Christian Dior HC F/W 07.08 Versailles #2 - the Fashion Spot
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Christian Dior HC F/W 07.08 Versailles #2
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There is an article in the LA Times today about the couture shows that mentions the art influences in Dior HC. It's nothing we didn't know already, but still worth a post

At the fall couture collections, there was no such thing as over the top.
By Booth Moore, Times Staff Writer
July 15, 2007

Paris — PERHAPS the extreme opulence in Paris last week speaks to a world that now has 8.7 million millionaires, for whom a $100,000 made-to-order couture gown is a nice little trifle.

Whatever the reason, the city was dripping with money and fashion spectacle from the Palais de Tokyo to the suburb of Versailles.

You could see it at Dior's blowout at the Orangerie, where 1,000 guests, carbon emissions be damned, had traveled in chauffeured cars to the festivities at Versailles. Jean Paul Gaultier did an about-face from his monastic vision for spring to a full-out princes' and maharajahs' fantasy, with one model as a czar prince with two foxes dangling from her jet-beaded shoulder straps. Even Giorgio Armani, typically the master of tasteful greige, went on a garish tear, showing the kind of clothes that recall the last era of conspicuous consumption, the 1980s, or perhaps signal the beginning of a new one — in India, Russia and China. That fuchsia crocodile jacket fastened with a jeweled corset belt over a flared skirt? Totally Alexis Carrington.

At Dior, no expense was spared. Forty-five of the world's top models were flown in: Naomi, Shalom, Gisele, the whole zero-percent body-fat club. The after-party, held in the gardens, where Bedouin tents were hung with crystal chandeliers, featured roving musicians, chefs serving paella out of Jacuzzi-size skillets and a projection of the fashion show from earlier in the evening onto the spray of a fountain.

Marie Antoinette would have approved.

So often, John Galliano is influenced by sculptural origami folding or raucous street fashion. But this season he played the romantic, drawing on French painters and photographers, Spanish bullfighters and Dior's famous nip-waisted, full-skirted 1947 New Look. The first time around, the New Look spawned post-World War II street protests against the designer's conspicuous use of fabric. Now, 25 meters of silk is a God-given right.

The show began in black and white with a Jean Cocteau pen-and-ink portrait on the bodice of a ball gown, and a white bustier dress swirled into a hand-painted pink rose at the waist. What followed was a color explosion, each look more delightful than the last — a pink trompe l'oeil column dress outlined in brushstrokes, Picasso's harlequin suit done in soft pastels, a fiery crimson dress embroidered in gold like matador's costume.

It was over the top, certainly, but not too much so, a true marriage of Galliano's sense of theater and the house's ladylike elegance.

Not to be outdone, Karl Lagerfeld took over the nearby Parc de Saint-Cloud, where not even the driving rain could keep away the private cars full of Chanel-clad lovelies. They were greeted by handsome attendants brandishing black Chanel logo umbrellas and escorted down the soggy garden path.

On the runway, there was a renewed focus on embellishment, a departure for Lagerfeld from the monastic, unadorned jackets and distressed denim leggings of last fall's couture. He returned to the classic Chanel suit, which looked very 1980s covered in silver sparkles, with squared-off shoulders and a slim skirt. The "Thriller" decade was brought to mind again when a chemise dress appeared with overgrown gold studs running down the sides.

But there was lightness too — a short-sleeve, pastel blue ball gown with a white underskirt and a bodice traced in crystals was the kind of demure thing you could imagine a girl wearing to her coming-out ball, wherever in the world they still have coming-out balls; while the pleated cream chiffon sleeves on a silver cocktail shift looked like angel's wings.

Feathers appear to be the new fur. Everywhere, there was plumage on cuffs and collars, headpieces, even the sides of sunglasses.

At Christian Lacroix, feathers wove themselves into a sumptuous Orientalist theme with loose manteaus, kimono jackets and watteau-back coats in flocked velvets and birds of paradise brocades. The bolero was here, too, in studded satin with ostrich feather balloon sleeves, or simple black crepe topping a cream chiffon skirt with rows of silver embroidery tracing the pleats. Kohl-rimmed eyes, court shoes dangling jewels and toppling wigs completed the decadent picture.

Jean-Paul Gaultier's collection was also steeped in exoticism, stirring up romantic notions of empire with embroidered officer's jackets and riding pants, colorful brocade coats and jeweled turbans. (That's right, they're not going anywhere.)

His princely story of privilege might be a well-worn theme, but not done like this. He traveled to India, Russia, Bavaria and the fairy-tale land of Prince Charming. Even the models' hair was teased into regal crowns atop their heads. A black Lurex lace dress laser-cut to look like the wrought iron work of a palace gate, an emerald green velvet gown with looped fringe sleeves dissolving into bracelets and jeweled velvet leggings were just a few of Gaultier's inspired ideas.

In a season of so much froth, the Givenchy collection was a turnabout, inspired by woodland half-deities, daughters of ancient sea gods, medusas, sphinxes and other fierce creatures. Designer Riccardo Tisci roped in some pretty fierce creatures of his own for the front row, including Liz Goldwyn, Rachel Zoe and Courtney Love.

