@article{oai:soar-ir.repo.nii.ac.jp:00018493,
 author = {鈴木,  明 and 高寺,  政行 and 大谷,  毅},
 issue = {5},
 journal = {日本感性工学会論文誌},
 month = {Sep},
 note = {Ever since the couture maison Christian Dior (CD) joined the Chambre Syndicale De La Haute Couture, it has been presenting its biannual runway shows for approximately 70 years. “Aesthetic elegance” the essence of haute couture is what couturiers in Christian Dior have to portray in their garments. However, Raf Simons, who took over Dior after John Galliano, was unable to do this. This paper proves this fact by using the criteria set by Suzuki from his working experience with Guy Laroche in 1980s. Using this criteria, examined are Galliano's 11 AW and Simons' 14 AW as well as his 12 AW as appearing in the film “Dior and I,” which describes the designing and manufacturing process of the collection. The study confirms that while Galliano met the standard of haute couture, Simons did not in that he did not compromise with the brand in his minimalism even though he did in terms of color. Simons' career cannot be termed as that of a true couturier. If his minimalism continues, haute couture, which necessitates gorgeousness, will disappear in CD. It was also revealed that the ateliers of couture maisons cannot do efficient work without well-trained couturiers. The paper confirms and concludes that couturiers affect the existence of couture maisons., Article, 日本感性工学会論文誌. 15(5):589-601 (2016)},
 pages = {589--601},
 title = {Raf SimonsのLA MAISON DIORにみるéléganceの違和感 : クチュールメゾンの設計過程},
 volume = {15},
 year = {2016}
}