Those breezy, flouncy layers of silk-organza were probably the most obvious affirmation that the House of Christian Dior – with or without John Galliano’s vision–will thrive on, effortlessly.
Although the house may have lost Galliano’s whimsy, it’s holding true to what will never fade… its DNA. Chock full of classic A-line shapes, oversized obi-bows, and at best cute design, this collection was definitely a mild revision of Dior’s “New Look.”
But do we want anything to be mild come couture season?
There was very little shockvalue in this collection, designed under the supervision of Bill Gaytten. However, what it lacked in electricity was definitely made up for by the beautiful tailoring that emphasized the craftsmanship over the spectacular.
Unfortunately, for me, it felt more like a pre-season collection than Haute Couture. The couture collections have always given the industry a much needed boost of imagination. Twice a year we look to Paris for those museum-quality garments that are intended to inspire, sometimes even more than they’re intended to be worn.
Past the drama they’re just clothes. Mortage-value clothes, for sure. But ultimately without the extravagance and haute imaginative quality can it still be called couture?