RTW—Autumn/Winter 2018

Not Looking Back, But Looking Forward

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This was posed to us many times at the start of 2019: which new (or newish) brand do we think will be exceptional this year? To us, there may be only one: Ader Error

 

Adererror in Siam DiscoveryAder Error pop-up in Bangkok’s Siam Discovery in October 2018

We have always resisted making lists. This is no exception. We won’t, therefore, be looking back at the last twelve months of 2018 and tell you what we think was good, or what, regrettably, was not. But of all the new or new-to-market labels that came (and, for some, languished), perhaps one deserves mention, not because of how big they are here since no retailer brought them in, but for their very conspicuous absence.

We think that the Korean streetwear label Ader Error deserves attention even when we have never blogged about them. Although they have not received mention here, you probably have seen their wares in those social media posts that tout the very latest and hottest. Or, seen your fave K-pop stars wearing them. After all, Ader Error is reported to be “”the top choice of K-pop royalty”, such as Jin and V of BTS. They are also know for their Instagram posts, of which they have not one, but three handles, totaling 743k followers, as of now.

adererror x pumaAder Error X Puma at Robinsons at the Heeren

At this point, perhaps we should correct ourselves. It is not entirely true that Ader Error is not retailed here. In November, Robinsons at the Heeren carried the brand’s collaboration with Puma: a tiny, two-style buy of sneakers and slides. That went largely unnoticed, and are still available at Robinsons when elsewhere in the world they have been reported to sell out within days of launch. Could this be indication that we, as retailers and consumers, are slow to trends, as is the common charge? Or, simply uninterested?

While we have read of Ader Error’s meteoric rise and followed them on IG, we have not seen their designs up-close until October last year. One of Bangkok’s more forward stores Siam Discovery—once a shopping centre, now a department store—had put together an Ader Error pop-up, complete with the Korean brand’s own fixtures. It was striking and unmissable, and an opportunity for us to examine the beguiling merchandise up close. Did they live up to the hype?

ader error coatOver-sized double-breasted wool coat: classic tailoring with street cred

Hype, as we all know, is often 80% social media build-up and 20% design finesse— sometimes, for the latter, less. Hype is the engine of consumption. Hype takes us for a ride. It can be either an enjoyable one or a dud that leads to nothing. Ader Error is, without doubt, built on hype, much of it its own making (rather than, say, through third-party or fan hashtags). It is hard not to see three IG pages (excluding website, Facebook, and Twitter) put out by one brand as hype, but the noise—thankfully, not bluster—they create is commensurate to the high grade of the products they sell.

It is encouraging, therefore, to see that Ader Error has quite a healthy percentage of design flair to the equation, more than a healthy quarter, as we see it. Sure, theirs is a path well-trodden: Supreme and its ilk have ambled on with repetition and, sadly, lacklustre offerings that bank quite solely on hype. Ader Error, more than most streetwear brands, conversely use design to fuel the hype, not the other way round.

ader error pop-upAs Ader Error intended, their sleek first pop-up in Southeast Asia

Ader Error was formed in Seoul in 2014. A collective of individuals from different fields, the brand is not led by any specific design director. One Kevin Lee is reported to be the group’s spokesperson. According to Mr Lee, the group got together because they had wanted to do something totally creative. Coming from trades as different as graphics and food, they produced clothing quite unburdened by what a street wear label should be. So steep in method, as well as madness that WWD called the work they do “intellectual street wear”. However, Mr Lee prefers to call it, as he revealed to Highsnobiety, “a culture brand based in fashion”.

What we found especially appealing is the polish of the designs, with the right balance of exclusivity and mass appeal. The pieces look like there are the result of thought (much if it), not afterthought. The retro vibe, like what dominates street wear now, is unmistakable. Yet, it is subtle enough for the brand to call their hark-back “futro”. That, to us, appears to be looking at shapes and designs of the past, but with the eyes unsquintingly gazing at the present. Additionally, you sense that the people behind Ader Error are sharing a private joke, but you aren’t sure what’s funny, except the obvious: on the bottom layer of the fly of a pants, the scribbled “not yet”!

ader error merchMore than just clothing, Ader Error offers a selection of fun accessories 

While Ader Error is touted as a unisex label, it is obvious that their strength is in men’s wear. The clothes are not designed to alienate. By that we mean there’s accessibility factor to the output. Yet, you don’t dismiss them for being too commonplace. A position that will attract otaku types, fashion-leaning gamers, and even the fashion-consuming CFOs. For most, there is appeal—and comfort—in clothes that, well, look like clothes. And smart to boot.

