Today Raf Simons presented yet another minimalistic haute couture collection for the celebrated house of Dior. All of the pieces—from start to finish—were infused with Simons’ now-trademark style of quirky, new-age minimalism and a lineup of standard silhouettes that Simons recycles season after season to varied degrees of success.
The blogosphere’s reaction to Simon’s Spring/Summer 2014 haute couture collection for Dior has been (predictably) mixed: Some fashion bloggers are crying glittery tears while building shrines to John Galliano, whereas others are laying rose petals at Simons’ feet and swearing that he can do no wrong. (OK, so that might be overstating things a bit, but what’s a fashion review without a little hyperbole?)
Where do I stand? I think I’m somewhere in the middle. I didn’t hate the collection—and I certainly don’t hate Simons or his design aesthetic—but I’m not head-over-heels in love with Dior haute couture the way I used to be when Galliano was the creative director of the brand. Over the past few years the fashion industry has lost a lot of its magic for me, what with the passing of Alexander McQueen and the unceremonious sacking of Galliano.
Haute couture used to be synonymous with unattainable luxury and decadent excess in my mind. When I heard those two words I envisioned masked Parisian balls with women dressed in the finest silks that money could buy, their necks and ears dripping with Chopard diamonds, and their dainty, gloved hands holding glasses of expensive champagne. Now … well … I’m not sure what to think.