Paris Fashion Week: Christian Dior couture garden show

A model wears a creation for Christian Dior's fall-winter 2015/2016 Haute Couture fashion collection presented in Paris, France, Monday, July 6, 2015.
A model wears a creation for Christian Dior's fall-winter 2015/2016 Haute Couture fashion collection presented in Paris, France, Monday, July 6, 2015. AP Photo/Kamil Zihnioglu

PARIS – Celebrities such as Lupita Nyong’o and Emily Blunt sparkled in the heat at Christian Dior’s vivid couture show set in a timeless conservatory in Paris.

It was the highlight of Monday’s fall-winter 2015-16 Paris Fashion Week shows, which also included Schiaparelli.



Lupita Nyong’o looked ravishing in a short, cherry red Dior couture dress Monday, and was at a loss for words on entering Christian Dior’s “The Garden of Earthly Delights” show set inside the Rodin Museum.

Photo by NicoPhoto by Nicolas Briquet/ABACAPRESS.COMlas Briquet/ABACAPRESS.COM

Guests ventured with trepidation on entering the huge, abstract painted conservatory garden that featured myriad multicolored panels — and some even tripped on the giant colored fruit scattered around the floor.

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“It’s really cool,” the actress said, looking around in amazement from her spot next to U.S. Vogue Editor Anna Wintour. “It’s so incredible. I think I need to take a moment!”

Emily Blunt — in a simple, white knee-length Dior gown — was equally amazed.

“This is just extraordinary. This is kind of why I would walk from London to Paris to see this show. I’m so excited,” she said.

The only thing she regretted about her trip was a lack of sufficient planning for France’s soaring temperatures, which have recently hit 40 degrees Celsius (104 degrees Fahrenheit).

“I mean, I fry like an egg,” she said. “So I’m feeling like I should have put on more sunscreen. Or a higher factor.”

Dior’s sweltering conservatory decor may well have contributed to the over-heating.

Emily Blunt attending Dior’s Fall-Winter 2015/2016 Haute Couture collection show held at the Musee Rodin in Paris, France on July 6, 2015 in Paris, France. Nicolas Briquet/ABACAPRESS.COM


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In a surreal garden setting, Dior designer Raf Simons wove his creative needle in and out through different centuries. That produced an imaginative time-travel of a couture show, which riffed on the styles of the Flemish Masters, the Middle Ages and the Renaissance.

The large fruit props on the runway conjured up scenes from historic still-life oil paintings.

Long diaphanous column silhouettes in chiffon, like medieval undergarments, floated by elegantly alongside gowns with high-cinched waists and wide, billowing sleeves that mirrored the old Flemish styles. Some bejeweled net gilets were worn on the torso, evoking chainmail in a beautiful touch.

The sense of chic time-travel was further heightened with delicate dots and patterns on the fabrics — designs that evoked the French Impressionists and the technique of Pointillism associated with artists like Georges Seurat.

The coats were the highest point of this strong collection, with one standout: a flame-red coat with beautifully large tubular cuffs.


ELSA SCHIAPARELLI’S THEATRICAL DELIGHTS Celebrity guests including Meg Ryan were swept away to the glamour of 1930s theatre life at Bertrand Guyon’s debut collection for Schiaparelli.

And what better a setting than to start exploring the theatricality of the great couturier Elsa? Famed for inventing shocking pink and having collaborations with Surrealists like Salvador Dali, Coco Chanel’s hated rival Schiaparelli was one of the greatest and most colorful Parisian designers of the ’20s and ’30s. The house was recently revived.

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In an impressive recreated theatre, Guyon’s models harked from another era. Fastidiously embellished ’30s Orientalist satin jackets had softly square shoulders. Silk “jabot” collars and voluminous “Duster” coats wafted by with exaggerated pockets, alongside bejeweled eye, star and key lock decorations.

Guyon even referenced the mania for Grecian looks in Schiaparelli’s heyday in a couple of diaphanous column dresses with flashes of gold.

Not all the theatrical exuberance worked, especially one overly clashing multicolored mink coat. But Guyon is certainly moving the house in a welcome, more coherent direction since the departure last year of designer Marco Zanini.


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