#John Galliano (for House of Dior)

[ilromagnollo84]

Chrystèlle Saint Louis Augustin

'In A Boudoir Mood' Collection

Christian Dior RTW S/S 1998

By John Galliano

[chicinsilk]

"Junon" (3)

This iconic dress has been the subject of several reinterpretations among the different artistic directors of the House of Dior, John Galiano in 2010, Maria Grazia Chiuri in 2017. It is this same version that Natalie Portman wore during the last Cannes Film Festival in May 2023. Cette robe iconique a fait l'objet de plusieurs réinterprètation parmi les différents diresteur artistiques de la Maison Dior, John Galiano en 2010, Maria Grazia Chiuri en 2017. C'est cette même version que portait Natalie Portman lors du dernier Festival de Cannes en mai 2023.

[newfashionlove]

On the eve of the Met Gala, I decided to recall the historic appearance of Princess Diana, which turned out to be the first and last at the Metropolitan Museum of Art Costume Institute event in New York in 1996. It is considered historical for two reasons.

Firstly, she appeared at the ball just three months after her high-profile divorce from Charles (now Charles III), which is unthinkable for royal etiquette.

Secondly, on the carpet of the Met Gala Costume Institute ball dedicated to Christian Dior, she appeared in a dark blue combination dress by John Galliano. It was one of his first designs at the Christian Dior Fashion House and it is quite natural that the author personally accompanied Lady Di on the track. But if this exit cannot be called defiant now, then in '96, many still considered the combination an item of underwear. That is why the princess wanted to abandon the outfit, which, in her opinion, would embarrass 14-year-old Prince William. But the exit still took place and subsequently went down in the history of the Met Gala, and the image bears the title of "revenge dress" and is considered a manifesto of a strong and free woman.

[wgm-beautiful-world]

DIOR

[voidmade]

Material objects i've discovered/rediscovered/am still enamored with within the last year:

-dancer shorts: it took me a bit to be comfortable with wearing these outside but it's the ultimate summer comfort piece, and so multifunctional!

-jewelry-like purse

-Nike x Comme des Garcons heel sneakers: my friend who used to work at Nike showed me these pre-release and i was sneering so hard but i woke up one day wanting them and it's been nothing but love ever since

-fur vests: loved them for a long time but this fall&winter they truly showed me how wonderful they are as layers for cold weather

-Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano by Dana Thomas : incredibly researched and so captivating, it will open your eyes abt these designers' works!

-Fashion at the Edge by Caroline Evans: another incredible research into the experimental runway shows of the 90s and 00s, dealing with darker themes and controversial fashion

-Dior Backstage foundation : happily committed for nearly 4 years, and with each and every use i am reminded why i love it so much

-Rom&nd Milk Tea Velvet Tint (in shades Earl Grey Tea and Black Tea): i always wear it as a lipstick in a nice thick layer, i just adore these shades

-Ben Nye white eyeshadow

-oil perfume:generic from my local arab produce store and a bit more high end, Oud Attar Discovery Collection - i never got as many compliments on my perfume since i started using oil perfumes, the scent lasts ALL day and it always fills whatever room i am in, my dream of being a walking incense stick came true!

-Accutane:yeah this one's a life-changer ngl...and side effects weren't that bad!

-bar soaps(two i have recently purchased, regular Aleppo soap and Tobacco scented soap from Alchimia)-rediscovering them after being a long time user of just liquid soap&shower gel, yes it feels a lot more sustainable, less waste, they last longer, plus the wonderful feeling of holding a new bar of soap, its weight and volume....yeah

-Palmer's Cocoa Butter lotion: i tried other lotions this year but i have to keep coming back to this one, it's so nourishing, easy to find, and always smells divine!

-Kose Softymo Speedy Cleansing Oil: it's so popular for a good reason

-Supermilk conditioning spray from Lush: your hair will smell sooo good

-gourmand scented incense: don't be scared of stronger scents, because the smell will linger in your place even the day after you've burned these...in my house it always does!

