A New Modernity at Chanel and Dior's Resort 2015

christian dior and resort 2015 show

This season, cruise (or resort) collections have become sort of a relaxing vacation for the press; on Saturday, some of the top fashion influencers will be flying to Monaco to see Louis Vuitton debut its cruise collection. And without a doubt, Dior and Chanel have inaugurated the 2015 Resort season with some noteworthy collections that defined the freedom and lifestyle of women today in their own distinctive manners. 

christian dior resort 2015

America was the starting point of Raf Simons’ new cruise collection for Christian Dior, which took place in Brooklyn – a perfect location that set the mood of the clothes. “The pop culture, the energy, the fluidity,” is what constantly drives him to be inspired by America. “What I always like about America is that there is such a melting pot of styles. But there is always a look – a strong look.” And that vision he’s had about America was transmitted into one smart and ultra-modern collection that married the freedom of how American women dress today with the signature French chic of Dior. 

The scarf, or carrĂ© for French, was the main theme that combined the two together. There was much more fluidity present in Mr. Simons’ clothes like in a number of mien organza and multi-patterned embroidered dresses that spoke about the freedom of dressing, but in such a lady-like etiquette. It was invigorating to see how much imagination Simons can create with a single piece of item one wouldn't necessarily pay such detailed attention to. And that is what identities Raf in his collections for the house. He’s an emotional and artistic designer with similar characteristics Mr. Christian Dior himself would agree upon. 

There were backless silk camisoles – without evoking vulgarity – in sublime, abstract prints that looked intriguing paired with tailored, high-waisted pants. Flow-y cocktail dresses. And sleeveless tops – some floral embroidered with Dior’s beloved flower – that were beautifully crafted together; outerwear too made a heartwarming presence in a fur-patched coat or tweed one hemmed with fringes that were exquisitely detailed. 

The silhouettes were quite conservative to say the least, but done playfully for the young women who’ve demonstrated some attention to the brand; perhaps singer, Rihanna has brought this attention.

These were practical and clean clothes his American clientele will surely fall in love with. 
And there's no disrespect in what he’s doing to the House of Dior. He’s just making lovely and feminine clothes that ooze luxury in every shape and form……….the definition of a true Lady Dior. 

chanel resort 2015

Meanwhile, at Chanel, Karl Lagerfeld is always thinking about doing something lavishly to catch someone’s attention. Over the course of the years, Mr. Lagerfeld has truly turned Chanel into a power house identified by millions over the world as a lifestyle and status brand. And wherever it goes, it seems to create a mega spectacle that leaves everyone socially talking about like it did recently for its unforgettable Dubai show.

There is no denial that Karl is quite the genius who submerges deeply into an idea – in this case Dubai – to create a sumptuous, cultural referenced theme of clothes his elite customers will praise to have in their next treasure of masterpieces. Yes, his technique of layering clothes for the runway can turn out to be esoteric at times, but they’re always done with a savvy intent to sell once they hit boutiques. They’re made for "women all over the world to wear" as he states. But only for a certain percent in reality when it comes to those eye popping four figure digits.

Maybe some of those slouchy harem pants wouldn’t come as pleasing for his certain group of elite women, but there was enough to take some of that cultural Arabian essence into modern wear: he offered slim-embroidered tunics and luxe cardigan jackets – in deconstructed tweed or embroidery - worn over pants resembling clothes worn by Arab men; or a mesmerizing tunic etched with a sequined version of the Dubai skyline – the tallest in the world; eye popping prints that spoke about Arabia’s famous tiles and stones, which were implemented in the most wonderful of high craftsmanship like in patchwork collages; and accessories like moon headbands that were religiously spiritual. It was a perfectly and creatively done homework of that luxury lifestyle that makes the Chanel woman today.  

“A romantic idea, without any folkloric touch, of an Orient of my imagination of the 21st century,” is what Lagerfeld described the entire collection as. It was in other words, a beautiful and futuristic collection of true bohemian glamour.  

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