At present, Ader Error releases only two collections a year, and, unsurprisingly, in somewhat small quantities (which possibly bait collectors the way Supreme’s encourage long lines). According to the brand’s Kevin Lee, their sell-through is more than 90 percent per collection, which is not unexpected, considering that they sell in rather small number of stores, of which only one in Seoul is their eponymous outlet, a free-form space that could easily be a karang guni man’s den.

adererror in siam discovery l2From pop-up to permanent space in two months

Apart from garments, Ader Error offers small goods or what are known as “lifestyle items”. These include cups and caddies, key chains and kerchiefs, and everything else that allow you to show those around you that you buy into their “culture”. And people do. Two months or so after their Bangkok pop-up debut in Siam Discovery, they were given a permanent corner in the men’s department on the second floor, next to Club 21. A sales staff told our Thai eyes, Nah Kwamsook, that the brand is doing well (“kai dee mak” or sales is very good), and is especially popular with “fashionable young men.”

With only one store and crackling multiple social-media pages, the brand is doing something so right that British GQ wondered if Ader Error is “the world’s coolest brand”. We don’t quite know yet, but it is rather apparent to us that Ader Error is no mistake.

Photos: Jagkrit Suwanmethanon and Zhao Xiangji

(2018) Winter Style 4: The Floral Puffer

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Bimba Y Lola puffer

For the longest time, puffer jackets were considered uncool. Women, conscious of their figure, thought the quilted down jacket, no matter its design, unflattering to the body. Who needs more bulk when, for most winter wear, a slender silhouette is not the eventual effect?

Then came Balenciaga, specifically what Demna Gvasalia designs for the house. Rather than negate the expected volume that comes with the puffer jacket when worn, Mr Gvasalia embraces it and, in addition, exaggerate what is already an exaggerated form. Suddenly the puffed-up puffer is cool and the sale of what was mostly associated with outdoor brands such as The North Face shot up.

This season, the puffer jacket continues to be the outer to buy for winter climes. But you should choose not the one in severe black (or such wintry bleakness of colour), but those that are bursting with blooms. Never mind if the floral print would be at odds with the landscape that you’ll be appreciating.

From Richard Quinn to Moncler’s Genius project with Grenoble and Simone Rocha, the floral puffer is having a moment, as the KOLs you follow most would say. Increasingly, designers are proving that winter wear need not be as glum as the weather.

We like this Bimba Y Lola version because the flora and fauna look decidedly ‘pop’, something that could be appealing to those who are not into pretty posies. The shape and silhouette of the jacket are consistent with what is preferred these days: a loose fit, with drop shoulders, and sans a hoodie. In other words, it merits the praise on trend.

Bimba Y Lola short rose print down coat, SGD575, is available at Bimba Y Lola stores and online. Product photo: Bimba Y Lola. Montage: Just So

This Could Have Been Fiorruci

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By Mao Shan Wang

This must be another inspiration. We know Gucci’s Alessandro Michele is very inspired—roused by remembrance of things past, glorious or not. He was inspired by Dapper Dan, by Chateau Marmont and, now, it seems, he was inspired by Fiorucci.

Seriously, that was what I thought when I saw this ensemble in the window. And, yes, shocked I was, too. You see, when I caught sight of the logo on the singlet, it showed the last four letters—the U, the double Cs, and the I. The consonant G was obscured from my view. What was Fiorucci doing in a Gucci window? Enjoying being the source of Mr Michele’s inspiration? You would never know.

I was also not drawn by the singlet alone (it could be a leotard, I am not sure). There was the black tiger stripes against the lurid yellow base colour. I’m not sure if Fiorucci ever produced such a top, but somehow, it feels to me like something they did, some time in the ’80s.

The styling, too, added to the whole inspired-by-something vibe. The shaggy (faux?) fur cape and the black acid-washed jeans (with so many new laundering treatments these days, I could only guess) with the characteristic creases—conspired to bring me before some place between aerobics wear and auntie fashion.

Did I hear you say irony? Again?

