Saturday, March 26, 2016

Christian Dior.

Fri. 03/06/2015.

Raf Simons' time at so far at Christian Dior has been, to my eyes, Problematic. Inconsistency has plagued the collections from pretty much Jump Street. These travails have lent a discombobulated sense of uncertainty and an aura of disconnection from collection to collection. Simons' has assuredly made the house over in his own image and remodeled the DNA of the brand from the Halcyon days of Galliano's giddy excesses and caprices. Though, somehow, the structure has not held up, the Plumb line through the collection has been plagued by Simons own capricious nature, One minute, producing Exceptional work that leaves one's jaw agape, the next, traveling a path of Intellectual narcissism and nonsense that makes the collection more suited to an Analytic dissertation.

Fall 2015 was perhaps the most uncomfortable yet, for Simons seemed to want to mesh the Analytical with the Emotional and came up with simply Frustration! The unorthodox mix of Swirling LSD Trip-like prints and Rigourous tailoring didn't fully cohere as it did in the Spring Couture, and rightfully, After that show, Simons should have abandoned that trope and moved on, one Heaping Helping of that was plenty, now it just caused visual indigestion. And whereas, his Tailoring of Superb coats was Spot on, his off-kilter tailoring of many of the pantsuits was more Spotty, the proportions were often so off, that where the vibe may have been trying to convey, Experimental, came across as awkward and more hideously, made the models look bloated!

And to talk about Bloat... Did Simons believe under any circumstance that those "Fur" Shift dresses were doing ANY Favours to any one who wore them? I mean, these models are as Svelte as a Strand of Fettuccine, and even THEY looked Massive in these Nightmares from the Neanderthal age! The toppers constructed from this same conceit were not helpful in any capacity either. Silliness and downright Stupidity led to Clashing optic prints on top of another from dress over leggings (Or Catsuit) over printed glossy boots and just a far too Busy of a hand pervaded this outing, that in places had some terribly Desirable pieces floating around among the detritus.

Simons had confessed he was concerned with something "Darker, More Liberated and More Sexual" I don't think looking at this collection one got Liberated, Sexual or, with the case being made for some Screeching Colour combinations by Simons, Darker under any circumstance! What was coming off of this collection was the sense that this was a man who is Destructively fighting himself to fit his ideas into the contextual mode of a house where those ideas don't interface naturally. Simons is a man who is Deeply Thoughtful and Intellect driven with his clothes, and when one considers that neither Yves, John, Gianfranco and Most CERTAINLY, Monsieur Dior Himself, were not in any way that kind of designer, and were Capricious and Emotionally driven maestros, it becomes patently obvious of the Schism that is slowly fracturing the house of Dior apart as Simons frenetically tries to fit his Square Peg into the Round Dior Hole!

That's All.


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