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24-01-2011
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Quote:
Originally Posted by thiago:) View Post
exactly, I was about to say it. at least I could see some effort from him.
I used to like it more when John's glamour wasn't that classy. I know it's beautiful, but that's all, it's not shocking or groundbreaking (even though I find it hard to have something like that nowadays).
this is the most interesting statement in this entire thread. I agree completely. I liked the first couple of looks in red, and after that it just felt like I had seen it all before. I kind of miss Galliano when it was kinda crazy. his clients must be buying this up though, that's the only reason I can believe he keeps on coming up with more of the same

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24-01-2011
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Quote:
Originally Posted by irulan View Post
That beeing said, isn't it fascinanting how Galliano manages to find a different inspiration every season and then manages to turn it into the exact same thing?
that's so true, i guess that's why i'm bored of dior yet mr galliano always manages to pop up with a completely different look for himself at the end of the shows everytime, i'm starting to look forward to that more than his creations and having a good chuckle.

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24-01-2011
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I can't decide if this collection is ugly, boring or bizarre. I find nothing beautiful about 99% of the gowns and don't like the fabric on the other 1%. The lack of original ideas or real experimentation in the Dior haute couture collections over the last several seasons has me wondering if it isn't time for a new head designer. IMO

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24-01-2011
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Well, it started out kinda cool with that demonic looking black and red, then the lights go up, the colors become sissified and on with the Barbie gowns we go. Had John actually followed through with the dark, moody Gruau inspired eroticism that he opened the show with this might actually have been less boring than usual, but then it wouldn't be a Dior collection without pastels and frou.

At this point I'm not even seeing a change in the techniques that are being applied to the clothes. I mean he's done the shaded tulle overlay before. He's done the artistic brushstroke embroidery before. Would it kill someone in that atelier to show us something we haven't already seen?

Meanwhile if John's imagination hadn't stagnated years ago he might have thought to tie in the graphic black and red from Gruau to the graphic palette used by Serge Lutens when he was working at Dior cosmetics and done something interesting for a change.

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Last edited by Spike413; 24-01-2011 at 10:21 PM.
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24-01-2011
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I loved the collection. I thought it was very beautiful. I loved the use of deep reds at the beginning of the collection and all the shoes were gorgeous. As others have already said, however, the silhouettes and draping are all things we've seen before. I personally love the New Look and that seems to be a continual theme at Dior Couture but it would be nice if Galliano could do something a little different.

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25-01-2011
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this is what i love about this collection: it shows that we're in a new era of galliano for christian dior. we had those early years that almost everyone in this forum looks back on with glee, then we had that middle period we have dubbed the "borehouse" years, but we've entered a new era in the past year that has plotted forth headstrong and unwavering. this stuff is no bore. it's not quite the galliano from the early aughties, but let's face it, we're not in the early aughties anymore. chanel didn't put forward the same idea decade after decade. yves saint laurent didn't dazzle us in the same way as the eras of fashion marched on. this dior feels right for the time we're in. it's still more than we're seeing from so many, but it's defiant in its dior-ness. those are quintessentially dior jackets and quintessentially dior skirts. quintessentially dior dresses. and unlike those from times past, they can translate into the real world without that much altering or reimagining.

i'm just so happy galliano has managed to find a way back to relevance that lets him still display his dazzling talent and satisfy his more conservative uppers at the house of dior.



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25-01-2011
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half underwhelmed, half love.

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25-01-2011
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I love this!

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Last edited by MulletProof; 28-01-2011 at 12:19 AM. Reason: model talk.
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25-01-2011
  159
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Wow! Love the whole collection, and the shoes are amazing!

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25-01-2011
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Quote:
Originally Posted by Spike413 View Post
Well, it started out kinda cool with that demonic looking black and red, then the lights go up, the colors become sissified and on with the Barbie gowns we go. Had John actually followed through with the dark, moody Gruau inspired eroticism that he opened the show with this might actually have been less boring than usual, but then it wouldn't be a Dior collection without pastels and frou.

