To look back at the past requires a certain style, and in today’s fashion is allowed only if the look leaves behind nostalgia and becomes inspiration in interpreting the codes of modernity, and also of the future. Raf Simons, Creative Director of Dior, since its debut has proved himself as a master at replacing codes that have created fashion as we know it now and make them his own, bringing them in a pioneering vision that does not give uo to style, symmetry, beauty, femininity and seduction. In his Haute Couture collection, just parade in Paris, Simons enhances the concept and runs through a mix of what determined the “charm”, key word, in the Fifties, experimentation in the Sixties and the liberation from every constraint in the Seventies. For the first time, and in an unexpectedly cohesive way, these three decades contaminate each other and take mutual inspiration, to get together to define a whole new look that we had never heard of. The colors are vibrant and soothing at the same time, the more frivolous decorations match the severity of the symmetrical cuts, fluorescent patent leather cuissard boots peek out under pleated corolla skirts. All of a sudden psychedelia looms, then it returns to the calm tones and again dives into ultra-modern materiality that overlap each other. Aesthetics in construction, just like the space of the show: an intricate network of metal scaffolding, those of an age that does not destroy the existing but restructures it, dismounting and remounting. An apparently complex visual structure, which at the first look is resolved in the spontaneity that characterizes the natural evolution of things.