-domestic sewing machine: i finally got one this year and it's so comforting to be able to work on clothing at home as well! Plus a good skill to hone especially since my prediction senses tell me homemade clothing will be big soon enough, after we all get sick of fast fashion/trend cycles/insane vintage resell market/clothing fitting poorly etc

[lamarchesacasati]

John Galliano for Christian Dior, Haute Couture, Spring Summer Collection, 1998.

Tribute to Marchesa Luisa Casati.

Not long after his arrival at Christian Dior, John Galliano invited us all to Paris’s Opera Garnier, where he staged what was probably his most lavish spectacle ever for the house on its grand marble steps. With the Marchesa Luisa Casati for a muse, the clothes looked straight out of an early 20th-century salon or ball. There were backless velvet gowns in Art Nouveau prints, opera coats with deep mink trim, lace sheaths and skirtsuits, and rose-strewn picture hats. And for the finale? A shower of pastel-colored tissue-paper confetti cut into the shape of tiny butterflies. Pure magic. (x)

[fashionbooksmilano]

1997 Fashion Big Bang

exhibition Palais Galliera, Paris 2023

Alexandre Samson (sous la direction de), Miren Arzalluz, Franck Delpal, Colleen Hill, Marc Lambron, Sylvie Lécallier

Paris Musées, Paris 2023, 192 pages, 140 illustrations, 23,6x31,5 cm, ISBN 9782759605477

euro 44,00

email if you want to buy booksinprogressmilano@yahoo.it

From 7 March to 16 July 2023, the Palais Galliera is organising an exhibition focusing on the year 1997, a watershed year in the history of contemporary fashion. 1997 was both a high point of 1990s fashion and the gateway to the new millennium. It brought a flurry of collections, shows, new appointments, openings and events that defined the fashion scene as we know it today. Such was its impact that 1997 can be thought of as the launching pad for 21st century fashion. 1997 was notable for a number of emblematic collections: bodies deformed by Comme des Garçons with the Body Meets Dress, Dress Meets Body collection, Martin Margiela’s conceptualised garments in the Stockman collection, and Raf Simons’s redefinition of the canons of male beauty in the Black Palms collection. The magazine Vogue Paris defined the 1997 Spring-Summer haute couture season as the ‘Big Bang’ that Paris needed in order to regain its place as the international capital of fashion in an era of economic crisis and intense global competition. But there’s no denying that 1997 was a vintage year. It saw the arrival in haute couture of star designers from the 1980s, such as Jean Paul Gaultier and Thierry Mugler, while the legendary French fashion houses were taken over by a new generation of British designers, with Alexander McQueen at Givenchy and John Galliano at Christian Dior.

The globalisation of fashion gathered pace, foreshadowing the 2000s and 2010s. Young, little-known artistic directors rose to prominence, either on their own or at the head of major fashion houses: Hedi Slimane, Stella McCartney, Nicolas Ghesquière, Olivier Theyskens – names that are still shaping fashion today. A whole series of events marked the beginning of the new era: the concept store Colette opened and stayed at the epicentre of fashion for the next 20 years. But also, that same year, the world of fashion was shaken by the tragic death of Gianni Versace. The chronological layout of the exhibition features over 50 silhouettes from the Palais Galliera collections, along with loans from museums and international collectors and fashion houses. And it also includes videos and some outstanding archive documents. The exhibition 1997 Fashion Big Bang is an invitation to discover or to relive key events from this ‘explosive’ year in fashion history.

13/12/23

[wispstalk]

Been collecting some couture inspiration for Shivering Isles fashion. The bar for outfits has to be set in the stratosphere there, right?

DEMENTIA

Ann Demeulemeester | Robert Wun | Pressiat

Enfin Leve | Greg Lauren | Sandrine Philippe

MANIA

Thierry Mugler | Casa de Criadores | Iris van Herpen

Jean Paul Gaultier | Vivienne Westwood | John Galliano for Christian Dior

ACCESORIES/DETAIL

Jean Vendome | Leby le Moria | Alexander McQueen

Alice Auaa | Kobi Levi | House of Worth

[charlottee5]

10 Stars Who Flew The Flag For Sustainable Fashion In 2021

2021 has seen the fashion industry ramping up its efforts to reduce its impact on the planet. But it’s not just brands that are taking action, with a number of celebrities, too, flying the flag for sustainable fashion this year. Whether by wearing vintage or opting for an eco-minded designer, A-listers have a powerful role to play in influencing our shopping habits, and making conscious fashion the norm.