This man can tailor a jacket fitted perfectly around the waist with curved shoulders like ski slopes, worn here with downy white, Björk-style feather skirts. But it was the white draped jersey finale gown sliced with sequins that stole Love's attention (she wore it to perform at the after-party).

In between, the collection was raw and primitive — a jacket with a molded "spine," an allover leopard-spotted cat suit with matching helmet and shoes, and a crocodile skin tailcoat.

Not exactly clothes fit for a queen, but maybe for a queen of the jungle.
LA Times

Last edited by La bordélique; 23-11-2010 at 06:55 PM.
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Originally Posted by JR1 View Post
just saw this photo from the afterparty, wow!
*please don't quote pictures*
like the disneyland show. hahaha. it's lovely.

Last edited by gius; 15-07-2007 at 06:51 PM.
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If you guys were wondering what was the name of the Gospel Choir singing it was the London Community Gospel Choir. I unfortunately do not know the name of the song.

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This is the 2nd Dior show for the London community gospel choir, they also sang for the Dior Fall/Winter 2002 Couture show

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The edited video is now on together with the backstage vid. I have to say that this is one of the best edited Dior vids in recent history...esp compared to Cruise 08 :p

Beauty is the climactic apotheosis of flowing elegance...
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wow!, this is a much more democratic version of the video!!, I´m not even half way through it and I already saw Romina!, Vlada!, Alexandra! and Doutzen!, without constant cuts to Gisele unglamorously fanning her sweat out.

What a release, yesterday going through the couture process thread i though about how bad I would have felt if I was one of the petites mains who made one of those looks that were previously edited out.

"Luxury is the necessity that begins where
necessity ends"... Coco Chanel.
"If a woman smiles, her dress must also smile"...
Madeleine Vionnet.

Last edited by j´adore dior; 23-07-2007 at 10:47 PM.
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I found a clip of backstage footage with Hilary Alexander from the Telegraph, and she identified a few more of the artists corresponding to the looks. Naomi was inspired by Alma-Tedema (as I guessed), Irina was, as it was already guessed, inspired by Lautrec and Lily Cole was inspired by Teipolo.

You need to move fashion forward when there's a reason to move fashion forward - Tom Ford

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I was bored and I found out this is the thread (about a SINGLE designer collection) with most replies. yo
(If you don't count the designer working for Topshopt et similia)

pensava di averle regalato un gioco, e invece le aveva regalato la libertà

Last edited by Londoner13; 08-09-2007 at 07:55 PM.
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Originally Posted by j´adore dior View Post
wow!, this is a much more democratic version of the video!!, I´m not even half way through it and I already saw Romina!, Vlada!, Alexandra! and Doutzen!, without constant cuts to Gisele unglamorously fanning her sweat out.

What a release, yesterday going through the couture process thread i though about how bad I would have felt if I was one of the petites mains who made one of those looks that were previously edited out.
does anyone have this version as a video file of whatever format???

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Lifestyle Story

Behind the dior

5:00AM Friday September 21, 2007

Lily Cole on the catwalk at the Dior show earlier this month. Photo / Tranz/Rex Features

British model Lily Cole gives a unique backstage view of Dior's 60th anniversary show in Paris.
Dior's 60th anniversary. Ten years to John Galliano. Under the marble ceilings of the Orangerie at Versailles - a palace built to house the king and queen's orange trees over winter. Fabulous was John's intention, and I don't think he could've missed the irony, the aptness, of hosting one of the grandest statements of fashion in a place of such indulgence. The mirror of decadence was hard to miss, and compelling for its dazzle.
This is going to be a show of historic proportions. The music is charging and I've seen the length of the catwalk - long enough to fear it. I'm girl 44 of 45 in the show - which means half an hour of agonising waiting backstage. Half an hour to reflect on the hours of meticulous labour and back-and-forthing that went into producing this moment. Half an hour for my heart to match the beat of the music (the London Community Gospel Choir and the Loyola Boys Choir from a Catholic prep school in Essex, so think dramatic). Half an hour to contemplate the number of people, and to notice my ankles curling inwards, begging to meet somewhere on the floor in between ...

It is not often I credit this job with being particularly hard, but walking a Dior show is one of those rare moments I can really feel, as a fashion model, I've earned my bread and honey. That, to me, is what being part of Dior couture is about. Putting "super" back into the show.
Most pret-a-porter shows have become largely homogenised affairs, but the couture collection gives the designers time to create fantastic and unique pieces with the drama and aspirations of art. Couture is fashion's theatre, where fantastic but pure design ideas are allowed to flourish. Dior is synonymous with couture. And the show is John's platform for his genius.

