Why Raf Simons is Leaving Dior: Creativity v.s. Commerce

Image Source: © JACQUES BRINON /ASSOCIATED PRESS

Sadly, the rumours during Paris Fashion have turned out to be true.
Raf Simons, after a short three years at the helm of the monstrous label, is leaving Dior.

Personally, I find this truly upsetting. I have loved what Raf has created while at Dior, and I applaud the direction he has steered the label in. I found his influence key in defining the gap between Dior and, rival powerhouse, Chanel.
His almost germanic vision has redefined everything from the aesthetic down to the silhouette of Dior. As I have said in a previous article where I examine his SS15 collection; I believe Raf has redefined the modern Dior woman.

Image Source: Raf Simons

"The juxtaposition of man and woman, Dior then and Dior now, fashion in the past and future, all culminate to represent Raf Simons' vision of the Modern Dior Woman" - Read the article here

The biggest tragedy of all is Raf was just falling into his stride; it quite literally takes designers years to gain that confidence and rhythm to really be in a comfortable enough position to start pushing limits. Galliano's first collections with Dior were certainly weren't anything compared to his later work.

So why is Raf leaving?

Firstly: if this topic interests you, and you haven't seen the film 'Dior and I' by Frédéric Tcheng1, you should. Because those of us who have seen the documentary, will have seen a glimpse into the pressure factory that titanic labels like Dior- have become.
In the wonderfully raw film, the exclusive twinkling glamorous wall that divides the public and the fashion world is taken down. You witness the blood, sweat and tears that make up the backbone of this, otherwise pristine industry. Raf Simons' breakdown before presenting his show is a beautiful insight into real life.

The pressure is insurmountable; which brings up Shinkle's2 theory of "Creativity versus Commerce". Imagine having the duty of designing to perfection, a mens and womens' collection, up to 8 times a year: while being loyal to a pre-existing set of parameters in accordance to the brand heritage, while keeping in mind consumers wants/needs as well as finance.
All the while you are expected to be 'creative'?
There is a fine line to walk of too much and none at all.
Frankly, any original, pre-existing joy inspired creativity is molested into something to feed the hungry machine of capitalism.

Being the creative director of a brand is perhaps one of the hardest jobs in the entire world.
Which leaves us with the question of, why didn't he leave sooner?

Creatives are not business men or politicians; Alexandre McQueen was such a private person; I have heard he used to sit in clubs in the corner of the room speaking to no one.
When I wen't to see John Galliano speak at the Vogue Festival, he came across as one of the most soft spoken, gentle men I have ever come across.

I am sad Raf is leaving. I liked how he shaped Dior, and I believe he has left big shoes to fill.
But then again, I love Raf as a designer: and I believe that it pained him to be unable to be creative for himself, not have it squeezed out of him like caviar.

The fashion industry is split into two kinds of people: the creatives and the instigators. You do not come across someone who is both.
We need each other; and the expectations for a creative director shouldn't be for him to be a spokesperson, PR, politician, finance director etc.
That's what we, the instigators are here for.

I hope that he finds the peace that he is looking for, and I hope that the next creative director of Dior can live up to Raf's reputation.


After all; we want Creativity and not Commerce... right?

1: Tcheng, Dior and I, 2014
2: Shinkle, Fashion as Photograph, 2008

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…