Christian Dior Haute Couture S/S 06 Paris

[Foxie-Pooh]

I really love it I wonder how is this collection compared to his graduation show from CSM which shared the same theme...I love the image of blood staining the garment, the extreme corsetting, the pale makeup and the wonderful red hair pins...it's just so bloody, twisted, cruel and delicious...I really want to see more details and see how he transform this into rtw...hopefully the dark image will scared away some annoying label whores...

 

[MulletProof]

i like the mood of the show and this look.

even if it´s very cdg.


not very impressed by the rest.

 

[Benzo]

Yes! More French baroque/neoclassic references. The colour scheme reminds me of Viktor and Rolf, though.

I like the collection, but somehow, I think that the couture factor for what I saw so far has been lessened. The way the items were cut, especially the corsets, were just too geometric, plastic and postmodern.

I also noticed that Galliano might be working on some plotline here of Western history. Last collection was French rococo/18th century gothic. This season was about the French revolution. What's next?

Looking forward to see this stuff in editorials, though.

Agree! I think it's somehow a "toned down" for Galliano(not for other ppl , of course ). The structure looks less complicated. If the make-up, frames are taken away, I think most stuff are very wearable for occasions like Oscar Awards.

(CD must have earned loads of profit. I've always been wondering how they got all the funds for these.)

 

[brian]

Galliano goes (French) Revolutionary!
Monday, January 23, 2006

(PARIS) John Galliano channeled a macabre Marie Antoinette—perhaps a nod to Coppola's upcoming film shot in Paris?—at Christian Dior's spring/summer haute couture show in Paris today. The theatrical designer sent his models down the runway in towering, bleached-white wigs and kohl-rimmed eyes; many sported chunky black cross pendants and garments splashed in fake blood. Displayed against a soundtrack of whips and clanking chains, the collection included ball gowns, capes, and gauzy dresses, all in red, black and white. One look featured a tulle skirt imprinted with the words "liberté, egalité, fraternité": the motto of the French Revolution. Upon arrival at the show—set in a red-lighted tent in the Paris polo club—guests received blood-red information sheets with the words: "Red is the new libertine…Dior is the new erotica."

- fashion week daily

 

[Kimkhuu]

Interesting concept, terrible clothes.....

 

[AudiEC]

(CD must have earned loads of profit. I've always been wondering how they got all the funds for these.)

But that's the most interesting part. Dior owns LVMH. Dior is the mother of all the luxury brands and is the only luxury company included in Forbes Global 500.

 

[tiffany]

I promise to actually look at the collection the minute I can stop giggling about John running around like "drenched shredded Zorro"

 

[skip-her]

Amazing!!!!!!!!:d

 

[amchan]

was Pat McGrath doing the makeup this time also? if yes she is really good!

 

[ADFoF]

http://www.iht.com/cgi-bin/search.cgi?query=&sort=swishrankThe International Herald Tribune's http://www.iht.com/cgi-bin/search.cgi?query=&sort=swishrankSuzy Menkes:

Was it symbolic of a decimated couture to be shown in three brief days? Of bloody global terrorism? Of Paris burning with the "banlieue" revolution at its gates? Or was the extraordinary and powerful Dior show on Monday - all blood splattered embroidery and drums of death - just another example of the designer John Galliano's fecund and febrile imagination?

Whatever way you looked at the savage beauty of this carnage couture - bathed in sanguine lighting and with 1789, the year of the French Revolution, tattooed on skin - it was an outstanding show. The effect was dramatic, discomforting and at the same time Galliano produced some clothes so lovely that the rising star Mischa Barton drooled over a black robe with embroidered skulls at the hem and a pale chiffon dress dripping with flowers, rather than blood. The latter came at the end of the show when the hefty leather-clad terror squad and the noble white wraiths with Marie-Antoinette's platinum wigs and powdered face had subsided, all martial passion spent.

As a final coup de théâtre, Galliano came out as a romantic warrior, his leather raiment artfully torn, juggling a sharp sword.

"I wanted it to be bolder strokes," said Galliano backstage as he fielded stars such as Penelope Cruz's look-alike sister Monica and Marisa Berenson, as well as his boss Bernard Arnault. Galliano explained his research process, which started with Marie Laure de Noailles, an iconic figure in the French salon world, who believed that she was descended from the Marquis de Sade, to Marie-Antoinette.

