Dior Homme is the latest brand casting high profile artists as the focal point of their international F/W campaigns, tapping legendary Depeche Mode frontman Dave Gahan for their new photo series and fashion film, as well as Manchester By The Sea star Lucas Hedges. The label follows in the footsteps of Prada, who just announced director and writer Pedro Almodóvar as the face of their respective F/W 17 collection.
Dior Homme’s campaign comes as their Creative Director, Kris Van Assche, celebrate his 10th anniversary with the label. Gahan and Hedges are joined by models Dylan Roques and Christophe T Kint. Dior featured a variety of notables last season as well, casting A$AP Rocky and Boy George for an amazing black and white photo spread.
The new campaign sees Gahan, Hedges, and crew pairing Dior suits with metallic accessories and leather gloves for a futuristic, expensive but punk feel. It follow the label’s runway show at London Fashion Week, titled ‘HarDior’ thanks to its hardcore techno soundtrack.
Last spring, months before Raf Simons announced he’d be stepping down as Creative Director at Dior, the designer agreed to a series of intimate interview with prized fashion critic Cathy Horyn, Business of Fashionreveals.
Caught inside Dior’s unstoppable money-making machine, the pair’s conversations shed light on Simons’ creative suffocation during his time at the European house—his genuine artistry falling second to systematic processes in order to meet strict deadlines. For a dreamy romantic like Simons, such a regimented fast-paced environment became a heavyweight burden, as shown in the following interview excerpts via BOF, below.
On the Dior fall ready-to-wear show:
“You know, we did this collection in three weeks […] Tokyo was also done in three weeks. Actually everything is done in three weeks, maximum five. And when I think back to the first couture show for Dior, in July 2012, I was concerned because we only had eight weeks.”
On the Dior process:
“When you do six shows a year, there’s not enough time for the whole process […] Technically, yes—the people who make the samples, do the stitching, they can do it. But you have no incubation time for ideas, and incubation time is very important. When you try an idea, you look at it and think, Hmm, let’s put it away for a week and think about it later. But that’s never possible when you have only one team working on all the collections.”
“I just did a show yesterday. Just now, while waiting in the car, I sent four or five ideas to myself by text message, so I don’t forget them. They are always coming […] I was just thinking about this kind of very masculine tailoring you see in the navy. It can be stupid things, like a certain button. But I’ve been doing this my whole life. The problem is when you have only one design team and six collections, there is no more thinking time. And I don’t want to do collections where I’m not thinking.”
On his schedule:
“I have a schedule every day that begins at 10 in the morning and runs through the day, and every, every minute is filled. From 10.10am to 10.30am, it’s shoes, let’s say. From 10.30 to 11.15, it’s jewellery. Everything is timed—the whole week. If there’s a delay in a meeting, the whole day is fucked up.”
“Fashion became pop. I can’t make up my mind if that’s a good or a bad thing. The only thing I know is that it used to be elitist. And I don’t know if one should be ashamed or not to admit that maybe it was nicer when it was more elitist, not for everybody. Now high fashion is for everybody.”
“Everything is so easily accessible, and because of that you don’t make a lot of effort anymore. When we were young, you had to make up your mind to investigate something—because it took time. You really had to search and dig deep. Now if something interests you, one second later, you can have it. And also one second later you also drop it.”
On personal versus professional life:
“There’s never enough time. You get a tension. I know how to pull out from this in my personal life. We go and look at nature for three hours. It’s heaven. We go to a bakery and buy a bag of stuff and lie in the grass. Sublime. But how to do that in the context of your professional life? You buy a house and you start doing pottery or something?”
The complete text of Cathy Horyn’s interview with Raf Simons appears in the Autumn/Winter 2015 issue of System Magazine.
From David Bowie for Louis Vuitton to John Stamos for Dannon Greek yogurt, 10 campaigns featuring hot older celebs we love.
