Colin’s Column | Making the Case for a Modern Couture

Christian Dior Couture Autumn/Winter 2012 by Raf Simons | Source: styledemocracy.com

PARIS, France — Strange people in the fashion world. Take Dior. The couturier who founded the house with money provided by Marcel Boussac, the cotton baron, was secretive and superstitious, always looking for traitors hiding behind curtains. And nothing much seems to have changed since the man described by Cecil Beaton as “the Watteau of couturiers” first took the fashion world by storm in 1947, the year in which Christian Dior opened his doors with a big bang that became known as the New Look.

Since his death ten years later, there have been many different heads of design at this most famous of fashion houses: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano. Saint Laurent was sacked (almost immediately) for being too modern, Bohan (after a long run) for being too ordinaire, Ferré (for being too stilted) and we all know what happened to John Galliano. In no case did the house publicly acknowledge the work of the deposed designer.

But now we face a brave new world with Raf Simons at the helm. He is a bold and inspired choice by the Dior executives. He has a good track record and will soon have a worldwide profile. But not quite yet. And I think that the Dior executives are aware of this, which is why, for his first Dior outing, the show space was overwhelmed with an exceedingly ostentatious display of flowers that literally covered the walls of the venue. What’s more, an unusually large number of designers — Marc Jacobs, Alber Elbaz, Donatella Versace, Christopher Kane, Pierre Cardin, Diane von Furstenberg, Riccardo Tisci, Olivier Theyskens and Azzedine Alaïa — had been called in to fill the front rows.

But the over the top choreography was unnecessary. Raf Simons is a very good designer and Dior should have the confidence to stand by him without cheerleaders or fancy frills. They were part of the Galliano era, but that is gone and they have no place in Dior by Raf Simons.

Indeed, with Simons at the helm, Dior has the chance to move forward and modernise itself — but not if, like his predecessor, Simons feels the need to quarry through the archives and then try to stop them from looking old-fashioned. Don’t get me wrong. In Galliano’s hands, it was a magnificent homage to ’50s couture, but there is only one Galliano.

And there is only one Raf and he must be himself. There is no point in trying to do Galliano doing Dior doing the turn of the century when Dior’s mother was young and glamorous. Both of those men were about an anachronistic love of a previous period, not as a jumping off point, but as a valid recreation of the period in its own right. Both were theatrical. And even at the time, sophisticated fashion commentators saw the New Look only as a stop gap after the privations of the war years. Indeed, in the ‘50s, it was Balenciaga and Chanel who assured the future of fashion, not Dior. His memorial lies in the fact that he saved Paris as the world’s fashion capital, a much more important achievement, some might say.

But Chanel demonstrated why she was more important for the future of fashion than Dior. The Chanel suit was born modern and has needed no adaptation over the years in order to keep it modern. At Chanel, it seems there is no need to look back, whereas at Dior it’s become a fixed habit to do just that.

And this is precisely what Raf Simons must fight. He has reached maturity as a designer. He has his own philosophy. He understands modernity. He must capitalise on these things, and on the position of working for one of the greatest labels in the world, rich enough to indulge him in any way. He is in the unique position of being able to finally modernise couture and break out of the endlessly atavistic circles it has spun for so long.

But he will not do so if he spends his time simply giving his own spin to the thinking of Christian Dior and John Galliano. He must look into his heart and mind, remember what makes him unique and forget all about the Dior archive. It has been endlessly examined and re-examined and generally done to death already. Raf Simons has a strongly individual aesthetic. He has no need to lean on the past.

He is not son of John Galliano. He is Raf Simons, future leader of the pack.

Colin McDowell is a contributing editor at The Business of Fashion.

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9 comments

  1. completely agree//High luxury brands need revolution and Raf Simons is the one to go for Christian Dior!

    Karen Cittone from Woodside, NY, United States
  2. That’s absolutely right Colin – there is only one Galliano and he is not in charge anymore. But now there is Raf Simons at the helm of the Dior house and he has to be more himself, he has to bring his own modern touch with him. Finally they have found someone who is actually capable of being able to modernize haute couture!

  3. yep. they shouldn’t just not consult the archives they should burn them. what’s contained therein is the result of dior looking directly into the lives of women and identifying the need for an extreme femininity to balance the horrors of the continental war. it’s that attitude that needs replicating not what came out of it at a particular moment in time.
    raf simons needs to take a similarly long look at the lives of modern women, to see how the polished perfection of haute couture can smooth the almost impossible rigours of the feminist/ post-feminist world.
    Personally, rather than sell individual pieces I think couture houses should sell entire wardrobes, a complete clothing service, though i should imagine that’s altogther too boring for this niche branch of the entertainment industry.

    andrew peace from Hartlepool, Hartlepool, United Kingdom
  4. I have a wait-and-see attitude to this. Maybe Mr. Simons WILL finally modernise the Haute Couture. His debut certainly was a very deep, respectful look at the archives, with some modernising touches here and there, but I got the feeling that he wants to take his time. With all the other luxuries now afforded to him thanks to Dior’s deep pockets, I wonder if they are going to bestow that greatest luxury of all? Especially in the corporate revolving-door, three-seasons-and-you’re-out mentality that has taken hold of the fashion industry. couturekink.blogspot.com.au

  5. Well said. Complete agreement.

    Randall from Woodside, NY, United States
  6. I think it is unfair to expect Raf Simons to nail it on his first couture show. If I remember well Lagerfeld’s first 2 collections for Chanel tanked, the same for Claude Montana at Lavin and the same for Macqueen at Givenchy and Galliano’s first collection for the same house was ok but nothing close to what he was able to accomplish once he possessed couture in his bones.

    Couture and ready-to-wear are such different animals it’s like driving porsche and then stepping into a formula 1. There’s no way you will drive it like a pro on the first try. There are another analogies I could use but this one should do it!
    There’s such expectation of what it should be and not, seriously it’s not that deep. Give it some time and then in a year or so we can have this dialogue with more to dissect. It is a huge undertaking to create a collection for a couture house and add to that the Dior name behind it.
    I am pleased with the first collection although something was missing, like an aweness to the clothes but it looked great. The silhouette he created- la ligne as the French would say- was perfect and well defined. However in a few months after being appointed to the house, Raf managed to give the house of Dior a clean up form the Galliano years and if that was the point it was well done- not an easy task and really not many could do it.

    Who cares if goes back to the archives that is not is not the point. The important thing is the manipulation of the archives injected with something new. I care more about how a collection moves me instead of the direction it’s taking. Let him worry about the rest.

  7. no offence, but i don’t live in hartlepool

    andrew peace from Hartlepool, Hartlepool, United Kingdom
  8. Gee.. I can’t agree more. I had tears in my eyes while reading his own description of his last collection at Jil Sander, cause for the first time I have heard a high fashion designer thinking about me. When Simmons was assigned the position at Dior I took it very personally. Pre-Raf it was like I was rethinking Dior for my own wardrobe. Not that I loved it a lot, but it was my only option. Oh, mamma-mia, my stakes for R. Simmons are high!