Bella Hadid

Bella Hadid is well-known for her love of vintage, with her penchant for archival Jean Paul Gaultier, Comme des Garçons and Stella McCartney-era Chloé only continuing to grow this year. She’s also added some more unexpected brands into the mix, including a micro skirt from Noughties favourite Abercrombie & Fitch. 

Kendall Jenner

Another JPG obsessive, Kendall Jenner has given us some of our favourite vintage looks of the year, including this printed sheer number by the French brand. The model is also a fan of eco-conscious brand Havre Studio, which restores and refits vintage men’s suits found at flea markets in Mexico City.

Rihanna

From Chanel to Dior by John Galliano, Rihanna’s shown off a series of envy-inducing vintage pieces in 2021. She’s also continued to champion New York-born and London-based designer Conner Ives, who repurposes vintage jerseys and silk scarves as part of his approach.

Angelina Jolie

Angelina Jolie is known for her environmental work, so it’s no surprise that the actor and activist has taken a conscious approach to her wardrobe this year. For a trip to Paris in July, she opted for looks from both Gabriela Hearst and Chloé, the latter of which gained B-Corp status this year. Later on, her children appeared on the red carpet wearing past looks from her wardrobe, including her 2014 Oscars gown.

Emma Watson

Another star known for her environmental activism, Emma Watson has also championed a number of eco-minded brands this year. The actor wore an upcycled Harris Reed dress to the Earthshot Prize ceremony, while opting for an Emilia Wickstead look made using recycled yarn to meet Al Gore. Watson also later chose a full-look by Scandi upcycling brand Rave Review during Cop26, the United Nations climate conference, in November.

Zendaya

Zendaya has delivered some of her best looks to date in 2021, including a series of vintage pieces – ranging from ’90s Versace to Noughties Roberto Cavalli. With the British Vogue October issue cover star revealing she’s creating an archive with stylist Law Roach, it just goes to show how a slice of fashion history can make a real statement on the red carpet.

Timothée ChalametIt’s no secret that Timothée Chalamet sets the internet alight with every look he steps out in – which is why it’s great news that he’s been championing sustainably-focused brands. They include Stella McCartney, a favourite of his, as well as pieces from Prada’s Re-Nylon range – made from discarded fishing nets and other plastic waste.

Lorde

Lorde showed her commitment to sustainable fashion by wearing not one but two eco-minded looks on the night of the Met Gala. First came the embellished separates by Emily Bode, which celebrated craft and featured charms, beads and pennies dating back to the 1890s. Then, there was the after-party dress by Collina Strada (a brand that she also chose for her “Solar Power” video).

Jaime XieBling Empire star Jaime Xie made a point of wearing vintage during fashion month, including an instantly-recognisable sculpted dress from Balenciaga spring/summer 2008, a printed dress from ​​Versace’s menswear spring/summer 2005 collection, and a Dior spring/summer 2004 silk dress, from when the house was under the helm of John Galliano.

The Duchess Of Cambridge

Arguably the most famous repeat-wearer out there, the Duchess of Cambridge chose to rewear two Jenny Packham gowns (including one that was a decade old) for her appearances at the Earthshot Award ceremony and Royal Variety Show this year. Away from the red carpet, Kate also championed sustainability, opting for a recycled vest from Ganni during Cop26, and a top-handle bag from British brand Tusting earlier on in the year.

