Some may like to compare this collection with those by Galliano, claiming they represent two distinctly different perceptions of Haute Couture. From my personal perspectives, Raf did make his moment which turns most of Galliano’s collections pale to some extent. Haute Couture, which refers to the creation of exclusive custom-fitted clothing specifically for the wearer’s measurements and body stance, has been added a little bit too much redundant elements by mountains of designers. Large scales of complex drapes as well as monotonous so-called dramatic silhouettes, gradually makes Haute Couture overcostumey while unflattering to wear. Raf in this way, makes a wise choice, finding a new and refreshing approach to express his perceptions on Dior and Couture. Instead of showing off a powerful and unconstrained style, Raf draws more attention to reconstruct the restrained passion by specializing in the innovative silhouettes and details. Moreover, he has spoken about bringing more reality to couture. It would be a miracle if he didn't feel that way. The pants, the pockets in skirts—they were all part of that.
"The collection reflects the passing of time of the season, beginning as the signs of early life," the show notes explained. "Silhouettes are in flux, seemingly finding their own forms naturally and yet all expertly tended to and under control." Like a well-manicured garden under the tentative warmth of early Spring — or maybe like Raf Simons's intoxicating updates on classic Dior.The collection was a spectacular tour de force. One that revealed Simons to be a designer who is respectful of the house’s heritage but also more than capable of giving it a modern renaissance.