From these crosscurrents and cultural connections Galliano built a Dior show that had a touch of sadism in the chunky leather laced-up corsets and matching boots that were totally wearable (give or take that this is a summer couture season and they might be ordered without the blood splatters). Those scarlet stains appeared as droplets of rubies on pearl necklaces and as the finest embroidery on gauzy dresses that were Dior at its most romantic.

And, yes, there was a lot of Christian Dior in this inventive show, which reworked some of the under-construction ideas from last season's couture. It was also quintessentially French in its references, from the Arlesian fichus at the neck to the famous revolutionary cry of "liberté, égalité, fraternité" hand-painted as a black pattern on white dresses.

Just when you thought that Galliano had tamed his theatrical instincts, he came up with a mighty show from which the spinoff will be salable items for a company that posted last week an 11 percent gain in revenue growth in 2005, bringing Dior's total to E663 million, or about $796 million.

What such a show does to fulfill the dream of couture, to excite the emotion of those sitting at home watching television or to appeal to clients is another story. But if Dior has decided this is the way to go, the show was a winner.

 

[shoe_addict]

One word: W-O-W!!!!!
Standing ovation for John Galliano!

 

[dizzytacks]

i think romina, carmen, and maria carla executed it perfectly, but i am at a complete loss of words for what i think of this show,complete!music is a big part of a show and i am waitig for the vids, but i really dont know what to think, i guess it reminds me of spanish vampires,the bood at the sides of the pearls, i guess being competely ripped at the throat is what galliano wants the world to think when thinking of couture, not prancing fairies and unicorns and witches, which is chanel haute couture IMO, but a firce primal lust for beauty that is stronger than yourself, power couture...i guess

 

[Foxie-Pooh]

The collection is up on style.com now. I love it. It's funny how they can't even identify some of the models from the show because they were well disguised

 

[Foxie-Pooh]

Is the girl is post #32 Ai Tominaga? She looks like she could be her but I''m not sure...also is the the model in post #15 Daria?

 

[fashionologie]

style.com:

PARIS, January 23, 2006 – When John Galliano was traveling south to research his couture collection last summer, young men were rioting in the streets of France. That, at least in part, was one of the resonances that fed into the French Revolutionary, blood- and gore-spattered drama he put on at Christian Dior. Clad in huge red capes, cinched-in rough leather jackets, vast looped-up pannier skirts, laced biker pants, and shroudlike bindings, his models came out with their crucifix-festooned necks stenciled with the date of the revolution: 1789.

"There was a lot of political unrest happening," Galliano said of France's turbulent summer. "I wanted something bolder and toughened up. The beat of what's going on." Still, this was hardly a manifesto for the overthrow of French society—or of Christian Dior—as we know it. During his research, which centered on Marseille and Arles, the designer went back to the corset factory Dior himself used in the 1950's, as well as to the home of Marie-Laure de Noailles (who he was delighted to discover was related to the Marquis de Sade). Down south, he also connected with "the passion of the bullfight," which stirred up his Spanish blood. Somehow, it all came together in typical Galliano fashion: a delirium of perversely merged imagery held together by his signature nipped-waist, skirts-out-to-there silhouette. In the end, he twisted the principle of liberté into something deeply personal: a celebration of creative freedom with lashings of erotic libertinism thrown into the mix (thanks, naturally, go to his boss, Bernard Arnault, for funding the above). In a final display of the epic ego that drives it all, Galliano stormed the stage like a pirate, swishing a rapier.

– Sarah Mower

 

[Spike413]

Blood-stained ivory crocodile.....does it get more luxuriously perverse thatn that?

style.com

 

[fashionologie]

and as a followup to that...
i love how even the necklace beads mimic dribbles of blood

 

[fouroclock]

I'm sorry, but if anyone is going to buy this stuff, keep (traces of) the blood, mmkay? No blood, no Dior.

 

[Ceptuouse]

everything is up at style.com

 

[Zazie]

At least he is consistent and never strayed from his "vision" and "method", current movies, big skirts, something from history, an epoque.....season after season after season......