Blissfully unaware that Iran could have any other resonance than Persian miniatures and harem drapes, John Galliano took Dior down an Orientalist route - and sent out a quietly beautiful show Friday. The fretted backdrop, caging Dior's signature lilies of the valley, caught a frisson of the feminist issues surrounding the Iranian culture then and now. But the Persian theme was used just to give a faint exotic perfume of the East to Galliano's smart tailoring, sleek astrakhan furs and floating evening gowns. They - and the bobby-pin hairstyles - were a riff on his favorite period: the 1920s, when the exotic was in vogue.
Ikat fabrics enriched suits, in which an oval skirt was caught in at the knees and decorated with tiny pompoms.Horizontal pleating was perfectly elegant. And although the models still carried the status-symbol handbag, the other accessories were imaginative, from exotichats and ethnic necklets to shoes with Persian dagger heels.
The show was beautifully realized and deeply researched, with paisley pants and rich brocades. It had moments when the Eastern promise was richly fulfilled. The Galliano floating dress, with a harem pant hemline and snuggled against a fur vest, recalled the Delacroix paintings that Galliano cited backstage.
"The Orient was a great inspiration for Mr. Dior - he made a trip there - but sometimes I travel in my mind," Galliano said.
Perhaps that is why, with all its pasha glory, this show seemed to lack passion. Compared with the way the designer developed his Dutch painting masters collection for the haute couture show in January, these clothes were mild and totally wearable - which is, indeed, the point of ready-to-wear. To criticize the designer for doing his job of distilling the inspiration is unfair, especially in this difficult moment for luxury. As Laurent Wolf sang on the soundtrack: "No stress."
But if Galliano had done one of his famous trips - to the Levant rather than the library - there might have been an extra undercurrent to the show.