Tuesday, January 25, 2005
On Monday, haute’s ... renegade laureate, Dior’s John Galliano, presented the kind of dichotomy that fashion lovers find divine. the Warhol Factory-where-pregnant-girls-channel-the-Empress Josephine angle.
Galliano takes a more Napoleonic approach to fashion: Ride a dazzling campaign to the heights of pure fashion and let the business follow, or go down in a blaze of glory. Happily, Waterloo can wait, because the Dior collection Galliano showed for spring was spectacular. Difficult, mais oui, in that Galliano-at-his-best kind of way, so much so that it left one editor to ponder,
“So beautiful, but for where?” For anywhere, really, including the biggest of big evenings, minus, of course,
faux-pregnancy poufs. .
Galliano started with a Warhol fantasy realized in both obvious (the tinfoil Factory set and fab Edie Sedgwick-worthy day clothes) and “I-don’t-get-it” references (courtly red frock coats, highly decorated yet worn in tatters). But really you do get it, once you learn of the Bob Dylan quote, “Andy [Warhol] is Napoleon in rags,” and John brought in a live rock band to make the point.
Still, neither Andy nor Boney would have mattered if the clothes hadn’t dazzled. Which brings us to that beguiling lady of the night, Josephine. She wore an amazing array of embroidered white Empire dresses, some under equally elaborate coats and jackets.
And more often than not, she wore them in the family way. Which is not necessarily the easiest way to convince Jane Q. Movie Star that, gee, maybe I’ll look thin in that dress on TV.
But Galliano is fearless. He knows how to do hourglass; he did it last season, and last weekend, for the Trump wedding. He wants to move on, whether the haute-wearing elite are ready or not, and his pregnant posers just pushed the point.
faux-pregnancy poufs. ... ...i was right...