Yesterday, DiorMag introduced you to Dior and I , the documentary by Frederic Tcheng. Today, it's your turn to discover the series of photographs that the artist Willy Vanderperre produced around the time of Raf Simons' debut Christian Dior haute couture show.
In the ateliers, each collection is a new challenge to overcome, an eternal return to the starting line which has continued unceasingly since Christian Dior's first fashion show on February 12, 1947. The photographer Willy Vanderperre immortalized this discreet alchemy between Raf Simons and his artisans, where each one gets his or her bearings, and figures things out. From the first fittings to the minutest adjustments, the dialogue is precise. Because behind the designer's contemporary vision and the sweep of his pencil it's the focused petites mains who interpret the sketches and bring the collection to life. An emotional relationship with the garment is established. In the tailoring atelier which produces structured pieces, such as the jackets and coats, traditions have been shaken up. The Bar jacket opens the show in a sleek tuxedo version that allows the woman freedom of movement.
In the atelier flou, where the soft dressmaking takes place, silhouettes are completely reinvented, with dresses of jaw-dropping meterage sharply finished, cut lengthways. It's a new architecture, one that's more modern and dynamic. The absolute mastery of the designer's cuts and materials brings the House codes up to date. The complexity of the fabrics resembling the paintings of the artist Sterling Ruby woven in duchess satin and the flowers delicately embroidered in shades of color on the dresses are two of the multiple examples of the technical prowess of the ateliers which faultlessly exercise this exceptionalsavoir-faire and cultivate this unique mark of excellence. In the closed world of the ateliers, a new story is being written, in which the future is fed with the emblematic codes of the past.