Couture Diaries: Christian Dior's Haute Couture FW16 Show

Our Editor-In-Chief shares his front row review of Dior's couture show and the future in store for the storied French House

The Best Looks From Dior's FW16 Couture Show — Photo: Dior

By Harper’s Bazaar Singapore Team - published 5 Jul 2016

When Dior decided to show their latest autumn winter 2017 Haute Couture show back at the venue where it all began on , it signals a return to the codes of the House. With a keen reflection of Monsieur Dior's famous Bar jacket (the nipped in waist, flaring hips tailored to perfection garment of choice), this return perhaps signalled more than a just a sartorial one. With the Swiss duo, Lucie Meier and Serge Ruffieux doing a marvellous job as the creative force after Raf Simmons departure last year, they have steadily been producing strong collections that belie the gargantuan task leading a seismic French House like Dior.

Quietly sketching, sewing, embroidering and tailoring the past few collections with verve, and, a respect of Monsieur Dior's famous New Look silhouette (done with floating organza skirts), they have taken the House codes into a fresh modern journey of the now. Translating that meant a clean sweep to black and white - a monochromatic palette which puts the emphasis firmly on fabric, silhouette and tailoring. No tricks with print, colour or over zealous beading. The duality of the Swiss designers was not lost on the audience — black and white, feminine and masculine, historical and modernity. Two visions coming together beautifully as one.

This being couture, the Swiss duo crafted some of the most feather light organza skirts, with trailing backs and easy tops with a touch of beading - so light like X-Ray films that they practically floated round the tiny runway - wafting the intricate pleats with each step the models took in their peasant ribbon black sandals. This wonderfully naive approach brought everything down to earth, and made the collection youthful and fresh.

Jewellery and embellishment were tastefully kept to gold, and best seen with the graphic neck cuffs that positioned around fragile pale necks. This was couture with a millennial hand. Nothing felt old or try-hard. The famous salons were white washed and painted over with swatches of gold from wall to floor - a deliberate half-paint job to signal a work in progress.

Could it also signal the end of the Swiss reign at Dior? It would be such a shame as both Meier and Ruffieux really are doing a stellar job, and, this couture collection showed the clever restraint they can bring after the zany chic-Brit Cruise collection they showed at Bleinheim Palace a few weeks back. Give them a task and they do it with aplomb. If anything, that touch of gilt on the walls was as much a tribute to Dior as a golden feather in their cap.

—Kenneth Goh, Editor-in-Chief