We have got a posh French moment, almost a minimalist fashion statement from Christian Dior, in which the house's women's wear designer Bill Gaytten staged his most assured collection thus far.
This show, staged Friday, March 2, within the Rodin Museum, was his fourth to date for Dior, as well as the first in which the audience was primarily dedicated to the garments rather than on Gaytten's possible successor.

The effect was obviously a highly confident display of chic modern dressing though having a large dose with the Dior signature DNA. The silhouette was nipped on the waist, the dresses finished underneath the knee, the atmosphere was refined, along with palette subtle and, admirably, there have been a lot of Monsieur's classic bows.

What worked best were the putty hued glove leather blouses, swirling hyper pleated silk dresses, ans boucle wool jackets with simple, yet erratic, squiggle embroidery. Moreover, in fashion's most fur dominated season in memory, especially several heroically cut tunic coats in luscious mink.
And Gaytten had lots of new accessories - always a huge money earner for Dior - just like the squiggle print on fabric bags with all the classic Dior metal key ring or stack-heeled ballet pumps that looked sexily spruce.

Gaytten might not have the runway fireworks of other major houses in Paris, but this is a runway rippling with high-quality merchandise, the whole thing in synch with all the Dior aesthetic. Also it helped that not enough people pre-show even mentioned names of possible successors, an uplifting vary from Gaytten's first three Dior shows.

High ranking executives from LVMH, whose Chairman Bernard Arnault, personally controls Dior, were openly dismissive of rumors recording that Dior had been considering Raf Simons for that post of creative director. "That will not happen," said one executive, who spoke on condition of anonymity.
The striped-back intent with this collection have also been clear in the entrance in to the Rodin Museum, a massive wall inside the house's signature dove gray featuring only the word Dior. Gone was the Christian or perhaps the CD signs previously so prominent as of this brand's previous shows. The setting was mega pure , a silvery runway, and big, yet delicate, curtains inside a smart, high-tech reinterpretation of Dior's Avenue Montaigne headquarters.

Gaytten did take a lot of risks together with his colors, a subtle palette of dark mauves, burnt earth and scorched blacks. "Mark Rothko, soft Rothko," said Gaytten, dressed dandily in matching black shirt and jacket, unshaven and searching very comfortable. However, to get the brand new master of the house, he has to amp it a small extra inside the fashion show fireworks department being a Dior show can certainly deal with looks that have been solely made for the runway and which give a perception of the designer's imagination. Gaytten continues to be playing it very safe and secure.