Johnny Depp — there’s a face we don’t see enough. For the first time, the actor has signed on as the face of a fragrance, and Dior is the house lucky enough to take him on. The scent, the house’s first of its kind in ten years, is composed by Dior perfumer François Demachy and is due out in September, closer to when the name and campaign will be revealed.
But enough about the fragrance, at least until closer to launch…we’re excited about Johnny Depp for Dior, and it’s making us want to take a look back at the other hot celebs featured in campaigns. Yes, ladies like Cher and Joan Didion have been in the spotlight as of late, but the guys have always been around. So it’s time to take a minute to appreciate these 10 campaigns featuring our favorite, more mature leading men.
Cinemas throughout the world have started to show one of the most anticipated fashion films in a while, and certainly this year. Dior and I, which already showing in Europe, opens in New York on Friday.
Debuting last year at the Tribeca Film Festival, Dior and I, directed by Frédéric Tcheng (Diana Vreeland: The Eye Has to Travel, 2011), follows the story of the house’s current creative director Raf Simons embarking on his inaugural collection for Christian Dior.
A little history: After multiple seasons headed by Bill Gayten, post the swift and highly coveted departure of infamous creative director John Galliano, Raf Simons entered the picture. This documentary shows how Simons, former creative director of Jil Sander (andfrequently known for his minimalism, modernity, and edited beauty), undertook the creation and execution of his first haute couture collection for Dior, presented in Paris during the fall/winter 2012 Couture season.
I remember vividly extreme hype and expectation that surrounded this particular show, and the constant speculation as to which direction Raf Simons would take the house of Christian Dior. Although now, Raf is fully established at the house, with his new, edgy and modern take on the Dior woman, and her experimentations with plastic, perspex, leather, lace and many materials in between, his first collection for the house was more subdued, but equally as crafted and beautiful as his predecessors.
At the time the film was shot, the house of Dior was in a very turbulent scenario. Having announced Raf the creative director in early 2012, there was still an air of mystery around the designer. Keeping his public profile and persona low during his tenure at Jil Sander, the publicly less known designer was regularly queried as a big enough character to take on such a public power house — and its standing across fashion and popular culture — where former creative director John Galliano had firmly placed it. The worry and issues Simons faced when starting at Dior are all documented in this tentative film.
Tcheng’s ability to create frantic, romantic and prominent scenes in a matter of minutes makes Dior and I a must watch for anyone interested in fashion, and even those who are not, as it brings to light the craftsmanship, beauty and level of detail and research that is poured into a Haute Couture collection. From the initial talks about blowing an enormous Sterling Ruby painting onto a dress, which has many complications, to Raf’s mind-blowing idea to cover every surface in the set with flowers, each room covered with a different species, inspired by the Jeff Koons’s “Flower Puppy” (how Raf says “puppy” is adorable), and the wait for the approval from Bernard Arnault and Sidney Toledano.
5 MOMENTS NOT TO MISS:
The beautiful connection between Raf Simons’ right hand man, Pieter Mulier, Premiere d’atelier flou, and Florence Chehet. A friendship formed quickly and organically, which is lovely to watch blossom with the collection.
The Heated Moment
You’ll know it when it happens. A growing tension between two key players at Dior during a fitting leads to a surprising and unexpected power play in the Atelier.
As much as Galliano was into the grandeur and performance of fashion, Raf Simons’ aesthetic is radically different. This is made very apparent when designing the shoes for the collection. Raf explains how he hated the idea of a woman being helped down the stairs by a man, but proceeds to put a 12 inch heel on a pair of pumps.
The Archive Being able to glimpse at pieces from the incredible Dior archive in movement is worth every second of screen time.
Multiple moments throughout the film shows the true love and affection everyone had for the house of Dior and the passion and investment the Atelier have in Raf’s vision. The best moment comes when a seamstresses, a long serving member of the Dior Atelier, says how they are always working for Mr. Dior, no matter who the creative director is.