Photo: Chin Boh Kay

Knit Little Heels

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Prada knit heels

By Shu Xie

The “technical fabric”, as the sales person at the Prada store told me, is the “latest”. It maybe the latest for Prada, but it isn’t so for the world of athletic shoes. If you are a wearer of sneakers with knitted uppers, such as the ground-breaking Nike technology known as Flyknit, you’d know what I mean.

Knitted fabrics are, of course, not new, but for sneakers, they resulted in the battle of the titans. Back in February 2012, about six months before the London Summer Olympics, Nike announced the commercial release of Flyknit, a material so advanced at that time that it was to revolutionise how sneakers would be made. This came after 10 years of research, according to Nike. Flyknit, apart from being light, would reduce the typical wastage that usually result in the use of fabrics such PU and mesh.

In July the same year, Adidas announced that they, too, had a knit upper for shoes and it was called Primeknit. What ensued was a complicated, Nike-initiated court battle of who-made-what-first, and by many accounts, is still being fought in the courts today.

While the two footwear giants try to convince the world that one of their technologies was the first to be conceived, other brands have found ways to use kitted fabrics to make the uppers of performance footwear and to make them popular. Prada is, of course, no exception.

But rather than use the knit for sneakers, which they do, Prada has applied them on court shoes, itself a breed in need of rejuvenation. I must say that what attracted me to these heels are not their handsome, traditional form, but the knitted upper with a pattern that, in sum, looks somewhat pixelated. And from afar could be sequinned! It’s graphically the stuff of social media, of course. And that, I suppose, is modern.

Prada knit pointy toe pumps, SGD1,630. Photo by Zhao Xiangji

(2018) Winter Style 2: The Sock Sneaker-Boot

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Diesel sock sneaker AW 2018

It’s not the newest thing to have, but it could be the most comfortable to wear when travelling. The sock sneaker-boot has come into its own since the crazy popularity of Balenciaga’s monastic USD595 Speed Trainer. With knit uppers now as common as canvas and PU, the sock sneaker-boot is the go-to shoe when pounding city pavement not deep in snow or slush.

This pair by Diesel, called Loop Sock Sneakers, caught our eye because of the knit pattern, which looks like something from an unknown tribe. These could have been inspired by someone’s blanket! What doubles the appeal of this high-top is the that the sock itself does not sit on the phylon sole without side support, such as the quarter and toe box. Unlike most sock boot-sneaker, this pair comes with laces and a lacing system that could have arrived from something Tinker Hatfield cast aside.

Unusual for sock sneaker-boots is the heel tab, which aids with the wearing of the shoe— you can easily pull it on. These kicks are, expected, snug, soft, warm. To us, it’s as comfortable as Nike’s Air Presto Mid, but more attention-grabbing. Since the knit upper is made of polyester fibres, we recommend this strictly for colder climes. Perspiration may not be the enemy of socks, but they are definitely no friend of the sock sneaker-boots.

Diesel Loop Sock Sneakers, SGD395, is available at Diesel, Paragon. Product photo: Diesel. Montage: Just So

Two Of A Kind: Long and Puffed

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Cold Wear vs Moncler

For many fashion folks, it isn’t unclear which came first. Moncler announced their Genius collaboration in February this year. One of the contributors is Valentino’s Pierpaolo Piccioli. His capsule collection for the Italian brand known for their down jackets is thought to be aesthetically the strongest among the eight designers invited to take part in the interpretation of the Moncler classic.

Mr Piccioli’s stunning versions, available at Club 21 last month, took Moncler’s familiar shape and quilting and gave them a simple but exaggerated silhouette. The most talked about and shared are the floor length, hooded coats (right, the Agnese) that has a familiarity that can be linked to Mr Piccioli’s rather renaissance silhouette he conceived for Valentino intermittently. Moncler’s puffer coats, for the first time, has a couture sensibility about them.

The long duvet coats, in the house nylon Laqué and with their horizontal quilting, recently had the spotlight shone on one of them when Erza Miller of the Fantastic Beasts series wore a black version to the franchise’s—The Crimes of Grindelwald—Paris opening early this month. Fashion tongues were wagging, and the most striking of the Moncler collaborations took centrestage.

Not long after Mr Miller’s red-carpet strut, this version (left) was spotted at the entrance of the Coldwear store in Tampines One. The version, as we learned, is not for sale. But, as the saleswoman told us, it can be made-to-order. And how much would that set us back? “Eight hundred to a thousand,” she said hesitatingly in Mandarin (the Agnese is on the other end at USD4,135). Why was it on display if it wasn’t for sale? “I don’t know,” she continued unhelpfully, “the boss wants it here.”

