Details from the Christian Dior couture show
I t was not an accident, in other words, that Raf Simons set his Christian Dior show in a circular white construction that resembled nothing so much as a spaceship that had set down in the middle of the garden behind the Musée Rodin. The Bar jacket had landed.
Also the 1920s shift, the 18th-century frock coat, the 1970s great coat, astronaut all-in-ones, and Marie Antoinette-worthy corsets and crinolined brocade gowns. It sounds messy, but what made it both meaningful and coherent was the exploration that ran through the show, which looked at connecting the past to the future, and the future to the past.
Thus every pastel velvet or silk or astrakhan frock coat, embroidered in the traditional way with silver swirls and flowers, the first time Mr. Simons has ever so overtly and obediently played with historical dress, was paired with slouchy black trousers and a simple black T-shirt or turtleneck, the kind you might see on any urban professional. The astronaut coveralls, the sort you could imagine finding during training exercises at NASA, were embroidered in similar referential tropes. Ball gown skirts were paired with tops that had the ease of a tank, and corsets transmogrified into miniskirts. Read more.
