John Galliano is one of my all-time favorite designers. I will be using this blog to dissect several of my favorite fall couture collections created by Galliano for Dior. At first, I was going to look at spring couture, and bot fall and spring ready-to-wear,but decided for consistancy purposes, that I would only look at fall couture. Fall tends to be more dramatic, and heavier-which I personally like- so this is right in my element. The shows I have selected are Fall 1997, Fall 2004, Fall 2007, and Fall.
John Galliano's Debut Dior Couture Collection
I first heard of Christian Dior my 10th grade year in high school. At this time in my life, shows such as the Simple Life staring Paris Hilton and Nicole Richie were all students seemed to talk about. I mean, it makes perfect sense, the guys wanted to date the stars, and the girls wanted to be the stars. Well, one girl in my class already lived as if she were one of the stars. I remember her having every hot designer item of that year, several of which were Dior Saddle Bags
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Well, I kind of forgot about Dior-mainly because I never cared for his men’s collections, nor his luggage collections, but eventually develop an immense love for MOST things Dior. You see, in terms of fashion, Dior is arguably one of the best houses and is considered to be of the forefront of fashion. After researching the origins of the House of Dior, and learning about where it came from, I figured the natural step would be to see where the house has been going, and where it is now.
It is due mainly to my digging that I came across John Galliano’s name. He is currently the Chief Creative Director for the House of Dior. Part of his responsibility is the overseeing of the houses Spring /Summer and Fall/Winter Couture lines. This means, Galliano, designed, oversaw or okayed anything one sees in the couture collection from the House of Dior. Although a creative director has to stay true a houses origin, they are left creative license in regards to how they choose to showcase their work—thus one can still see some of the designer in the show.
I have watched many Dior shows, however they are all from within the last five or so years. Until now, I have never really considered looking at where Galliano started, and tracking his progression. With the task of following Galliano’s progression in mind, I started searching and found out that his first couture collection was a Fall/Winter collection way back in 1997. This show is NOTHING like the shows I have come to love from the House of Dior. Although the show paid homage to the late Dior (in that the show took place in a venue which is an exact replica of the original Dior Avenue Montaigne showroom), I found the show to be the complete opposite of what I believe Dior stood for.
Dior was about showcasing and enhancing the beauty of the female body and form, however, Galliano basically puts everything out there for the world to see. You see, Dior is known for The New Look
which was all about covering up, and full skirts and fitted jackets and what not. In Galliano’s first Dior line, elements of Dior’s design aesthetic make an appearance, but for the most part, I feel Galliano took the show too much into the 1990’s. The skits were mid-thigh, and the models were EXTREMELY provocative.
I cannot help but wonder if Galliano himself knew what he wanted to accomplish in this show. The music is very distracting, and the collection is not as cohesive as other shows I have had seen from him.
I can totally appreciate this show as an amazing production, but I am not sure I would give it the praise that others have given it. I guess it’s hard to look at one of my favorite designers early works when I have seen some of his best collections already. Whatever the case, I am excited to find and react to my next earlier John Galliano Dior Show. I know he has found his voice as a creative director now in 2010, but I am excited to look through his work, and critique the process he went through to have such an amazing voice!
John Galliano's Fall Couture 2004 Collection
I honestly do not know where to begin when it comes to discussing this show. There were simply so many elements, that I know I will surely miss something. To help myself remember everything I wish to discuss, I will break the show into several components, and then address each of the named components. The components that most intrigued me about this show are: the dresses themselves, music choice, accessories, and make up.
Everything about the opening sequence was absolutely perfect was in sync! The premier model started the show with dramatic poses while in a dress I can only describe as an inverted martini glass. I have seen this silhouette before from Galliano (I want to say in the collection that preceded this one) and was not impressed; however this time, he seriously hit a grand slam. The model and gown not only moved as one, but did so in a way, as to create the illusion of floating. Silhouettes similar to the opening gown are scattered through out the show, but I would have to say that the dresses are a pretty equal mix of these innovative silhouettes, more classic evening gown-like dresses, and flat out over-the-top ball gown creations. The show does start strong; however, there were definitely moments I had NO idea what was going on.
Some of the dresses had models with weak walks, which resulted in making the garment look cheap, and others were simply over styled and had no place in the show at all. (There is possibility of course that something went over my head, but I really doubt it.) I feel that Galliano knows his collection well though, because he always followed weaker look and or models with perfect pairings of strong models and strong dresses which resulted in my attention being kept. Galliano also does an a more than extraordinary job of applying bards to gowns-in fact, more times that once, it was actually the beading detail of the gown that saved it for me.
I have yet to figure out what the tempo and or music changes reflect within the show. Some times, the correlation is obvious, but more times that not, the change remains a mystery. The fun songs are the easiest songs to figure out because those are generally the songs the models are flirtier and freer with. You know, it almost makes me think that there is a power struggle in the show between a mother (arguably a queen) and her daughter (a princess). When ever the “younger looks” are presented with the more dramatic music, the models look more somber and stoic. Once the pace is changed though, the “younger models” go back to their youthful, exuberant state. The show ends with an upbeat version of Tchaikovsky’s “Nutcracker Suite op.71a” which serves as a substitution for the traditional wedding march. This is more than appropriate because the finale gowns are all wedding-gown like in their color and grandeur.
The show has an overwhelming regal presence bout it. I mean this could be because Galliano some how manages to display every last crown jewel of the European monarchy in less than 20 minutes of show. (Please note I am joking—there were simply THAT many jewel-encrusted crowns, necklaces, bracelets and earrings.) Galliano also incorporated elbow-length gloves into some looks with aided in taking those paired looks to said regal level.
The last element that simply made the show was the make! At first, I was not really impressed with it, but after paying close attention, I realized that the make up was part of the over-all story. Because the models faces were powdered white, their features stood out that much more, which allowed me to figure out the emotions they were conveying, which helped me figure out what the music had to do with anything, which led me to figure out the over-all theme of the show.