Cold Wear is a Singapore-based subsidiary of one of Indonesia’s largest manufacturers of winter wear. Their in-house label Coldwear’s coat in question comes in a white that has a hint of blue or grey, depending on the ambient light, sort of the colour of snow after a day or two. The nylon used isn’t as fine as Moncler’s—to be expected—and the down filling is rather thin and limp.

As we allowed the coat to feed our fascination, one of two women walking past the Coldwear store who caught sight of the mannequin’s outfit at the entrance, said to her friend, “Wah, can wear for a wedding!”

Photos: Zhao Xiangji

Picking The Prim

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Simone Rocha lace-ups AW 2018

No matter how big sneakers have become, and how important, there are days when a pair of leather shoes complete an outfit. If you are not into stilettos (who wears them anymore?) and prefer something low, but not a pump, this pair of lace-ups with extra fastenings may be the shoe to have.

Part of Simone Rocha’s autumn/winter 2018 collection, and possibly homage to Victorian footwear, this is a shoe with bondage leanings. The laces, tied as if a corset, are given, not one, but two buckled straps! A deterrent to those with feet fetish?

While this looks nothing like the bejeweled Gucci Flashtrek, they are not exactly quiet—sensible, perhaps, but definitely not quiet. We’re partial to the slightly off-beat double-strap fastening and leather-trimmed white corridor that frames the entire shoe. And the pointed toe that rather augments the somewhat naughty headmistress bent.

Ms Rocha may have John Rocha for a father, but she is no Limi Feu (aka Limi Yamamoto). Her aesthetic sense is not tethered to her dad’s and she is free to explore her Englishness, mostly skewed by her offbeat sense of romanticism. This pair of shoes marries the prim to the playful—uncommon pairing it is, and what a joy.

Simone Rocha buckle and laces leather shoe, SGD1,400, is available at DSMS. Photo: Chin Boh Kay

Dress Watch: Sweatshirt Dress On Steroids

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LV Sweatshirt dress

Louis Vuitton calls it a sweatshirt dress, but it is nothing like what Norma Kamali popularised back in the Nineties. First seen in the autumn/winter 2018 show back in February, this is the epitome of the tussle of complexity and simplicity that modern fashion finds itself in, without a mess as a result. It captures in one outfit two themes that Nicolas Ghesquiere is fond of exploring: retro-futurism and sportiness

This dress has been in the LV window for weeks now, and each time we passed it, we can’t help but stand before it to examine it. The overall simplicity is beguiling. The rounded shoulders enhance the slightly generous volume—still a trend—without making the dress appear too oversized, yet it seems to give the upper bodice a little brawn that suggest power without the need to resort to exaggerated shoulder pads.

At first glance, we thought it has raglan sleeves, but it does not. The extra white panel brought down from the shoulder to the mid-upper arm is in fact a part of the patchwork of the upper bodice and arm, comprising twelve pieces on the front alone! The mixed fabrics, including a barely discernible strip of LV logo on the right arm and floral devoré across the shoulder, give the overall mix an artsy vibe.

Contrast that to the solid colour of the body of the dress and you get a composition that represents the essence of sporty chic, if that’s not an oxymoron to you. Perhaps, more importantly, it is thoughtful design that does not resort to visual trickery and excess commonly associated with performance at the circus than stylish dress away from the spotlight.

Louis Vuitton sweatshirt dress, SGD2,910, is available at LV stores. Photo: Louis Vuitton

One On One

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Mao Shan Wang

I always turn to Japanese brands when I want something unexpected, especially in a pair of pants. This, by Kolor, appears, at first, to be a twofer, but is actually a pair of (smaller) cotton chinos split at the crotch and then spliced to a pair of wool slacks, giving the impression of conjoined fraternal twins. Okay, that’s a little OTT, but you get what I am trying to say.

Kolor’s Junichi Abe, one-time pattern maker at Junya Watanabe, has an adroit way with different fabric textures appearing in a singular/one-use garment, as exemplified in this pair of pants. There’s the casualness of the chino half and the dressiness of the Prince of Wales check of the other—odd couple that bed well.