Above are five illustrations from Raf Simons’ debut collection for Dior. The modern take on the iconic Bar Jacket silhouette and full skirt were remixed and dresses came in bright solid colours including baby pinks, seville red, and canary yellow. A large pannier style skirt embroidered with crystals and royal blue feathers teamed with a simple sheer black knit top, and remakes of classic Dior ballgowns, cropped and shown with tailored black cigarette pants gave old ideas a new lease of life and reimagined use. This is also said for a fuchsia pink silk chiffon, corseted column dress, subsequently split to the waist and paired again with black cigarette pants. The finale dressed featured a split of embroidery, with a classic Dior archive embroidery on the back, and a reworked new version on the front, a literal but effective take on showing the history of the house as well as moving forward.
This collection was an enormous first step for Simons and a great starting block to mark his territory on a house in turmoil. Dior and I is an astonishing and rare insight into a designers first steps, proving again he is most certainly one to follow.
At Dior today, the #frow was fully occupied by zooming and snapping pix of Raf Simon’s surefire hot of a boot–latex with lucite heels (both of which which varied in height–the heel, and the boot itself, that is). The collection itself saw creative uses of the season’s favorite: fur, rendered in dresses and extra sumptuous, almost pastel looking colors. The coats stayed classic–think gorgeously tailored dusters, but the clothes themselves combined 60s mod looks with far more futuristic, out-there patterns (some of which came in the form of full out body suits).
I’d never describe runway shows as “boring,” but busy showgoers can get a little, er, distracted every now and then. With the confident assurance that countless images will be on style.com almost immediately after a show closes, texts are sent, and shows viewed more through phone camera lenses than actual eyes.
Now and again a designer does something shocking enough to make everyone calm the f down and concentrate.
1. Rick Owens Frees the Flaccid Peen
Rick Owens FW15. Courtesy of Rick Owens
You saw this, right? The Rick Owens show last week was very NSFW–but only in a blink, or you miss it kinda way. Of course, the cameras immortalized the nekked peens that went down the runway.
Of course, the idea was a comment on models being like products, and the inherent voyeurism that occurs at fashion shows. In practice, however, the models, shrink-wrapped, vacuum packed, and hooked up to oxygen tanks looked supremely uncomfortable.
6. In 2009, a seven months pregnant Jourdan Dunn walked Jean Paul Gaultier
The Highland Rape collection was McQueen’s 4th, and the clothes were making statements more than preparing to be sold on department store racks. It was in fact a reference to the turbulent historical relations between Scotland and England. Many took the tattered clothes and bruised women to represent an extremely offensive view of women, but to hear the late Lee McQueen discuss it, his intent was in fact, quite the opposite–meant to challenge the problems of perception women still face in society and place them in positions of empowerment.
Maneschewitz wine was sipped and the runway was lined with menorahs. While there was plenty opportunity for offense to be taken, most editors reported feeling it had been tastefully done, and that inspiration can come from anywhere.
To position homelessness as chic is inherently controversial. Of course, 14 years later, Galliano still courts controversy. He explained that he’d been inspired by the homeless people he saw along the Seine on his jogs. This was also the collection that brought the incessantly talked about Dior newspaper silk print. #derelict, Catinka.
Research contributed by, and special thanks to Jen Schnepf
From Jennifer Aniston’s shockingly hot look to Julia Roberts’ almost-perfect menswear look, to Stone’s utter perfection… read on for a glimpse of the best of the best from the SAG Awards.
The Surprise: Gwendoline Christie You know, given her fashion connects, I’ve always hoped she’d look better than she does on the red carpet… and as kitch as this Gilles Couture look is, I actually like it on her?! So Marilyn! Which I think is so overplayed… but it’s working for Gwendoline. TBH though, I didn’t recognize her at first.
The Smartest: Rosamund Pike Dior Couture. So cute, so chic. So comfortable looking.
