For reasons it must wish didn't exist, Christian Dior has been the most-talked about fashion house of 2011. From the moment the footage of John Galliano's racist outburst went viral in March, the house has been under siege. Galliano's guilty verdict a few weeks ago only intensified speculation about his replacement.
For six months, Dior has seemed to struggle to control events, its reputation buffeted by speculation about Galliano's successor. Yesterday however, I accepted an invitation from Sidney Toledano, the president of Dior, to the Paris headquarters for a preview of the collection to be shown tomorrow.
Downstairs, its huge boutique was by no means deserted. There are, it seems, still women prepared to pay €3,000 (£2,600) for a fox-trimmed suede skirt or €75 (£65) for a small milk jug, even from a label whose lustre could do with a polish.
Upstairs, into the house's heart, the atmosphere within the Dior-Grey salons seemed similarly upbeat. Perhaps they were on a sugar high from all the KitKats and Coca-Cola on offer outside the studio on the third floor where models kept arriving for fittings. "Business has been great," said Toledano, although he declined to go into detail. He also refused to reveal who will succeed Galliano, but said: "We will have news in the next few weeks."
Has the appointment been made? Silence, not even a twitch. Will it be Marc Jacobs, as widely anticipated? If so, what will be the ramifications for Louis Vuitton, Jacob's current home and LVMH's greatest cash cow? A pause. Then, "There is an old proverb, those who don't know, speak loudly. Those who know, stay silent." He remained silent, then slipped away for a meeting.
Inside the studio, Bill Gaytten, long-time Galliano associate and acting head of design, had selected about a dozen outfits for us to see. Impeccably made, both inside and out, they were far more discreet than those the house produced under Galliano. No mink pom-poms, no cartoonish proportions.
Because we agreed not to review the collection I cannot say much more, but there were bursts of coral and red, including the intricate knitted dress I snapped on my mobile phone.
Accessories were similarly pared-down and chic: a new plain leather tote with contrast-coloured leather lining has been christened Diorissima (after an original 1950s Dior scent) rather than Addict (a Dior scent from the Galliano era).
Stephen Jones has once more designed the hats, but they are simple, adaptable leather cloches, rather than theatrical headpieces of old. It's as if the Dior customer's palate is being cleansed.
While it must surely be galling holding the fort yet knowing that all assume you will be passed over, Gaytten seemed in good humour. "It's been a tough period, but what can I say? My lips are sealed, but all will be revealed." As for this collection, he said "it's definitely more about reality, than fantasy. The fantasy narrative was very John. We've gone for classic Dior shapes, but contemporary."
Not too much reality, however: a caramel dress in soft glove leather looked like a tragedy waiting to happen. "How would you clean that?" I said. "Don't ask me," Gaytten replied. "We just design them."
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