Christian Dior HC S/S 2012 Paris

[mackos]

a celebration of Dior's history and heritage, more than a style point of view with relevance for 2012.

This quote sums it up perfectly for me.

I like one or two white organza dresses, but it all ends up rather flat, bland and rather irrelevant overall.

 

[Simera]

I miss Galliano At least he was creative, this is just boring and more of the same.

 

[Wolkfolk]

They're doing the strict minimum and it's understanable. They want to please and sell, but this is really boring. I've seen more hideous clothes but those are way too safe and sometimes too amateurish for me. I think it's better to forget any Dior collection as long as long they don't take their sh*t together and find a new creative director 'cause this is simply uninspiring.

 

[PrincessLovely]

I love this! I love the color palette,the hair,the make-up.I love everythingSuch a beautiful collection.

 

[gossiping]

lots of pretty dresses i really love it but those peep toe shoes horrible

 

[Urban Stylin]

i like it, very vintage even in the presentation and styling. They look like 1940s stepford wives

 

[lepetitcouturier]

The problem is, Galliano used to take the Dior Woman all over the world, to different eras and to different environments. The sea-side, India, The Garden, The bedroom, the attic, the the 18th century, the 15th Century. He referenced painters and sculptors and Icons and musicians. He took the Dior woman on a journey.

Gaytten's woman seems to have locked herself in her wardrobe and trying on the same thing over and over again.

Could NOT have said it better myself.

 

[Boomer]

I think Gaytten is like an interim manager in big league baseball, where the manager is fired and they tell a coach "Run things for the time being, keep us winning as much as you can, don't make waves, and maybe we'll consider you when the long term plans are finally set..."

 

[Salvatore]

I do not even care if this is safe or boring, the fact is that it's better than previous efforts. It is MUCH better than we all were expecting I am sure. I know it's true for me.

There are pieces that I can say honestly like. Good job.

 

[Fashionturnip]

seen it all before but its so beautiful and classic i love it <3

 

[VersaceLuva586]

I really love the collection! The styling/colour palette....all really lovely and very classy!

I know it's toned down compared to what Galliano did and that fact will disappoint fans, however, it is an undeniably beautiful collection.

It seems Haute Couture in general is becoming a lot more simple/wearable. Sometimes less is more!

 

[Miss Galliano]

terrible collection, i love Alexis MAbille beter , worst haute couture , so safe...i hurt my eyes

 

[lelaid]

this is ready to wear. this is not couture. for the love of god get someone in the house of dior to save this sinking ship!

 

[KKnardi]

I do not even care if this is safe or boring, the fact is that it's better than previous efforts. It is MUCH better than we all were expecting I am sure. I know it's true for me.

There are pieces that I can say honestly like. Good job.

I agree, but I it's still a boring collection..

 

[shutterbug]

It's beautiful and playing it safe might work for a couple seasons but they're going to have to find a new direction soon.

 

[Modelspiceuk]

I love the beige pleated dress, but that's about it from the Collection

 

[Pradable]

Couture Report | The Day Before Dior

Through the entrance of the Christian Dior headquarters on Rue Francois, across from a black and white photo of Mr. Dior, sits the German model Kati Nescher, 28. It’s the Sunday before the house’s haute couture show. Nescher has just arrived for her fitting, and in a few moments she will be called upstairs to have her measurements taken; they must be absolutely precise. Once complete, the dress that she will wear in Monday’s show will be returned to one of two ateliers in the building.

Just beyond the doorway of the first studio, called the atelier flou, is a muslin-covered bust wearing a floor length skirt with layers of red organza ruffles. This is the finale dress, and it’s still without a bodice. In truth, none of the looks appear to be finished. In fact, they aren’t. In the studio 50 people in white coats are working on the remaining embroidery, stitching and construction. Half of the sewers are interns from the Ecole de la Chambre Syndicale de la Couture, the school of the French Federation of Fashion and Ready-to-Wear. (Only a few will be offered long-term employment after years of apprenticeship. “We keep the best,” says Catherine Riviere, the directrice of haute couture for Dior.) The other sewers are all experts; many came to Dior from houses that have closed in recent years. “There are only two real haute couture houses remaining,” Ms. Riviere says. “Chanel and Dior.” She worked at the former 15 years ago before arriving at her present position. Structured, stiff designs in materials often applied to men’s suiting, and the use of faille or organza are what Ms. Riviere says distinguishes Dior from Chanel. It’s in the second studio –– the atelier tailleur –– that these architectural pieces are made.

Like the atelier flou, the atelier tailleur is occupied by about 50 sewers, each working on a single look. There’s a bust being fitted with a jacket that appears to be made of crocodile (each scale is actually an irregularly shaped cutout made of black ostrich skin that’s been hand sewn onto organdy and tulle). This entire collection is red, purple, beige, black and white. X-ray is the theme –– image seams exposed and beading turned inside out beneath sheer fabrics (the house used black toile for the first time to simulate this effect). Is there a technique that’s specific to each atelier? “There’s no technique here,” Ms. Riviere says, explaining that skills are, instead, unique to each artisan. For example, one person does embroidery, like the white cursive letters that spell out Mr. Dior’s favorite sayings on a skirt; another creates pied de coq patterning, and so on.

It’s worth noting that not one of the 40 dresses is finished and the show is in less than 24 hours. Still, the atmosphere is tranquil, cool, unruffled. “It’s always calm. Everyone has to concentrate,” says Ms. Riviere. “You cannot be excited when every stitch must be precise.”

Of course, there will be people working through the night until, at last, the finished pieces are covered in white muslin cases and wheeled away from the atelier, a parade of ghosts with red or purple tulle trailing behind them.

The New York Times

 

[tania_rc]

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