[soukita]

THE REINTRODUCTION OF MARGIELA IN THE 21ST CENTURY

Since his debut, Martin Margiela has been one of the most influential designers of this generation. Inspiring artists such as Raf Simons, Margiela’s influence continues to impact already established and up-in-coming designers. Jean Paul Gaultier’s former prodigé was notably confused with being a part of the Antwerp Six, but this Antwerp graduate made sure to set himself apart from his peers. Founded in 1988 alongside Jenny Meirens, he started his brand with the premise that he wanted his clothes to speak for themselves, without the influence of branding. The four white stitches at the back collar represent practicality and if one wanted, the branding could easily be removed. Debuting his first collection on October 23rd, 1988, guests were seated on wooden benches and white cotton fabric served as the runway. This peculiar makeshift set-up connected to the themes of deconstruction and interpretation that the collection represented. During Paris Fashion Week, fashion houses at the time hosted their shows within the 1st arrondissement however his show took place at the Café De La Gare, located in the 3rd arrondissement. It became a controversial way for Margiela to debut his collection. Creating garments out of vintage clothing was one of the reasons why Margiela is known for his artistry. He questioned the obsolescence of outdated garments and constructed them into something transformative to reveal their inner workings.

He was also known for using a variety of everyday elements such as duct tape, garment bags, and spray paint to make runway pieces.

The standards in the ‘90s were to have highly influential supermodels to sport your designs and to have frivolous and outgoing runways (i.e. Chanel and Versace). The models Margiela used, however, were friends and strangers he plucked off the streets. He did this because he wanted to show that his clothes can be worn by everyday people and to highlight the house’s main theme of anonymity. Kristina de Coninck, a model who walked for his shows, recalled her experience working for the designer.

“[…]When Martin was casting models, he was always looking for a certain attitude, to let our personality show through. The fall/winter 2000 show was such genius — elegant but done with a sense of humour and attention to the finest detail.”

During his 1995 Spring/Summer show, he had the models wear rhodoïd strips over their eyes, concealing their identity to refocus it onto the clothes. Fashion houses in today’s age have adopted the concept of having models who are descendants of famed moguls within the entertainment industry.

Vogue dubbed Margiela a “Bad Boy” after his 1994 Fall/Winter Show because he refused to show his collection to the press before it hit the stores in September. Margiela’s name itself is extremely common in conversations and themes within the fashion industry, however, there are very few photos of him. Margiela did not want his physical image to speak for his designs, rather, he prioritized the brand being viewed as a collective, not one monolithic image.

In 2002, Diesel acquired Maison Martin Margiela due to financial troubles. During the acquisition, the brand had gone through major shifts in its identity which ultimately resulted in Margiela resigning from his position as creative director in October 2009. After his departure, the house’s anonymous design team who are famed for sporting white lab coats continued to design for the label until John Galliano was appointed creative director in 2014.

John Galliano is a Central Saint Martins graduate who previously designed for big houses such as Givenchy and Dior. Galliano was known for his flamboyant personality, logomania, and interesting designs. Galliano himself was a figurehead, never shying away from the spotlight, walking down the runway dressed in outlandish costumes (i.e. astronaut and sailor). Since Galliano’s takeover of Margiela in 2014, he has shifted the ethos of the brand to focus on refinement, poetry, and storytelling. Although Galliano is known for highlighting these pillars (as seen in Spring/Summer 2022), he has made this once garment and design-focused house into a house that is catered to today’s youth, who are heavily attached to the digital world. John Galliano stated that “The online presence of fashion houses can feel cold, detached, and transactional […] much of our grammar at the Maison is founded in movement: dressing in haste, work in progress, the bourgeois gesture.” Ultimately, the sense of mystery was lost because of Galliano’s identity despite the anonymous approach that the house was founded upon.

The brand also introduced more logomania items and had numerous collaborations. This has strayed away from the brand’s pre-Margiela departure ethos and it spiralled into a mass-consumerism, nonsensical, and somewhat profit-chasing brand. Maison Margiela is known for its collaboration with H&M, Reebok, and Samsung.

Margiela was a minimalist brand based on the bias of deconstruction, intricate designs, and practical wear. Now, it is a part of the public sphere and has been somewhat reduced to their popularized Tabi shoe due to the boom of social media. On TikTok alone, the hashtag “tabi maison margiela” has amassed 219.7M views. A brand that was originally known for going against industry trends, has now turned into the one setting them. Margiela is coined as the founding father of Anti-Fashion, and he’s up there with the greats such as Rei Kawakubo and Issey Miyake. Although Galliano is a talented designer, he tried to establish himself within the Maison in order to not lose all of the brand’s foundation. Galiano has a podcast called “The Memory Of… With John Galliano” where he narrates the collections he creates under the brand, further revealing the mystery of this once tight-lipped brand.

