Back in the 1950's, Christian Dior made a splash with what came to be known as the "New Look." Today, Dior is all about the new look of its new media. While the production values aren't to the standard of the recent "Charlize Meets Marilyn, Grace and Marlene" short film for its J'Adore perfume, the luxury brand is making a big statement about how much it values digital branding these days by producing a trailer, above, teasing its soon-to-be-relaunched website at dior.com.
Strong, striking and structured Gareth Pugh’s spring collection demanded your attention from the very first look. With a bombastic pre-show film starring Crystal Renn setting the mood, Pugh created an atmosphere of pure drama. Just when you thought things couldn’t get any wilder they did and with each successive piece he upped the ante. Criss-crossing cubes of transparent netting adorned the first few dresses, garnering gasps from the audience, while the Phillip Treacy masks of the finale had Paris’ most jaded fashionistas clapping. Intense graphics were the collections dominant motif: stripes and armour-like adornments added interest to the ensembles, particularly those perilous wedges destined for editorial greatness. Pugh has always been able to move his audience, but this season’s blend of theatricality and craftsmanship ranks among spring’s finest.