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Christian Dior RTW Fall 2012 |
While he described his message as “soft modernity,” the words “soft
and classical” make a more apt handle. A subtle but telling difference,
as Gaytten’s lineup linked clearly but not dangerously to the New Look,
focusing on a cinched-waist, often belted, full-skirted silhouette.
While he made a significant point of surface interest, with big stone
embroideries and graphic fabric plays, his boldest stroke was his
midcalf skirt length. Fabrics that flowed looked lovely — a gray knit
dress was a dream — while stiffer ones veered dowdy. As for tailoring,
Gaytten offered simple blazers, knot-front necklines, modified Bars and a
beautiful tricolor coat in horizontal blocks of dusty gray, blue and
rose. For evening, the prevailing line evolved into gowns with flowing
skirts.
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Christian Dior RTW Fall 2012 |
The show went on too long for so singular a motif, a whopping 56
looks, particularly surprising since Gaytten spent so many years in the
Galliano-esque low-thirties range. Still, except for a few too-weighty
numbers, the clothes were pretty. And word is that Dior has started to
take off at retail.
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Christian Dior RTW Fall 2012 |
That would be Gaytten’s Dior. So the question
remains, what does the house of Dior do? What do Bernard Arnault and
Sidney Toledano ultimately want of their designer? If they want
heart-stopping, breathless, directional fashion, Gaytten has not
indicated an interest in, let alone an affinity for, that type of work.
But if they want pretty clothes that can anchor the brand while
attracting paying customers and the all-important red carpet celebrity,
from his work here and in the January couture, Gaytten seems to have
earned a shot. (WWD)
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
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Christian Dior RTW Fall 2012 |
source. WWD
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