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Dior is Absolutely Fine, Even Without A Creative Director

The storied French house showed its most eclectic collection yet at England's Bleinhem Palace.

Brands looking to create major social media hype could learn a thing or two from Dior. Unless your Instagram and Snapchat feed are completely devoid of anything fashion-related, you’d have known that Dior’s Cruise 2017 show took place yesterday and an old world-style train was involved in taking show attendees from London to Bleinhem Palace in Oxfordshire. So fancy-schmancy, so British. We’re assuming that there were crumpets, scones and jam somewhere on that train, cleverly dubbed “DiOrient Express” by some of the attendees. (There seems to be a theme in fancy transportation across the Cruise 2017 shows – Chanel had vintage cars, Louis Vuitton had helicopters. Is Gucci going to pull something similar?)

The show location, too, was fancy-as-hell, the sort of fancy that makes you want to cry because it’s just so beautiful. I mean, would you just look at that place?! And when you consider that both Christian Dior and Yves Saint Laurent both staged shows for Dior in the very same space, it just makes the whole affair that much more spectacular. Also, Winston Churchill was born there. And there was an actual artillery band performing as guests made their way into the palace. Just sayin’.

If the pre-show spectacle wasn’t enough to tell everyone that Dior is doing absolutely fine without a creative director, the collection itself, led by in-house designers Lucie Meier and Serge Ruffieux, sealed the deal for good. There were impeccably tailored coats, jackets and dresses that had a bit of a baby-doll flare, scarf bracelets, cropped pants with gold-heeled boots that featured big grommets, and plenty of print-on-print, skirt-on-pants and skirt-on-dress action. A spectrum of materials were used, from tweed and poplin to velvets and silks with Asian and African prints, checking the variety box. There seems to be a bit of street going on as well in the oversized sweaters and bags, lazily slung over the shoulder. It all seems rather eclectic. For a house like Dior, it’s a bold move.

It’s nice to see that some things never change, though. The sculpted blazers – clear throwbacks to Dior’s iconic Bar jacket – and the beautifully embroidered pieces exemplified one important thing, that, at the end of the day, past the uncertainty and drama, Dior’s still doing Dior, regardless of whether or not there’s that one person leading the way.

What do you think of Dior’s third collection since Raf Simons’ departure?

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