Before the show, 5am, the fittings in Paris ... leaving a trail of girls in corsets behind me. The procedure is meticulous. The girls are pinned, corseted, dressed, then crowned before being brought down to John, who greets you with a smile and makes the final adjustments to the dresses.
The studio walls are mirrored and covered in Renaissance images, and the soundtrack for tomorrow night's show belts out loud and dramatic; you're in a cavern of late-night creativity and inspiration.
There is an inherent friendliness among all the glamour; a close-knitness amid the scale that makes you not just inspired, but happy to be there at these late hours. The Dior family is here; the team which has worked together since I did my first Dior show eight seasons ago, and I'm sure a whole lot longer.
There is none of the notorious fashion bitchiness. Forget clothes horses; the only horses in this show are the statues.
Every model has her own image and personality for John, and he takes the time to match each dress to each girl. All the outfits reference an artist's technique and inspiration - Naomi Campbell's is Alma-Tadema, Linda Evangelista's is Caravaggio, Gisele Bundchen's is inspired by photographer Irving Penn, Amber Valletta's is Renoir and mine is Tiepolo.We have images to meditate on the evening before.
Yet there is a sombreness, too. Steven Robinson, Galliano's right-hand man and head of studio for Dior and John's own fashion line, died four months ago in April at the age of 38. He'd worked beside John for two decades, and was brought to Dior as part of the deal.
This is the first show John has staged since his passing. Everyone feels the loss of Steven's energy - his absence pervades the general mood. He had such a distinctive voice, such a powerful presence backstage that a hole is left. Someone jokes that his sense of humour has hung around - Shalom fell over at the fitting (green dresses are apparently bad luck in couture, but John loves green) and they joke it was Steven who pushed her.
I really admire the strength and vigour of the "Dior family", creating this show in spite of the circumstances. Perhaps it's because of the circumstances. The show is dedicated to Steven, a fabulous ode to a fabulous man.
Forward eight hours, and I turn up to the green lawns and sunshine of Versailles, a refuge from Paris's clogged streets. My eyebrows are glued down, my eyes taped back. (Naomi and Linda discuss whether to get taped - hilarious.)
My eyes are decorated with silver and purple glitter right up to my high-painted brows, double-layered false lashes are applied, and my hair is braided with crystal stars.
Hair and makeup are nearly as important as the clothes in this spectacle, and John works closely with makeup artist Pat McGrath and hairdresser Orlando Pita before the show.
Really, several geniuses are involved here ... The glitter around my eyes frames my vision backstage; frantic and busy, ribbed with magic. It's an exhaustingly long process, but so exciting. My face afterwards is always a complete surprise to me and I love the contrast of the midway point backstage; the sparkle of made-up faces, hairdos to challenge Marie Antoinette's and milliner Stephen Jones's crystallised creations - hats, brushes, crowns and stars all floating above a sea of organised chaos, jeans and leather jackets, iPods in jewel-adorned ears.
Girls sit patiently as they are painstakingly transformed. I read my book (Shantaram) and try to ignore my Blackberry.
Five hours later, I'm standing at the edge of the runway, congratulating myself on making it to the end and worrying about my awkward face of contorted pain showing through the inch of make-up I'm wearing. I see Shalom approach gracefully from behind. Girl 45 - the finishing number. I'm standing next to a statue of a horse, waiting to pose with her and John when he arrives.
And here she comes in a jade silk dress, walking so lightly she could have stepped out of one of the Renaissance paintings by Michelangelo that inspired her outfit. Head high, lips curling softly into a smile, Shalom moves her arms into the air, shifting her bodyweight with the lightness of a bird in flight. Shalom, as peaceful as her name. Now that, I think, is a supermodel.
Apprehension, the long build-up; we wait for the master, the showman, to make his entrance. Shalom and I assume different positions next to the horses. John arrives and takes a slow bow, certain and confident, drawing out the time. There is a way that most good actors have a way of claiming the time, not feeling rushed to deliver a line but owning the pauses in a way that can come only from confidence.
He turns on his heel, gives Shalom and me courteous nods and smiles. Then he marches off, leading the way. As I run around backstage, the atmosphere is warm, excited, beautiful. The biggest couture show of this decade is an undisputed success. I run into legendary stylist Edward Enniful, Dior show staple Dita Von Teese and my agent.
At the party afterwards there are hundreds of people, jugglers throwing fire, mountains of fresh paella cooked in pans the size of wagon wheels, drinks and the opportunity to dance away sore feet.
Angela Lindvall, Irina Lazareanu and I kick our shoes off and do a good stint on the dancefloor before ambling around the gardens.
A film of the show is projected on to a fountain, so all the girls appear in the jets of water as ghost-like holograms. In the 18th century, that kind of decadence lost them their heads. This time, the audience keep their heads, but their minds are blown.

"Let's stop treating models like greyhounds we plan to shoot after a race. We have to remember we are dealing with real people who have real feelings."
- James Scully
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^^Wonderfully written!

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This was really impressive, thanx for posting. +karma

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i like to read this article ..very good and love to see Lily cole

TLC= Tenderness,Love and Carrying
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For French tFSers:
There's a documentary on this collection tonight in "Des racines & des ailes" on France 3.

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