Make no mistake, history is a pillar in the Dior creation. Even in the case when the conversation takes the storied couture house to the shores of England and right smack into the heart of the English countryside, there’s still a connection to be found. The setting was Blenheim Palace, the birthplace of Winston Churchill and a location that witnessed two haute couture shows from Dior held more than half a century ago – the first in 1954 and the second in 1958 under the supervision of Monsieur Dior’s successor Yves Saint Laurent. This return to Blenheim Palace – and still without a creative successor to the Dior empire – was perhaps the perfect opportunity to remind concerned supporters of the Maison that when in a transitional phase, always refer to the rulebook left behind by the originator. Under the capable hands of Lucie Meier and Serge Ruffieux, the longstanding Dior silhouettes are an on-going dialogue for the house, one that even these designers have admittedly no intention of diverting from. They wanted to inject a semblance of Englishness into haute couture. What they researched on were “post-war high society’s wardrobes” and exploring the “restlessness and wanderlust that characterised the period.” British poet Edith Sitwell was cited as their muse. Prepared to be wowed.