Although Galliano and Margiela are two different designers, they’ve still found a way to be some of fashion’s most reputable figureheads. Galliano may be a change of scene from the original ground built upon the foundation Martin had framed for the past several years.

[ilromagnollo84]

'COUTURE CLASH'

Christina Kruse, Shalom Harlow, Carolyn Murphy, Ling Tan & Debra Shaw in Christian Dior HC SS by John Galliano

Photographed by Peter Lindbergh for Vogue US, April 1997

[artbookdap]

Pure couture in 'Dior by Sarah Moon' published by @delpireandco⁠ ⁠ This gorgeous 3-volume publication explores 3 distinct phases in the history of the legendary French fashion house founded in 1946. The first volume presents 33 black-and-white images of Dior’s original designs, staged by French photographer @sarahmoon_official at the @fondationlecorbusier in Paris during the summer of 2021. It interweaves almost abstract photographs of the Fondation with vivid portrayals of the models. The second volume contains 43 images documenting a selection of garments designed by the various artistic directors of Dior between 1958 and 2015: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano and Raf Simons. The third and final volume presents 38 photographs taken since the arrival of Dior’s current artistic director, @mariagraziachiuri⁠ ⁠ Pictured here:⁠ ⁠ 1. Vincennes, Gianfranco Ferré for, Christian Dior, Evening gown, Autumn/Winter, 1989⁠ 2. John Galliano for Christian Dior, Suit, Spring/Summer 1999⁠ 3. Numéro 352, Maria Grazia Chiuri for Christian Dior, Miss Dior dress, Spring/Summer, 2021⁠ 4. Cocotte, Christian Dior, Afternoon dress, Spring/Summer, 1948⁠ 5. Miss Dior, Christian Dior, Afternoon dress, Spring/Summer, 1949⁠ 6. Drags, Christian Dior, Afternoon dress, Spring/Summer, 1948⁠ 7. Papillon, Christian Dior, Afternoon dress, Spring/Summer, 1948⁠ 8. Sahara, Maria Grazia Chiuri for Christian Dior, Coat dress,, Autumn/Winter 2017⁠ 9. Sonnet, Christian Dior, Ball gown, Autumn/Winter 1952⁠ All © Sarah Moon⁠ ⁠ Read more via linkinbio.⁠ ⁠ #dior #sarahmoon #sarahmoondior #diorbysarahmoon @dior https://www.instagram.com/p/CnUyxU4pEzF/?igshid=NGJjMDIxMWI=

[alicetiermes]

SAINT LAURENT'S HERITAGE

28 October 2015. By ALICE PYLYPENKO. For The Genius Trash.

While critics blabber their “this already happened, just in different colour”, I appreciate the endlessly-inspired devotion that is Saint Laurent by Hedi Slimane. 

Saint Laurent SS16 runway. Courtesy of Vogue.com.

Here comes the Saint Laurent girl, with disheveled hair and a haunted afters look, wide eyes and no fucks to give. You see her at Glastonbury, nonchalantly waving a lighter as The Strokes play. You catch a glimpse of her outside some after-hours establishment, shapeless glitter-gilded disco dress under a well-loved leather jacket. 

You may wonder, as one might do, what makes her effortlessly stand out? What is the it factor? After all, many unimpressive wardrobes stock plain shirts and jeans, perhaps even a suit.

But are they Saint Laurent? As in, draped sensually and with zesty carelessness, clever confidence of a bohemian introvert. That is, are they perfumed with eccentric air of trashy grace?

I get over-thrilled about Saint Laurent and you aren’t impressed. I don’t care.

