It's clear that the fashion student they dug up to design this collection has no Couture training. Marc Bohan was an unremarkable designer so why be inspired by him? Dior's management doesn't "get it" and probably never will.
Dior needs Galliano more than Galliano needs Dior.
Question: collections are prepare so much in advance, is there a chance that Galliano had anything to do with this? cause I feel like people are hating simple cause it´s not by Galliano...
Yup, I think some people came into this thread prepared to trash this collection simply because Galliano is no longer at the house. The irony is that some of these looks are actually reminiscent of last year's flower collection.
Things must be very strange these days at the House of Dior, judging by the haute couture show we saw this afternoon at the Musée Rodin. All sorts of weird vibes, along with a lack of design leadership, have a way of surfacing in clothes. A runway is like a shrink’s couch; stuff just comes out.
For some reason I had the idea that this collection would be an interim deal until Dior could hire a successor to John Galliano. Not having a show would have been unthinkable because the Dior machinery has other products, like fine jewelry, to keep promoting, and the hoopla of a couture show, small or not, is a good way to keep distracted people at least little interested.
Oh, yeah — Dior. So I was a little surprised that the house gave so much play to Bill Gaytten, a studio assistant, who came to Dior in 1999 with Mr. Galliano. You would almost think that the management — Sidney Toledano, the chief executive of Dior, and his boss, Bernard Arnault, the chairman of LVMH Moet Hennessy Louis Vuitton — were road-testing Mr. Gaytten for the job. (He was recently named creative director of the Galliano brand.)
I’ve known Mr. Gaytten for a decade. I met him in the Dior studio with Mr. Galliano and Steven Robinson, a close collaborator of Mr. Galliano’s for many years, who oversaw virtually every detail of the collections. (Mr. Robinson died unexpectedly in 2007.) It seemed to be a very good creative team, backed up by Dior’s ateliers, and Mr. Gaytten’s strength was in pattern-cutting. I like Mr. Gaytten. He’s a sweetheart, but he is not a designer.
The collection presented today, with modern architectural shapes as the reference (at least that explains the dumb cubes and balls embedded in the models’ hair), was a hodgepodge. I had the feeling that Mr. Gaytten, without providing much guidance, let the studio hands play with free-form shapes. There were multicolored jackets with full pleated skirts in contrasting squiggle patterns. The tutti-frutti palette, with jolts of turquoise, recalled the Memphis design movement. Other dresses in metallic silk, with overlapping squares, made you think of Frank Gehry’s buildings. That immaculate Dior polish was not evident. Some long flowing dresses in hand-painted silk looked contemporary enough, but for the most part the clothes looked like over-bright costumes.
Backstage, Mr. Gaytten said it was time to do something a bit more modern at Dior. And when asked if he wanted the creative director job, he said, “Yeah, I do,” and added, “I’m not a fool.”
But any way you try to romance this collection with modern architects, it looked to me as though too many hands were in the pie — and some of them might have belonged to management, which is never a good idea. You just wind up with a mess. I can’t imagine Karl Lagerfeld not being 100 percent in charge at Chanel (I had a peek last night at a few of his couture dresses, and they’re awesome — talk about simple architecture). And the same goes for Azzedine Alaia, who will show on Thursday.
Dior has had four designers since Christian Dior’s death — Yves Saint Laurent, Marc Bohan, Gianfranco Ferre and Mr. Galliano. Dior’s bosses may have been frustrated with Mr. Galliano — and he with them — but I think it’s fair to say they got their money’s worth from his talent and his eye. If Dior is an historic house, a piece of French history (and I think it is), then Dior needs to find a designer who can lay down an aesthetic vision for the next decade or so. And then they need to let him or her do the job with full support.
__________________ Beauty is the climactic apotheosis of flowing elegance...
The attempts of making fierce runway moments with models over-posing and raising arms are extremely laughable.
Makes me think of two options: Either they thought it was a good collection, or they knew it sucked, so they had to make something up to cover it up- but they failed epiclly.
sell crazy some place else, we're all stocked up here.
It's funny that Cathy Horyn says that pattern cutting is Gaytten's strength. There are, altogether, far too many cuts here. The shapes are decidedly lacking. I see some undercurrent of something good - there's an idea there that could have been something.
A runway is like a shrink’s couch; stuff just comes out.
Great review by Cathy, a little harsh but truthful. I do think Dior executives must've seen what was coming with this collection, they're not idiots, but better showing something awful than bowing down to critics and not showing anything at all. And honestly, this may be awful but let's be objective, it isn't that different from what Galliano had been doing.. this certainly lacks the attention to detail, the precision he'd manage to inject into around a 10% of his collections but it's still as outdated, unmotivated and downright vulgar as Galliano's collections of the past 6 years. I was hoping Cathy wouldn't mention having Galliano back by the end of her review and I'm glad she didn't, this is rock bottom but Galliano's still bottom, they need to find someone that manages to challenge the CURRENT parameters of a luxury house and luxury buyers the way YSL did 50 years ago and the way Galliano did 15 years ago, and create buzz for what comes out of his mind instead of his mouth.. they need someone young, with enough nerve to get past this mess and the monumental mess Dior is immersed in now thanks to this, the scandal and the 'legacy' Galliano left in his last years at the house.