At this point I'm not even seeing a change in the techniques that are being applied to the clothes. I mean he's done the shaded tulle overlay before. He's done the artistic brushstroke embroidery before. Would it kill someone in that atelier to show us something we haven't already seen?

Meanwhile if John's imagination hadn't stagnated years ago he might have thought to tie in the graphic black and red from Gruau to the graphic palette used by Serge Lutens when he was working at Dior cosmetics and done something interesting for a change.
But there is a hint of Serge Lutens in this collection I think, isn't there?

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25-01-2011
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This is just smashing. I'm delighted to finally like a Dior collection again.
I love the hair, the makeup and all the red.
Thank you John.

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25-01-2011
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Quote:
Originally Posted by mikeijames View Post
this is what i love about this collection: it shows that we're in a new era of galliano for christian dior. we had those early years that almost everyone in this forum looks back on with glee, then we had that middle period we have dubbed the "borehouse" years, but we've entered a new era in the past year that has plotted forth headstrong and unwavering. this stuff is no bore. it's not quite the galliano from the early aughties, but let's face it, we're not in the early aughties anymore. chanel didn't put forward the same idea decade after decade. yves saint laurent didn't dazzle us in the same way as the eras of fashion marched on. this dior feels right for the time we're in. it's still more than we're seeing from so many, but it's defiant in its dior-ness. those are quintessentially dior jackets and quintessentially dior skirts. quintessentially dior dresses. and unlike those from times past, they can translate into the real world without that much altering or reimagining.

i'm just so happy galliano has managed to find a way back to relevance that lets him still display his dazzling talent and satisfy his more conservative uppers at the house of dior.
Exactly.

Sensing the (profound?) change of aesthetics in the making, congruent with the new decade that has just started. Befitting so much to the core of Dior-ness.

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25-01-2011
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Quote:
Originally Posted by FashionPower View Post
It's a gorgeous collection!
Definitely one of the best from his "weak" period!
Haute Couture doesn't always mean extravaganza
I think its a beautiful collection. The inspiration is not very interesting.

well, this collection can be seen as a "extravaganza" if you like. maybe it's not in the calibre of his previous "shows", but honestly, who needs ball gowns nowadays?

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Last edited by KKnardi; 25-01-2011 at 07:22 AM.
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25-01-2011
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25-01-2011
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splendid review by suzy menkes:

PARIS — With tulle and mother-of-pearl mimicking the shadow play of pen, ink and paper, John Galliano on Monday sketched out the romantic past of Christian Dior .

The show that kicked off the Paris haute couture season was romantic, dramatic and noble. But it was strictly haughty, never naughty and was too centered on fancy gowns to seem like Mr. Galliano at his most frisky.

The designer was inspired by René Gruau, the fashion illustrator for whom the line of a spine, the tilt of a hat and the flow of fabric was enough to create in a few strokes an indelible image of Dior.

So for the spring/summer show, it was back to the 1950s, when lips were scarlet and the pace stately as the models walked like greyhounds down the runway, striking poses for the photographers and showing the architecture of bulbous backs and sunray-pleated skirts.

“That effortless grace,” sighed Mr. Galliano, “and those curious lines that inspired me to create new volumes and movements.”

The photography of Irving Penn was in the mix. So the idea was to bring to life both black-and-white photographs and drawn images through “pen strokes” of beading and layers of gray and black tulle, creating a poetic chiaroscuro effect.

The show was dazzling in its craftsmanship, as paint appeared to wash over the dresses and iridescent embroideries winked at the audience. But Mr. Galliano’s more familiar focus on the body, however historical the clothes, was lost inside the graphic shapes and the vast skirts of ball gowns that came down the runway in an unstoppable stream.

There are moments when the designer’s affection for his master seems touching — and others when you wish he would not genuflect to the original Christian Dior work, but rather start again with a blank page for his personal dreams.

But for Dior, this show will be a chance to dress Natalie Portman at the Oscars, to run the show film in boutiques round the world and to draw traffic to the Web site. The fact that Sidney Toledano, Dior’s chief executive, was hopping on a plane to China right after the show somehow sums up the distance of today’s couture from the Christian Dior days.

iht.com

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