What I especially like is the generous cut or, more precisely, the roominess of the fit, which means it’s likely to be fat-shamed by the jegging and her friends. I have cast aside skin-tight pants since the low-rise lost favour among fans of slacks. Even my jeans are baggy enough to store two chickens in each leg, as my mother would say. In this pair, it is roomy but not ‘hipsy’, which is a definite plus.

This Kolor trousers is partially lined (to the knee), which enhances the comfort factor, since wearing wool in our weather may be pricklier than sleeping in a bag of pine cones. If you are tall enough, the pants is calf-length, but I like it better when it reaches mere centimetres above the ground. Or, just two. Yes, fastidious I am.

Kolor two-panel trousers, SGD960, is available at Club 21, Forum The Shopping Mall. Photo: Farfetch

Wild Fire

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Prada Flame Frame

Leaping flames, there’s something primordial about them. In fact, it was Darwin who considered fire—and language—two important achievements of humanity. So Prada’s playing with fire isn’t as frivolous as it appears to be.

Miuccia Prada turned up the heat for autumn/winter 2018 when she showed some bowling shirts with banana and floral prints caught above flames. But as early as June, stars such as Jeff Goldblum and Pusha T were seen wearing the flame motif on what could be two-different-shirts-come-together-as-one, and fashion news sites declared the Prada shirt “the hottest in fashion right now”.

But as anyone who has dealt with fire knows, it spreads. In her women’s show two months later, Ms Prada sent out shoes with wedge heels engulfed, a burning that had, in fact, previously appeared in the spring/summer season of 2012, on stilettos that could have been tourches, or giant matchsticks. Now, the same cartoonish flames—acetate laser cut-outs—arise on the frames of Prada eyewear, part of this year’s Ornate special collection.

The flames may be akin to those seen on fast cars and faster bikes—also known as ghost flames—but, set on the outer top left and right corners of the aviator-ish frames, have the feline allure of the cat glasses of the ’50s and ’60s. That, to us, is the immeasurable beauty of Prada: no matter how far out their designs are, they have never totally abandoned old-fashioned femininity.

Prada two-tone ‘Flame’ sunglasses, SGD550, from the Ornate special collection is available at select Prada stores and Sunglass Hut. Photos: Zhao Xiangji

Window Pain

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When fashion and feminism meet on the storefront

Dior store front Oct 2018

This is a Dior window we have never thought we’d see. It is a print of a collage that includes the text “WOMEN” and “CES’T NON NON NON ET NON (“that’s no no no and no”, which is also on sweaters and other tops of the autumn/winter collection)” amid torn images taking prominence over the clothes. And somewhat hidden away from the full-cap messages, two other words peeked: “MEN” (afterthought?) and “YOUTHQUAKE”, which prompted an SOTD reader to remark to us, “Which era are they in?” And, on the window design, “Stupendous banality, beyond vapid”.

Dior is on a roll. After this season’s uninspired advertising campaign, now this lame window. Frankly, we did not expect Dior’s political stance to come this far, or to the storefront. No Dior designer, as we can recall (please correct us if we are wrong), has worn their political convictions on their sleeves or the front of their T-shirt. Neither had any emblazoned messages on wallpaper to be plastered on the brand’s store frontage. Christian Dior himself may have been a political science student (at the École des Sciences Politiques in Paris) and his New Look—with their extravagant use of fabrics—may be seen as a reaction against the rationing of cloth during World War II, but it is hard to say that Monsieur Dior was a ringing political voice.

It is not clear if Maria Grazia Chiuri is a political creature or a political opportunist. Or both. It seems that being the first women designer in Dior’s 70-plus-year history isn’t enough a political statement, she sees it necessary to lend her voice to the causes she believes in. Nothing wrong with that, but how effective can one be as fashion designer and political activist? Dior’s “YOUTHQUAKE”-inspired window display barely engages the political discourse nor offers a social mirror to the real vexations of the world. Despite its social message, it is still patently brand communication, made more unmistakable by the recurrence of the DIOR logo when the store is already well identified.

Dior store front P2 Oct 2018

You’d think if there’s anyone who would take their political conviction or feminist zeal to the fashion front, it would be the one-time communist Miuccia Prada, who, like Monsieur Dior, studied political science (graduating with a PhD at the University of Milan), who, according to popular telling, wore Yves Saint Laurent to protest. But Ms Prada, also a known feminist, has not succumbed to sloganeering to get her message across. As a designer, she used design instead.

