Raf Simons' first collection for the House of Dior had me looking back at his final collection for Jil Sander. I definitely saw the subtle similarities in the construction of his garments for Jil Sander and how they translated into the silhouettes and cuts of Dior's. His play on volume in the structured peplums and the elegant embellishments were definitely worthy of the fashion world's attention!
Valli created an entirely different world with his newest collection, inspired by "a flower garden and a nymphaea." Indeed, the woodland influence was heavy and present in every single one of the pieces he sent down the runway. From the magnificent florals to the exquisite draping and accessorizing, Valli's fairie-like universe had me wanting to frolic in fields and wear airy gowns. For real.
The first few tweed pieces that Karl does, I will admit, are not always my favorites. Nonetheless, I feel as if there is always going to be a positive turn later on the in the collection (okay, like 42 looks later). In this case, the heavy wool grays morphed into delicate, cotton candy pinks, lighter fabrics, and more effeminate silhouettes. The ombre of the sequins from metallic to neon was striking to me, as was the varieties of texture in the last few looks.
The slow transition from light to dark reminded me of day to night dressing, with the casual/business attire of morning-noon changing into the elegance of evening parties. Sharp tailoring and crisp edges were perfect for "day-wear." Later on, the few ombre pieces continued the idea of a changing wardrobe, and the gowns began to appear. From slinky velvets to heavy sequins, the gowns became increasingly risque, but seemed to maintain their sophistication.