In retrospect, many fashion houses have been reforming under new creative directors — think Dior under Raf Simons, Maison Margiela by John Galliano, Balmain's Olivier Rousteing. And while some chase preserving heritage, such as craftswoman Sarah Burton with Alexander McQueen, others are tasked to infuse the brand with fresh air of contemporary age.

In a recent Vogue documentary, Olivier Rousteing said that the idea of heritage is ever-present in his mind, rather than in cut of dress.

Continued relevance of heritage brands depends on designers who are unafraid to reference, or not reference.

The 'new' Saint Laurent is not as outrageously new as meets any half-hearted eye.

Yves Saint Laurent surrounded by models backstage. Photographer unknown.

YSL by Yves Saint Laurent received just as much critique back in the 70s. The green fur coats and gold disco dresses go way back. What Yves Saint Laurent created was a fashionable statement, coveted by those who didn't mind causing a little furore.

Hedi Slimane kept, rather perfectly, the heritage of Saint Laurent, by understanding the tongue-in-cheek, extravagance, and reference drawn by Yves Saint Laurent. The Saint Laurent that is today’s low-cut two-piece for women, was dreamed-up way back. 

If you are seeking “the real Saint Laurent,” it is there, still with the same key ingredients of rad, scandalous, exclusive. 

Indie icon Agyness Deyn returns to the runway for Saint Laurent's SS16 show.

And about the SS16 Ready-to-Wear? I adored Agyness Deyn’s return to runway, in crown, as she should. Sweetly traceable was the Kate Moss effect to the faux fur coat thrown over a flowing gown, the ode-to-Glastonbury boots, the timeless, that is, uncaring of the time of day leathers and denims. All these garments carry thoughtfulness and will certainly become well-worn and smoked-through, as per Slimane's intention.

Let Hedi Slimane be reverent to rock and roll. Why take style criticism from someone who doesn't even own a pair of leather pants?

[tim-hoe-wan]

Balenciaga definitely crossed the line. I think that these advertisements are inappropriate, and even disgusting. I hope that this backlash prevents the fashion houses from using children in their ads ever again. I feel like all of parties involved were fully aware of these documents. Thought I highly doubt that they predicted that it will reach the general public, and more importantly that the right-wings conspiracy theorists “journalists” will accuse them of being part of a paedophile gang and that they will be taken seriously by the Twitter / Instagram / Fashion folks. I think that they wanted to be that name of everyone’s lips as they always do tho they haven’t thought it through this time. Since they’re so out of touch they also had no idea that most people feel sensitive and want to protect kids.

Also It looks so ridiculous when their representatives claim that it wasn’t the idea of Demma and that all of these highers up at Balenciaga/Kering didn’t know about it so they’re suing the set designer of this ad, only to put a blame on someone (who isn’t even decisive or important). As if Balenciaga isn’t know for their provocations. Cowards. If they want to be soooo edgy they should bear the consequences. Especially after they’ve been showing in our throats for years how edgy, transgressive and provocative they’re. Which proves me once again that Demma and his collaborators lost a touch with reality a while ago. I’ve always thought that he’s just a desperate man who is selling hoodies, bags and jackets while making models look sick and drugged cause he wants to present some ass weird apocalyptic visions at his fashion shows to convince everyone that he’s that visionary artist. I feel like many influential celebs/people etc. put him on a pedestal without any criticism so they’re partially guilty in some sense in my eyes.

As for Lotta I knew that they will come for her one day. She’s too successful. Agree some of her Instagram posts are weird however half of shit which is posted on that thread about her which gained around 60k likes on Twitter is made up. Ex. the girl in a red dress with two babies is not her and Lotta actually doesn’t work for Balenciaga since 2019 as far as I know.

Also I think that Kering should have a better pr team. I think that it’s a bad sign that people are associating his name with a cruel head of a big devil corporation. I don’t claim that he isn’t one and I don’t feel sorry for him. However he fumbled a bag big time from a business point of view since people now who he’s.

