Readers of last year’s post, ‘Taking Care of Haute Couture: Part 1‘ might have noticed my infatuated with haute couture and its conservation. The post back then was inspired by a vintage clothing sale at Christie’s in London; the standout piece being a rare black silk blouse from Dior’s very first collection, ‘La Carolle’ (1947).
Here we are again, then. And again, it’s all about Dior. A visit to the Bond Street store a month or so ago proved to be a fitting precursor to this season’s show at the Musée Rodin. A wonderful sense of history permeates every fibre of the store, and connections between Simons’ designs and those of Monsieur Dior are evident in almost every piece – from the flat, wide round buttons on the newly-interpreted Bar jackets, to the flashes of colour visible under dresses and blouses. But as Tim Blanks rightly says in his review to S/S ’14 collection, ‘the future won’t wait’, and a future it seems, is what Raf Simons has secured for the codified house, with graphic cut outs and vivid-coloured slices of lace fusing seamlessly with the trademark Dior silhouette.
The navy wool bustier jumpsuit Stephanie tried on from the 2014 RTW cruise collection (I cried in the street outside after this happened – smooooooth), was just one example of the synthesis between Mr Simons’, and Mr Dior’s craft. It was only after our visit, when I started looking at those founding collections of the late 1940s that I discovered this ‘Eventail’ gown from Autumn/Winter ’48, also made from wool. Excitement for next season is already sky-high.
[Images via Tumblr and the Metroplitan Museum of Art]