get it right or in the mindset that the Couture never happened, this Spring collection would have been a Fantastic proposition. Sadly for Raf, You can't Unring a Bell, and when the Clarion call of the bell that was rung was so Otherworldly Pristine and Awing... well...
There were some exquisite clothes in this collection, Make no doubt of that fact, but viewed through the lens of advancing the Dialogue of the previous Couture, it was laden with clunky miscalculations and Inelegant, Intellectual posturing. This is where Simons lets things slip out of his fingers, instead of Harnessing his more Intellectual, Antwerp-ian tendencies into a Corral and focusing them through the prism of his Emotional side, as with the aforementioned Couture where that Dovetailing did occur, and letting that Passionate side lead his hand, His collections ALWAYS Devolve into Overthought treatises and exercises in Laborious Dullness.
His Intellect propels him into ventures that serve no other purpose than to sate his own Cleverness. And Clever, is rarely Pretty! When he let himself get lost in the Rapture of his work, he produced some more of those Heartbreakingly Beautiful Embroidered Court Jackets and Frock Coats from the Couture (The Black-on-Black one and The Black-on-Pink one being the primary examples) and even Expounded on that idea with a Devastating Claret Red Velvet one near the end of the show, Even the juxtaposition of the Bermudas under these Masterpieces was Fresh and Delightfully Zany.
Where he lost the Direction was Laura Ashley floral prints on Prim and Stuffy Nightshirts/Dresses that looked like something out of a Dickensian Re-enactment Society's version of Nicholas Nickelby! They were Starkly unflattering and those wan, silly Fainting Couch prints were Artless and bordering on Tasteless. Elsewhere, his take on the Panier skirt in that was another revisit, this time came off as Bulbous and Horridly Inelegant. Simons reinterpretation of this idea for this collection was a Grave Error when executed with such Drastically Unflattering results.
Here and there, we were privy to some Brazenly Beautiful work, Just there was too much of Simons getting into his own head and seeming to feel some Guilt at letting his emotions run amok in the Couture and trying to redo it, Only now it was blanketed by his more Intellectual leanings. Which seems to be his Safe Zone. He needs to move outside that zone as often as possible and acclimate himself to his more Extrovert side and just go with his own flow more. The results are far more Sensational when he does!