Long Nguyen is co-founder and style director of Flaunt
The designer’s deployment of Warhol’s bold graphic art had a deeper double meaning in the sense that he is introducing a new graphic silhouette to Dior (like that superb black and white patterned knit shift dress on look 21) in his second season at the house. It seems that though this exploration of Warhol, Mr. Simons found the freedom to create great art himself--something that is more important than ever in fashion. The word ‘scrapbook’ was used in the show notes, and it's an apt descriptor for the collection, which brought such different elements together--a practice, which can bring great freedom to artists. The spirit of free-association floated throughout the show space, much like the airy, reflective mylar balloons. Mr. Simons refreshed the house codes by using modern fabrics: a 1949 Miss Dior strapless dress was done with subtle embroideries on leather and tulle, and in a softer cut; the classic Bar jacket pantsuit was even given a wool/denim treatment. With this collection it is worth noting that Simons is not trying to bring the Dior archives back to life. Rather, he is looking at the house history and asking what ideas Mr. Dior was interested in and obsessed with that allowed him to create such a distinct aesthetic. Simons is asking himself these same questions--and allowing himself the same freedom granted to the original designer in drafting the next chapter in Dior’s storied history.