That’s my thoughts :)

Fashion labels doing this shit always make me feel conflicted cause sometimes I want to react, but my friends who work in the industry have all talked about how labels and their creative directors totally love pulling the shock value card to give them attention. So reacting and giving the brand clout is definitely what they want you to do. The rationale is half a classic pr move, and half of it being their argument that artist is all about provocation and how much they can push it to the limit. With Demma, I feel he’s definitely at his wits end in how to get Balenciaga to keep up with other high fashion labels but at the same time doubles down when things become negative.

I know Balenciaga is considered within the world’s hottest brand right now, but I think what Demma is doing and what Alessandro did for Gucci in terms of overall impact will be pretty short lived. I can’t remember the last time these two brands put out something that I feel will become a classic and stay beyond the short lifetime of fashion in the influencer era. They’re no Tom Ford Gucci and John Galliano Dior for sure so the constant either shock value or teaming up with hypebeast brands always feel shallow and a last ditch attempt to do something iconic.

[myseancedetravail]

SS 1994

A spectacular romance of John Galliano. The leitmotif of the 1994 collection was the story of the Russian Princess Lucretia, who managed to escape from the Royal Palace and break free in search of herself. One snowy evening, she departs, sprinting through the forest in her hooped cage crinoline, her diamonds are hidden in her bustier and only her ermine muffs to keep her warm. Howling wolves are chasing her and the yards of will and taffeta that trail behind her are no match for the prickly terrain, nevertheless she reaches her lover’s humble abode in one piece, with only a moment to spare before she kisses him goodbye and borrows his piped pajamas and boyish tailoring to create a disguise. The main character of the show was a young Kate Moss, who remained loyal to her genius even during the scandal with the Dior house, and asked Galliano to make a wedding dress for her. The lucky few who were invited, had gotten sent a tea-stained, handwritten scroll. 

It was a fairy-tale inspired in part by a Vanity Fair article on remain of the Romanovs and the lost Princess Anastasia, Leo Tolstoy’s Anna Karenina, Jane Campion’s The Piano, the Duke of Edinburgh, and Madeleine Vionnet’s 1920’s bias cut. In true Galliano tradition, a narrative was firmly in place from the beginning to the middle to the end. In a sea of laissez-faire and Margiela-esque deconstruction, Galliano returned to old-world skill and technique to create a moment of pulsatingly original, objective beauty and heartfelt sincerity. To make the crinolines appear more modern, there was a generous dose of transparency in the form of wispy chiffon tops. The song ”Wild and Distant Shore” from the film The Piano, combined with the sound of trebled drummers was chosen for the presentation. Of course, Jeremy Healy operated the music, as usual. 

Prior to this show, Galliano was forced to skip a season due to financial reasons, and after it, he lost his backer and his studio space. Anna Wintour and Leon Talley, who were very much impressed by Galliano’s efforts, introduced him to investors.

The show had an incredible impact and support came in the extensive editorial coverage devoted to Galliano in the March 1994 issue. Two major spreads by Grace Coddington and photographed by Ellen von Unwerth and Steven Meisel showcased the best of Princess Lucretia. 

[fashionbooksmilano]

Dior

New Looks

Jérôme Gautier

Thames & Hudson, London 2022, 312 pages, Hardback, 28.8 x 21.6 cm, ISBN 9780500025048

euro 53,00

email if you want to buy booksinprogressmilano@yahoo.it

Published to mark the 75th anniversary of one of the world’s greatest couture houses, this gorgeous book combines Christian Dior’s classics with the newest creations

Christian Dior achieved immortality with his first collection in 1947. His ‘New Look’ amazed the world as it emerged after wartime austerity, and reset the boundaries of modern elegance. Dior’s search for the perfect line and the ideal silhouette has been celebrated by couturiers of the first rank: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri have all made their distinctive contribution.

This book honours Dior’s influence by celebrating the elements of style for every generation since 1947, through inspired pairings of classic and contemporary photographs. Six thematic chapters express outstanding Dior characteristics, including the silhouette, the evening gown and the eternal muse - in short, the aspects of the House that lend it unique distinction both then and now. The most beautiful fashion plates from Dior’s own time sit beside examples of the house’s creations through the decades. The resonance between classic archive photographs and the latest most up-to-date frames is clear and compelling.

10/07/23

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