The 'White' Trend and Dior: An Analysis

“White is so pure and matches everything” –Christian Dior

Figure 4: The White Trend seen through Various Designers: (from left to right): Dior, Anya Hindmarch, Hermes, Moncler, Louis Vuitton, Paul & Joe, Valentino, Velentin Yudashkin, Chanel, Veronique Branquinho, Elie saab, Rahoul Mishra, Chloe, Kenzo, John Galliano, Undercover, Vionnet.)

Figure 5: Dior Spring/Summer 2015 Dior.
 “It’s enough of a statement to be tall- I don’t need clothes to be loud” –Victoia Sekrier (Stylist and Model)

Figure 6: Christian Dior working on a collection with Marguerite Carrie, Spring collection 1947

Figure 7: Marylin Monroe wearing a white fox fur stole; white silk dress, white gloves, with her blonde hair, and pearl earrings. White silk is the perfect texture and light reflecting colour for Black and White Cinema.

Figure 8: Diana Dors reclining on various white fox fur stoles, wearing a silver light reflecting body suit, with her blonde hair, white diamond earrings, again, white being a perfect colour for the black and white screen.

From New York to Milan, from Paris to London; a sea of white took over the runways. White trenches, white pumps, cream dresses, were some of the main attractions at various designers shows. However Dior’s SS15 collection epitomised this collective trend.  Why is it here? Minimalism. I believe that the reason white is so popular now, is not necessarily because it’s an irresistible choice of colour, but because of what white represents.

The 21st century is the busiest century yet. We are running a speed that we’ve never run before. With such a chaotic world around us, minimalism, in all its forms, is a safe haven for the modern mind. White and minimalism go hand in hand; white is technically not even a colour. No wave lengths for our retina to pick up, it is the most effortless virginal pure ‘colour’. Minimalism and white nowadays brings our minds to a halt, and fills it instead with simplicity, peace and serenity.

When white was first seen as a trend? Believe it or not: the 1930’s depression. The Blonde, Bosomed, Bombshells of Hollywood, swathed so sensually in white silk, were the vision of the light at the end of the tunnel during the depression. With the introduction film, actresses had the huge task of holding capturing an audience’s attention with no colour or words.

The 1940’s starlets Marilyn Monroe and Dina Dors (see figures 7, 8) were the masters of this trade. Their blonde hair, white fur, silver bodysuits, red lips, bias cut body-clinging white silk, diamonds and pearls were all magnificent on black an white screen. These stars portrayed a lifestyle that made the 30’s not look so bad, and the way for women to taste this life was to wear Hollywood White.

Dior now must have been inspired by Dior then: Dior’s designs were seen in Alfred Hitchcock’s film ‘Stage Fright’ in 1950’s, peaking demand for Dior Couture at the time. Perhaps Raf Simons for his SS15 collection looked back onto the power of white in the 20th century and decided to resurrect it in the 21st. (See Figure 6)

However, now we have colour and sound and are no longer in the depression, why is it back? It’s resurgence is down to three factors. Firstly and predominantly, minimalism is a strong theme throughout all of the SS15 shows because in 2015, we are going to be busier, faster, and more chaotic; if we want peace and clarity now, we are only going to want it six times more in six months time.

Secondly, in spring and summer, white has always been a trend. White, eyelets, florals, embroidery, all seem to be details that rhyme with the notion of a New Year, a fresh start, a blank canvas, a new growth, optimism.

Finally, white is a trend because it is powerful. Women are at a tipping point vis a vis equal rights between man and women. Raf Simons stated that this collection was redefining the modern woman. Is the modern woman not equal to man? Maybe all us women need is a trend to unite us all with that same power and message to inspire one last push into modernity…

Feminism, Fashion and the Future: Dior SS15 Haute Couture Show Review

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