The best of Dior for spring is old hat: Gianfranco Ferre does the time warp again with full-blown bustles and bows
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.A CHRISTIAN DIOR couture show is hard to digest. It is heavy on all the courses and leaves you reaching for the Rennies.
For Gianfranco Ferre, the designer at Dior, his latest spring- summer collection was no exception, producing ball gowns, trouser suits and cocktail dresses which spoke volumes.
Ferre has never been afraid of fabric, but these are the clothes that make a grand statement - 'I do not work because I can hardly move'.
Usually it is the big bow or enormous jabot with trailing ties that finishes the Dior outfit. This season it is the sleeve, with jackets sporting lace puffs wide enough for 10 couture customers to cry on.
Even sitting down is tricky, because the overblown bustle is back with a vengeance. Full, shantung taffeta skirts were inset with more layers than a deluxe milseuilles, a mass of tiny pleats.
By comparison, his dapper dandyesque suits accessorised with natty top hats and canes were restrained, elegant and verging on the minimal. Although we have seen this style and era too many times for it to look fresh, it is the backbone of the collection and will please his pounds 8,000-a-time customers.
Like so many of the couturiers in Paris, Ferre appears stuck in a time warp, where the clothes bear little relevance to what women want to wear today.
By continual use of historical reference points and dredging up bygone eras, he is putting women in the past, when what we are seeking is modernity, comfort and form following function.
(Photograph omitted)
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments