It was a cryptic beginning to a show that delivered a beautifully simplistic message: it is not a woman’s wardrobe that defines her place in the contemporary world but her attitude. Exploring this idea by remixing codes from traditional Eighteenth century dress with the clean, angular silhouette which defined his early months at Dior, Simons presented Paris with an exciting vision.
Jacquard skirts with large bustles came teamed with lightweight jersey vest tops while waistcoats in sumptuous velvet complimented neatly-cut riding jackets. An Edwardian long line coat, presented in hues of raspberry pink and chartreuse, lent this show its greatest high while a serious of quilted shorts, designed to echo those commonly associated with skater style were among the collection’s most wearable inclusions.
While Simons might be one of Paris most high-brow designers, he is is also one of its more approachable. Brought in by Dior to inject a commercial sparkle into the house, his determination has long been to make the luxury world more accessible to the contemporary consumer.
In the same way that history is there to be learned from – and not just studied – high fashion does not exist to be admired. As Simons’ is acutely aware, it’s purpose is to appeal to the contemporary urban woman.