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CR Fashion Book: A Tribute To Dim Dam Dom
By Jessica Eritou
The inspiration and point of reference for the shoot "A Tribute to Dim Dam Dom," featured in the second issue of CR Fashion Book, is entirely based on the Sixties French television program Dim Dam Dom which is captured wonderfully by Jean-Baptiste Mondino. Each model is wearing a stunning Sixties influenced Dolce & Gabbana dress in candy-colored tones, while all appear in the same lace up Brian Atwood pump and Eugenia Kim hat to provide harmony within the shot. This shot is a great one since it is simple and sets the tone for what to expect with the rest of the editorial.
The models wear head-to-toe sportswear influenced Alexander Wang and each sports a shag cut, while one is posed in the center as a ballerina embracing CR's overall theme of dance for the issue. The Wang pieces are too current and significant for the Sixties throwback with the rest of the editorial. By seeing the models dressed in Alexander Wang the reader is then reminded of his SS 2013 show and nothing else.
Next, a Jil Sander dress is featured with the model in a ballet styled pose. The Sixtes influence is evident with the dress, featuring a mod quality as it is a reconstructed shift dress. Carine Roitfeld reinvented the shot by incorporating a fresher makeup look with M.A.C. instead of doing the typical black liquid liner and pale lip which goes hand in hand with that era.
Following Jil Sander, the next shot features pieces by Chanel on the three girls and visors from Courreges. The colors are appropriately used, giving a sense of a Warhol pop art print with the hues of blue, white, and red. The cuts are represented well with identical shifts and mini skirts. The visors and the leather textures add a futuristic element to the work. Yet, once the viewer sees this shot they are automatically reminded of the era from which it was influenced.
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Next some pieces are featured from the last collection by Nicolas Ghesquière for Balenciaga. Much like the Alexander Wang pieces earlier in the editorial, this look is way too memorable from Ghesquière's collection to be considered a throwback for the Sixties since the Balenciaga skirts were seen everywhere since their debut last year.
Although Stephen Sprouse's work is memorable and iconic, it suits the time period that Carine Roitfeld is trying to reflect on. The coloring, the tailoring, and the shape are very mod. Of course, this piece features Sprouse's style of graffiti on canvas much like his earlier collection with Louis Vuitton which was sold out across the world.
Other highlights from this editorial are the Louis Vuitton models mixed with a ballerina dressed in Valentino. The juxtaposition (which Carine uses continually) between modern dancers and a classically trained ballerina are used beautifully in a composition filled with movement and dance. As well on the final page, almost like a finale of seeing a show, you have a model in Raf Simon's Dior paired with ballet flats as the rest of the models behind her are in very vintage inspired Michael Kors clothing due to the tailoring, cuts, and fabrics used.
The Sixties were a time of new changes in social norms and ideologies. Carine Roitfeld successfully emulates this by introducing reinvented shapes and colors from the time period but still providing a uniformity and tradition that was then prevalent among the mainstream American style of clothing.
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[Editor's note: I also enjoyed the interview below from Who What Wear with Carine Roitfeld about the inspiration behind the editorial "A Tribute To Dim Dam Dom."]
Q&A with Carine Roitfeld
How did the concept for this editorial come together?
Each editorial is about one of my obsessions: I am obsessed with dance, ever since I met Marie-Agnes Gillot (who is featured in the issue) and decided to take lessons! When I am obsessed with something I am totally in it and want to know everything about it.
For people who have never seen Dim Dam Dom, how would you describe the television show and its fashion?
It was the first French TV show (in the 60s and 70s) dedicated to fashion. They asked Peter Knapp, the art director of French ELLE at that time, to look after it, and he changed the way of filming so it wasn't static anymore! I was very young, but l still remember some of the pieces! It was a revolution, like the mini skirt of the "sex revolution" of these years!
Were there specific elements of the show in particular that influenced the editorial?
A lot of the time, the models were dancing in groups! And the hair and makeup was very important! It was very controversial at that time, and always very graphic.
What was the concept behind the hair and makeup for the shoot?
I did not want a first-degree retrospective and the hair is from another period totally. It's dedicated to Stephen Sprouse. Odile Gilbert, our hair artist, did a lot of his shows and she brought some of her personal vintage dresses to the set.
There are multiple spring trends showcased in the editorial, such as bold black and white, sheer panels, and stripes. What is the one trend you're looking forward to wearing this season?
I always keep my personal style! I do like that next season there are a lot of clothes in neutral and skin-colored tones, which I like. And plastic transparent shoes, which are very popular this season.
What do you love most about working on CR Fashion Book?
The energy of all these new talents as well as how it crosses with art, and always my free spirit!
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