Politically-correct/aware dressing of body and mind is, of course, trending now. That fashion should be embroiled in the current state of world affairs is emblematic of how passions and emotions are now easily and deeply stirred in people on either side of the socio-political divide. Fashion designers using their clothes (rather than storefront) as medium of political expression isn’t a Trump-era trend. One of the pioneers of political-slogan-as-fashion-statement—yes, emblazoned on T-shirts, Ms Chiuri—was Britain’s Katherine Hamnett. In the late ’80s, her messages were boldly printed on the entire front of T-shirts to be unmissable, although it is not certain if those who copped the tops shared her beliefs or were just interested in text on tees. In the UK’s fashion community, Ms Hamnett wasn’t alone. On and off, Vivienne Westwood, too, used similar methods to draw attention to what she felt fervidly about. Interestingly, women designers are the ones more inclined to speak their mind through their clothes. Ms Hamnett and Ms Westwood, however, wasn’t merely going afloat with the current of the their time. Theirs were ardent beliefs independent of social trends.

Dior’s collaged tear-sheets of newsprint images of women protesting in the ’60s with placards declaring “Mini skirts forever” (and such) are perhaps too distant and too grassroots for a luxury brand, and, thus, appear to be token engagement, especially when the windows and their encircling spaces offer little to shoppers that could arouse the mind. Bottom line: is it meaningful? As Miuccia Prada once said to Document Journal, “Someone who is superficial gets only the façade”.

Photo: Galerie Gombak

Add The Subtitles, Subtract the Subtleties

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It maybe cinematic, but is it poetic? And what happened to show, not tell?

 

Dior ad AW 2018 P1

This is trite. Plainly, simply, painfully trite. This isn’t some IG post with inane comments by a KOL who can’t conceal her daftness; this is a Dior autumn/winter 2018 ad with needless, vapid, whatever-for captions. As you see, the above photograph communicates a hyperbolic message: “Women who don’t cry should be outlawed.” What’s with the Billy the Kid language? Sure, we know designer Maria Grazia Chiuri is predisposed to proclamations, not susceptible to subtleties, and the face of feminism in fashion (“we should all be feminist”), but can this ad escape overkill, if not oversell?

We have deliberately chosen this photo without the Dior logo because we know that you may think it is a Gucci ad, and we don’t blame you. That look, those glasses, the Seventies vibe: they have been done before. Gucci fans know it, and we’re sure you do too, Dior. Let’s not go the imitation-as-flattery route. Let’s not track the bring-a-breath-of-fresh-air-to-the-crusty-hallowed-halls-of-the-couture-house (as one follower of SOTD sarcastically offered) path. Let’s not.

Dior ad AW 2018 P2

This season’s campaign is said to be inspired by the French New Wave cinema of the ’60s, which could mean that it’s conceived for the Netflix generation or fans of Girlboss. IG-style photos with pointless text is, perhaps, to encourage perfunctory approval from those whose idea of communicative flair is influenced by social-media. Cinema as source of inspiration for advertising campaigns is nothing new, but the absence of a true vision in these Dior images is dismal and a huge let down, especially when their ad campaigns were once shot to thrill by Nick Knight.

The thing is, Dior has, to some of us, lost its leadership role as it aims for commercial blah instead of creative high. Throw in the in-your-face social messages and the evangelical effect is one of distaste. There is nothing wrong with raising awareness or kindle empowerment, but mixing the messages with the selling of clothes by a bunch of models who look like they don’t really care is unauthentic and disingenuous.

Gucci ad AW 2016 P1Gucci autumn/winter 2016 shot by Glen Luchford in Tokyo. Photo: Gucci

Perhaps what’s truly annoying is that the captioning idea, too, has appeared in Gucci ads, specifically for the autumn/winter 2016 season. Lensed by Glen Luchford, the images were shot in Tokyo and came with captions to give them an aural setting. It’s a neat trick as the photos of the bustling city were able to delight the eyes, but not captivate the ears. Moreover, Alessandro Michele has on more than one occasion approached the art direction cinematically. To help the viewer gain more depth into his brand of visual communication descriptively is totally understandable.

Perhaps this is Dior’s cinéma vérité, with its own natural action, its own real dialogue. But, as we often hear people say, “It’s only a movie”, maybe we should just tell ourselves, it’s only a fashion ad.

Photos: Dior