The Sexy One: Jennifer Aniston Daa-ha-aaang, Jen! You know, on someone else I maybe wouldn’t be as impressed as I am, but given her penchant for black, brown, dull, this patterned, plunging dress she’s wearing is really doing something great for her. And that chain. Hot hot hot. Also: It’s vintage Galliano. So relevant again. This makes me wonder if Anna Wintour had a hand in getting Aniston clothed for the awards. Project?
The Almost: Julia Roberts Menswear done sexy and nonchalant is menswear done right. I so love the suiting (Givenchy) that Julia Roberts wore… but the shoes are ruining it. How much better would a pair of brogues have done? Ugh open toe with a suit. Bleh. But the rest is A+.
(Ahh, this is better:)
The Dreamboat: Eddie Redmayne In dashing, double-breasted Prada. Unf.
Ultimate Perfection: Emma Stone Emma Stone is my favorite f*cking celeb ever. She’s so cute, so pretty, so stylish, so chic, so fun. I am obsessed with how she looks and what comes across as the most charming personality. She’s been hitting the nail on the head repeatedly for years, but this look, all at once chic, sexy, sassy, cool (ear jacket, hello) and weirdly unfussy for sporting a train… She is wearing Dior Couture. And also her lipstick and eyelashes are bomb. Seriously amazing beauty look. Ugh I want to wear this to my future wedding. Is that weird? I am in love. She wins.
Good Enough: Gretchen Mol Just so elegant in her Dennis Basso gown.
Cutest: Jesse Tyler Ferguson and Aubrey Anderson-Emmons And finally… this moment just deserves some recognition. Aww.
Peter Philips, the creative and image director for Dior makeup, has been a longtime favorite of ours. His work at Chanel was nothing short of aspirational — his is the kind of talent that sends products flying off shelves. Now at Dior, Philips is still dazzling, but perhaps working with Raf is slightly different than with Karl. The pre fall look is… experimental, to be sure. Philips seemed to draw inspiration from the location of the show — Tokyo — because it’s hard not to see the influence that Manga has had here.
“I wanted to design a make-up look that had a very strong visual impact, focusing on an ‘electric’ eye that was both graphic and abstract. I was mainly inspired by Kabuki make-up with its codified, dramatic aesthetic that plays on the abstract nature of this visual strangeness. I also wanted to create a play on light to reflect the shiny, glittery elements that were omnipresent throughout this Pre-Fall collection and that give the make-up look a slightly Manga feel,”
Philips said in a press release.
Should you want to get the look yourself, you’ll need a liner (the Diorshow pro liner used here isn’t available ’til June 2015) and Diorshow mascara, both in black. Oh, and some “jumbo sized” glitter and a touch of eyelash glue.
1. Starting directly above the iris, apply the black liner in a box shape from the lash line to the upper eyelid.
2. Use mascara to coat only the lashes touched by the box you’ve made with the liner. Leave everything else bare.
3. If you’re feeling futuristic, apply a few pieces of oversized glitter near the upper lash line. It’ll “catch the light… creating a spectacular ‘robotic’ glitter effect,” said Philips.
It is only a few days after its spring show in Paris that the house of Dior released the fall 2014 Dior Homme campaign.
The project, a collaboration between the renowned photographer Willy Vanderperre and the house creative director, Kris Van Assche, is the seventh of its kind. Entitled “Notes of a Day” the campaign film focuses on the main inspirations of Van Assche for the winter season. Individuality is at the core of the Dior Homme collection and the offering of the house reflects the wide public of men, from Savile Row to the streets, that the house caters to, their personal relationship to the brand, and how they embody “L’Homme Dior.”
Laurie Harding, Thibaut Charon, Louis Bauvir and Jake Lucas embody the idea of masculinity as a performance, wearing the strongest items of the season in a stripped environment that contrasts with the prints and textures of the clothes. It’s a tribute to Christian Dior himself and a choreographic exploration of the complex relationship men have with their own style.