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I think the challenge was to make these 3 eras come together, and I think that the juxtaposition as well as the marriage made it, maybe, become something modern. It’s difficult to say modern, because I’d rather prefer other people say if it’s modern or not but for me for sure it became very electric, and very kind of challenging, because you have the romance from the 50’s, you have the experiments of the 60’s and the liberty and kind of craziness and the sexualism from the 70’s. And I think by allowing all these things to come together, either by attitude, or material, or by shape language, it becomes a kind of unexpected silhouette or an unexpected color setting or an unexpected materialization. You know like a guipure comes together with a kind of métalisé structure or like a transparent plastic comes together with like a very historical 50’s embroidery. And I think that makes it unexpected and therefore maybe not anymore something that you can pinpoint or something that you can directly connect with either 50’s or 60’s or 70’s. I know how labor intensive this collection was and how challenging this collection was in terms of technique and workmanship. On the other hand, they challenged me as well. You know there were a lot of things that I still learn and there were a lot of things that I find interesting to see how they would come up with techniques or solutions. But I think for this collection, it was more the unexpected combination of things that which was, for both parties, a new way or new kind of direction maybe for Dior. —Raf Simons
[transcription by: siriuslykeerit.]

christian dior haute couture par raf simons spring—summer ‘15.