CHRISTIAN DIOR COUTUREFrom Camilla Morton, dedicated fashion fan, in Paris
Through the swirling mists and the trailing ivy, past a garden of cherubs and chandeliers covered in cobwebs,
John Galliano took you to the iron gates of Granville - the childhood home where Mr Dior had grown up and the setting for his lavish haute couture homage to the founder on this, the 100th anniversary of Christian Dior's birth.
As soon as Armani had finished earlier in the day, whispers of what was happening over in Bois de Bologne were getting more and more extreme - it was as if Aslan himself was returning to Narnia and it could be spring again.
"Never work with animals, children or supermodels!" grimaced someone backstage as
Linda,
Naomi,
Shalom,
Kirsty [Hume],
Eva, and Karolina sat in make up alongside a cast of faces ready for Galliano's journey, while out front
Charlize Theron,
Christina Aguilera sat alongside
Drew Barrymore who was smooching her boyfriend on the stone benches that were the front row.
The show opened with thunderous clouds and a black horse drawn carriage [yes, yes live, huge shire horses with livery men pulling the carriage over the black gravel past the gates] from which
Erin O'Connor emerged in a grey Edwardian-style long dress with embroidered jacket and boater. She held the hand of a little boy - a young sailor suited Christian who sat on a bench and watched the mother section. Then Galliano sent Mr Dior's favourite house models, Lucky, France, Praline and Victoire, out in dresses that were half-made so that you could see through the drapes and pin cushions and start to understand how the clothes were constructed. "Its all about the technique," Galliano confided backstage as all the models were pulled into corsets with padded busts and hips and, once they were laced in and smothered in tulle, transformed into ethereal beings - as if someone was indeed blowing away the cobwebs to bring the spirits of Mr Dior to life. The three Directorices, Mitzah his muse, Marguerite, the technical, and Raymonde, head of studio, were next to walk again before twirling in the New Look with wild colours, raffia flowers and prints - except this really was a New Look as Galliano had mixed the past with the cultural essence of Peru as the girls spun their full skirts in a wild tribal dance.
After this energy came Hollywood. The Supermodels of their day indeed - Linda, aka Rita Hayworth in pink tulle fading to gold, Naomi in green, Kirsty Hume and Karolina K, Shalom and Eva working those pin-up poses and Nadja being carried on her long limbs - the dresses and the stars vying for equal stage presence. A nude corset and beaded black jets came storming up the runway at high speed before the debutant section, inspired by Cecil Beaton and Princess Margaret, glided with a regal air, and then the Ballet Russes went to Peru for a wild pirouetting dance as tutus, tulle and colour spun up the set. The yellow and white of the Catherinettes followed the masked ball with more celebrations - the Catherinettes being the costumes made to celebrate the feast of St Catherine, patron saint of seamstresses and unmarried girls - a big day at Dior. Then finally, when your poor emotions could take no more drama, the finale came out inspired by the Cuzco School of Painting from Peru. Religious icons came to life and mounds of heavenly fabric under halos and angle wings glided up on models carrying guns. Madonna then transformed into Queen of the Night with Alek, and finally Lily Cole - all crimped hair and air wings - brought the show to a close as the applause ascended to heaven with her. The clapping came from all sides as the lights dimmed, the carriage galloped onto the runway and out stepped the maestro Galliano Applause, a standing ovation, and not a dry eye in the house. Theatre and fashion combined to celebrate the foundations of two that seem to be kindred spirits as Galliano gave couture a very modern and relevant kick that proved that it is indeed alive and well. (July 6 2005, PM)
