Welcome to “Show Notes,” in which FU’s critics offer an unfiltered peek at their musings and notebooks. For an in-depth analysis of the collections, don't miss our forthcoming "Report."
•Methinks this is as close to boho-chic Dior is ever going to get. (Sandals?! Flip flops?!) The house is never going to shake the elegance completely. Thus, what we end up with is this ethereal collection—it’s very clean, but there is an air of romance.
•The design team is responsible for this outing, and there is no shadow of Raf Simmons here, which is very interesting, considering when Bill Gaytten took the reigns in the aftermath of Galliano’s dismissal, the collection he produced was a lot like Galliano-lite. But here, Lucie Meier and Serge Ruffieux aren’t really following his aesthetic. Much like Gaytten, they do seem to have gone the safe route, although they also seem like they’re trying to ease the transition into Maria Grazia Chiuri’s tenure.
•Love the pleating! Tucking and pleating is such an undervalued decorative technique. I understand that the end result is quiet, but a lot of work goes in to making those tucks and pleats look good on the final product. Also, great fabric is expensive. A massive amount of pleats means a much higher quantity of fabric needed to make the final garment, which also makes something seemingly simple (like an a-line skirt) extremely expensive.
•Truly beautiful embellishments on what appear to be a take on Dior’s iconic Bar jacket. I feel like Bar is to Dior what the tweed suit is to Chanel, yet the house updates it less frequently. It is the ultimate piece of tailoring to come out of the 20th century. Decision makers at Dior: Please turn focus away from bags, shoes, and makeup, and instead make this jacket your It item.