Without a doubt, Raf Simons’ Dior debut was the most anticipated collection in years. As soon as he was named as Galliano’s successor, it was agreed that Simons was the most logical choice (let’s now be thankful that the Marc Jacobs rumours were just rumours), especially following the “couture trilogy” of his last collections with Jil Sander — all three were immensely influenced by Christian Dior’s work.

Both designers favour clean silhouettes, with rigorous focus on construction. Dior, of course, is the inventor of the modern silhouette, with his 1947 Spring collection known as the “New Look.” It wasn’t surprising that Simons looked to the Dior archives, opening the collection with the iconic “Bar” jacket, one of the most recognizable silhouettes in fashion history. Simons’ version of the wasp-waisted and hip-padded blazer is more relaxed and updated for 2012 with a slim pair of cigarette trousers. 

The waspy waists of the “New Look” continued throughout the collection, with belt-cinched day dresses and coats that provided plenty of deja vu of the great master, including his signature v-cut neckline.

Dior’s beloved floral prints (which Galliano did oh-so beautifully) made many gorgeous appearances, particularly intriguing in the form of trimmed ball gowns, paired instead with the ever-present cigarette pant. The yellow embroidered number is a direct homage to the 1954 “Nuit d’Août” gown, from the collection of dresses inspired by different months of the year. 

And, of course, there is the strapless full-skirted dress worn by many prominent Hollywood figures and 1950s elite. Simons stayed fairly true to the silhouette — respectfully and carefully so — updating the frock with a pair of pockets. 

It’s universally agreed that Simons’ debut Dior collection is a triumph, a flashback and a flashforward simultaneously, a consummate understanding between two great designers. 

(Now if someone could just do the same for Balmain.)