RAF'S SECRET GARDEN

When Raf Simons read Christian Dior's autobiography during his summer break in Puglia, he found unexpected parallels with his own state of mind, particularly in Dior's love of the countryside, the garden he would retreat to, the flowers he grew there. There may have been snow on the ground in Paris's Jardin des Tuileries, but inside Dior's nearly invisible mirrored tent, Spring was in full bloom.

The models, with their pixie-cut hair, airy swagger, and glittering red lips, called to mind a flittering wood nymph. Soon more nymphs arrived; most wore sleekly corseted gowns that exploded from the waist in dramatic, full flares or asymmetrically draped folds. In pastel silk, iridescent organza, or whisper-weight chiffon, everything felt softly natural yet utterly restrained — even as more elaborate looks like floral embroidered jackets, voluminous cocoon coats, and bubble-hemmed dresses covered in sparkling petal appliqué began to appear.

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.