Christian Dior Haute Couture F/W 05 Paris

^Theatric, yeah that's what I thought. I love that

I actually like this. Love the set and the colours and details on the dresses. :heart:
 
Sorry, forget the pics :flower:
 
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Love the setting...nude dresses...everything! :heart: I really can't wait to view a video of it!
 
this is great!! i love the theatrics and the detail and imagination that goes into making the clothes! So much fun . . .
 
Most of the clothes make me feel messy. Too much jumble.

I love the cinderella dresses, I don't know if he meant them to be cinderella with the horse and carriage but that's how it is in my mind and it makes me happy :smile:
 
i remembered kate moss wore dior to the cdfa awards but it wasn't in a previous collection. it's amazing as are the rest of them in that grouping. the rest..is pretty good i suppose.

i hate that pink thing on linda e. don't like her either.
 
I love the nude dress with thenative american style pattern.:heart:


the rest is just UGLY:sick:
 
This is just me talking out loud...

Im so shocked that Galliano went with the Incan/Peruvian look again, my mother being a Peruvian native is quite excited. Oddly enough though early in the year (around January) I heard the song El Condor Pasa which totally got me into Incan/Peruvian culture which in turn produced a collection (paper only). I had the full skirts then echoed that shape with boned skirts that stood straight out, there was embroidery on the full skirts told a story (much like heiroglyphics and the such) so there were mountains and llamas and the such. I also did a empire waist pencil skirt in the traditional Andean fabric (which Galliano didnt use), lots of that Andean fabric that I modified into Geometric shapes (rather than straight lines). I also did my finale wedding dress inspired by the Incan god of sun Inti, it is soo hard to explain. A balloon skirt with folds in the front so it looks like two semi circles put together, then on the floor was a Manta Ray shaped piece of fabric that started at the front of the dress and went past the back of the skirt and dragged along the floor.


Anyways, Im interested to see what he does next...For the record Im into the whole Dick Tracey feel now.
 
Hum..very nice Diorling...maybe you can post some of your drawings up :flower:
 
I've always hated retrospectives. This is no different. Few nice looks throughout. Overall, pretty dire. This stuff is about as costumey as anything Galliano has ever done at Dior Couture.
 
I'd pay rent to live within that set. I wouldn't mind being all dressed up with nowhere to go in one of those nude dresses either. The rest, not so certain. Looking at it I feel like I'm searching through the archives, but for what exactly? :lol:
 
Galliano steals the show in Paris

[font=Geneva,Arial,sans-serif]Jess Cartner-Morley in Paris
Thursday July 7, 2005
The Guardian

[/font][font=Geneva,Arial,sans-serif]Paris haute couture week, which began yesterday, was dogged by bad omens even before the city's Olympic disappointment. The death on Sunday of Nan Kempner, the American socialite who was one of haute couture's best customers, was a timely reminder of a pressing problem: that the client base for this exclusive branch of fashion is ageing.

The Italian designer Valentino, from whose front row last night Kempner was missing, described the death as "like losing a part of our family".

And then there was the coincidence of yesterday's opening shows being staged as world leaders gathered in Gleneagles to address the plight of the world's poor. The contrast could not but portray haute couture, where a dress costs upwards of £20,000, in a harsh light.


So it was probably wise in the circumstances for Giorgio Armani, staging his second haute couture collection, to declare yesterday that "I am not here to save couture". None the less, Armani is in bullish mood. "I am here to do couture on my own terms."

Armani's spokespeople are keen to point out that he has made prices more accessible - you might just pick up a little something for under £10,000.

The collection focused on an extreme slenderness of silhouette, emphasised with mermaid hems, cinched waists and headpieces of feathers, which rose above the heads of these exotic creatures like unicorns' horns. But it was a Brit who stole the show from under the Parisians' noses yesterday. When John Galliano is on top form, no one can touch him. And this was the case with his collection for Christian Dior yesterday. Cobwebbed statues, a horse and carriage, ivy-clad gates and a soundtrack of thunder, howls and muffled hooves formed the backdrop for a collection exploring the connection between Dior's 1947 New Look collection and traditional Peruvian dress. Eye-poppingly theatrical though the show was, it also had a point to make, about how the real beauty and mystery of a couture gown lies beneath the surface .

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the beauty and fantasy of it all i think is on the details of these clothing, tulle on the last picture looks like a cruched glass...

these are some of the detail shots from style.com
 
I was immediately taken in by the huge scheme of this show. But after looking at things it's become one of my least favorite DC shows in a while. While the nude dresses are certainly nice their presense would have more effect if I hadn't ALREADY seen them (or at least one) on kate moss almost a month before. The restrospective looks about dior's mother and his early work is nice but really...it's not much to keep my interest considering it's nature. The only great burst of creativity here were the peruvian inspired looks that unlike past Galliano expeditions were not quite as fruitful. While I hate to admit it, the yards of fabric, bright colors, and crazy jewlery remind me more of a drag show than high fashion. I have to wait and see more but so far I am not liking it.
 
I just saw the whole lot at www.style.com and I am still taken. It realy is a retrospective of Dior's life and creations. First stop is his mother's closet, with strict looking dresses and a strengthy appeal. Second, the New Look, which has been Galliano-nised for the time we live in now, but still bares the feeling it had when Monsieur Dior created it. Other stops in this collections feauture an hommage to the fifties clientes of Dior's, Degas ballet dancers, a Ball Masqué, Catarinettes, debutantes and Hollywood. That last one starred supermodels such as Naomi and Linda.

It was also a small retrospective of his own work for Dior. With references to some early collections, the one posted above somewhere, the collars from the Egyptian show, the bird in Stella's hair that we saw back in 2000. Ruffles on Peruvian dresses that resemble John's famous blue dress from 1997. And so on, and so on.

I love it!
 
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Ziyi Zhang, Christina Aguilera and Dita Van Teese
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Charlize Theron/Drew Barrymore


The frothy white gowns that made their way down the Dior couture runway Wednesday caught the eye of at least one famous bride-to-be in the front row. "I'm shopping for my wedding dress," cooed Christina Aguilera, who added that Christian Lacroix and Givenchy were also possible bridal picks. Drew Barrymore was more coy, although rumor has it she soon may be walking down the aisle again. "This is my first Dior show. It is all very new to me," said the actress, taking time out from filming "Lucky You." After locking lips for the cameras with her fiancé, Fabrizio Moretti, Barrymore hinted she also was working on a commercial for South America, blushing when asked to reveal more. Elsewhere, the paparazzi crush reached dangerous proportions with the arrivals of Chinese actress Ziyi Zhang and Charlize Theron, who just wrapped up "Class Action," a movie about the first big sexual harassment case in the U.S. But other cameras soon will be turning. Theron, the face of J'Adore, said she would be spending the next few days in Paris posing for new Dior fragrance ads. "I've always liked fashion," she quipped. "It's a serious art form."
 
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