Figure 1: Dior Spring/Summer 2015 Collection, designed by Raf Simons and shown at Paris Fashion week.
Figure 2: Dior 1954 ‘New Look’ Dress. The ‘New Look’ dress put Dior on the map, after having been founded in 1947.
Figure 3: Photograph of ‘New Look’ suit
Designed by Christian Dior
Photographed by John French
London, England
1947
V&A John French archive
Dior’s Spring/Summer 2015
collection stood out from the rest. In comparison to the splatter of metal and
floral feminism that made up the Chanel show, or the musical, glittery and
colourful extravaganza that was Jean Paul Gaultiers last Ready-To-Wear show;
Dior’s collection brought a touch of taste, minimalism and serenity to the
otherwise chaotic Paris fashion week.
Raf Simons was inspired by
three themes. Both traditional men and women’s dress from the Belle Époque, the
idea of the future, and the notion of the ‘Modern’ woman and what that
meant. I believe Raf Simons achieved all three; his collection embodies a
fresh take on 18th century royal French attire; with traditional details
such as dark thick calf leather, richly dyed silk jacquards, and swaggering
bishop sleeves- yet with the twist of being free and unrestrictive. This is
where the futuristic aspect weaves in; in the past when designers revisit
18th century, the soft and feminine silhouettes they create, in reality,
are anything but.
Raf Simons believes the
definition of a modern woman is a woman that’s free; which chimes in
beautifully with the chorus of feminism seen at Paris Fashion week. An example
of Raf’s Vision of a free Modern woman is Emma Watson. Because of her, Dior’s
cheer for feminism was not only seen on the runways, but also in the U.N. At
the launch of her HeForShe campaign, as if on cue, wore Dior.
But has Dior always been an
advocate? Of course, Christian Dior and the brand have always been devoted
women’s strive for beauty and glamour, but have they always been devoted to
women’s strive for rights?
Women spent the duration of
WW2 adapting to more powerful professions, left behind by their husbands,
fathers, and brothers. In 1945, when the war was over, and the men were back,
women were sent back to mother and cook. This is reflected in the spring 1947
New Look (see Figure 2, 3). With masculinity, came power; Dior’s New Look
brought about a feminine silhouette that came at the cost of a corset. With no
masculine silhouette, no more masculine rights- this meant a drain of power for
women.
Dior has evolved; and the
2015 Collection just shows how far they have come. A similar silhouette to the
New Look can be seen, however the crucial difference is that this female
silhouette is no longer restricted: she is free.
Even the details scream a
free woman, no longer restricted by stereotypes of a woman; the sharp cut
lines, boy shorts, clinical white, knee length, the shocking colours and harsh
bodices; versus the soft eyelets, embroidery, the flowing fabrics, waist
definition, exposed backs and the pastel pinks and blues: all facilitate the
overall look of a feminine yet androgynous woman with power emanating from her
head to heels.
This juxtaposition of man
and woman, Dior then and Dior now, fashion in the past and future, all
culminate to represent what Raf Simons vision of the Modern Dior woman, as well
as represent how she came to be.
-Josephine Vermilye
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