Dior Spring 2016 Couture

The first collection since Raf Simons' departure, the first carried out entirely by a team rather than with the aid of a creative director since the infamous fiasco of John Galliano, Dior's spring 2016 couture show maintained the constant aura of change that occupies a fashion house in an awkward period of transition. And awkward it was. There were elements of each look that I could name only in relation to another designer; a very Céline (read: Phoebe Philo) coat, a Margiela (by John Galliano) style of crooked embellishment, a Valentino (Pier Paolo Piccoli and Maria Grazia Chiuri) usage of lace, a few Chanel (Karl Lagerfeld) shapes, a (Miuccia) Prada-esque combination of clashing colors, and even a few dresses that made me think of pre-Galliano Margiela c. fall 2014 couture. It was most certainly not Raf, but was it Dior?

We, as in fashion's fans and followers, commentators and creatives, have travelled so far from the original elegance and elitism of Christian Dior's New Look Revolution, that what passes as "Dior" or not is hard to say. Raf Simons was undoubtedly capable in creating the characteristics of Dior in the modern day, but he is also, and more importantly, capable of dressing a true revolution; innovation that would be wasted at a house that must cater to such a broad and established audience. The clothes were, altogether, decent, but lacked the extra details of cohesiveness brought only by a single, central creative force. The general jumble of the collection was to be expected, what with the house functioning without a creative director, but the disorder and confusion still came as a shock when attached to such a high name as Christian Dior. 

Photos via Vogue Runway.


  1. loved all the embellishments from this collection, but Raf Simons absence and the soulfulness he imbued in these clothes is noticeable


  2. Nice clothes :)
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    Maria V.