Countless mirrored spheres reflecting the floor, painted sky-blue with fluffy white clouds set the magic. The space enveloped the audience in a dreamlike world that was a little surrealist, a little weird and quite mesmerizing.
According to the Dior creative director Raf Simons, the set was a meld of Andy Warhol’s The Factory and the surrealist René Magritte’s clouds, as homage to Mr. Dior’s close relationship with the artists of his period. “In (Dior’s) case, it was the Belle Epoque and in my case, midcentury,” the designer said backstage before the show. “It’s not specifically about the era; it’s about the process of allowing for yourself the freedom to go back to the period.”
We loved the early Warhol drawings painted delicately on floating dresses or embossed as a high heeled shoe on what is surely to become the new Dior “It” bag, there were also the chunky cable knits re-imagined as a chi-chi skirt with a big fluffy peplum; though what we mostly loved and desired was Simons’ edgy take on the famous 1949 Miss Dior dress, a demure party dress covered in embroidered flowers, all in black leather. A little reverence wrapped in edge.
