Tuesday, January 24, 2012

Paris Fashion Week Coverage

Dior Spring 2012 Couture

Someone buy Bill Gaytten a drink, but make it a tall, bubbly celebratory one because this frazzled designer has finally had a collection that can be called a critical success.

This is his fourth collection for Dior since Galliano’s dismissal, and his second Couture show for the house. After all of the backlash, Gaytten has finally hit his stride. This season, he takes us on a metaphysical investigation of the process of dressmaking, and in so doing, creates a meta-commentary on design. With finished pieces meant to look unfinished, Gaytten brings us inside the designer’s studio and down the rabbit hole of Dior philosophy.

Unfinished, voluminous versions of kimono robes launched the show, which were flattering by how cautiously they revealed the female form. The show was ladylike, feminine, and classic Dior to the hilt, but with a current of intellectual upheaval underneath, that strained against the faux-finished seams of the taut jackets and flowing dresses that made up this collection. Gaytten clearly has a fascination for the process as well as the result, and it’s lucky for us that his results were pitch-perfect. There was one clear Galliano-inspired piece in the mix – a dress comprised of a zebra print bodice and multi-layered ombre organza and tulle skirt. We’re not complaining. It was to die for. One of the last looks featured a ball gown with a giant full skirt decorated in what looked liked physical manifestations of a curved sonar wave. This is one collection we feel like we haven’t seen before, and for that, tip your champagne glass in Gaytten’s direction.

written by GRACE GORDON|photos: courtesy of GoRunway

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