Christian Dior Haute Couture S/S 2011 Paris

This is just smashing. I'm delighted to finally like a Dior collection again.
I love the hair, the makeup and all the red.
Thank you John.
 
this is what i love about this collection: it shows that we're in a new era of galliano for christian dior. we had those early years that almost everyone in this forum looks back on with glee, then we had that middle period we have dubbed the "borehouse" years, but we've entered a new era in the past year that has plotted forth headstrong and unwavering. this stuff is no bore. it's not quite the galliano from the early aughties, but let's face it, we're not in the early aughties anymore. chanel didn't put forward the same idea decade after decade. yves saint laurent didn't dazzle us in the same way as the eras of fashion marched on. this dior feels right for the time we're in. it's still more than we're seeing from so many, but it's defiant in its dior-ness. those are quintessentially dior jackets and quintessentially dior skirts. quintessentially dior dresses. and unlike those from times past, they can translate into the real world without that much altering or reimagining.

i'm just so happy galliano has managed to find a way back to relevance that lets him still display his dazzling talent and satisfy his more conservative uppers at the house of dior.

Exactly.

Sensing the (profound?) change of aesthetics in the making, congruent with the new decade that has just started. Befitting so much to the core of Dior-ness.
 
It's a gorgeous collection!
Definitely one of the best from his "weak" period!
Haute Couture doesn't always mean extravaganza

I think its a beautiful collection. The inspiration is not very interesting.

well, this collection can be seen as a "extravaganza" if you like. maybe it's not in the calibre of his previous "shows", but honestly, who needs ball gowns nowadays?
 
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splendid review by suzy menkes:

PARIS — With tulle and mother-of-pearl mimicking the shadow play of pen, ink and paper, John Galliano on Monday sketched out the romantic past of Christian Dior .

The show that kicked off the Paris haute couture season was romantic, dramatic and noble. But it was strictly haughty, never naughty and was too centered on fancy gowns to seem like Mr. Galliano at his most frisky.

The designer was inspired by René Gruau, the fashion illustrator for whom the line of a spine, the tilt of a hat and the flow of fabric was enough to create in a few strokes an indelible image of Dior.

So for the spring/summer show, it was back to the 1950s, when lips were scarlet and the pace stately as the models walked like greyhounds down the runway, striking poses for the photographers and showing the architecture of bulbous backs and sunray-pleated skirts.

“That effortless grace,” sighed Mr. Galliano, “and those curious lines that inspired me to create new volumes and movements.”

The photography of Irving Penn was in the mix. So the idea was to bring to life both black-and-white photographs and drawn images through “pen strokes” of beading and layers of gray and black tulle, creating a poetic chiaroscuro effect.

The show was dazzling in its craftsmanship, as paint appeared to wash over the dresses and iridescent embroideries winked at the audience. But Mr. Galliano’s more familiar focus on the body, however historical the clothes, was lost inside the graphic shapes and the vast skirts of ball gowns that came down the runway in an unstoppable stream.

There are moments when the designer’s affection for his master seems touching — and others when you wish he would not genuflect to the original Christian Dior work, but rather start again with a blank page for his personal dreams.

But for Dior, this show will be a chance to dress Natalie Portman at the Oscars, to run the show film in boutiques round the world and to draw traffic to the Web site. The fact that Sidney Toledano, Dior’s chief executive, was hopping on a plane to China right after the show somehow sums up the distance of today’s couture from the Christian Dior days.

iht.com
 
this is what i love about this collection: it shows that we're in a new era of galliano for christian dior. we had those early years that almost everyone in this forum looks back on with glee, then we had that middle period we have dubbed the "borehouse" years, but we've entered a new era in the past year that has plotted forth headstrong and unwavering. this stuff is no bore. it's not quite the galliano from the early aughties, but let's face it, we're not in the early aughties anymore. chanel didn't put forward the same idea decade after decade. yves saint laurent didn't dazzle us in the same way as the eras of fashion marched on. this dior feels right for the time we're in. it's still more than we're seeing from so many, but it's defiant in its dior-ness. those are quintessentially dior jackets and quintessentially dior skirts. quintessentially dior dresses. and unlike those from times past, they can translate into the real world without that much altering or reimagining.

i'm just so happy galliano has managed to find a way back to relevance that lets him still display his dazzling talent and satisfy his more conservative uppers at the house of dior.

style.com

this is actually a bore; there's never talk about the "street" or "real world" really when it comes to the couture. it is a fantasy and far from the reality of things, but it can be made interesting and worth exploring.

I honestly think the outfits look dated, for how many years have galliano shown us the same exact collection, show after show....?

the fact that this collection may satisfy the needs of the haute is not so interesting either.
 
this is actually a bore; there's never talk about the "street" or "real world" really when it comes to the couture. it is a fantasy and far from the reality of things, but it can be made interesting and worth exploring.

What is it that you mean? Fantasy + far from the reality of things as in unattainable for financial reasons or as in by default unwearable - for display only?
 
But there is a hint of Serge Lutens in this collection I think, isn't there?
I could definitely see a trace of him in the first three or four looks, particularly in look #2, but it felt like a tease that never led to anything, to me anyway.
 
This collection is awful, ugly, boring, empty of any kind of creativity...
 
this is actually a bore; there's never talk about the "street" or "real world" really when it comes to the couture. it is a fantasy and far from the reality of things, but it can be made interesting and worth exploring.

I honestly think the outfits look dated, for how many years have galliano shown us the same exact collection, show after show....?

the fact that this collection may satisfy the needs of the haute is not so interesting either.

while we can all agree that couture exists as the laboratory of fashion, very few couturiers would argue that their creations should not translate to the real world. cotillions take place in the real world. red carpet events take place in the real world. elite weddings take place in the real world. yes, many of the frocks walking down a couture catwalk may never get chosen for these events, but to discount the reality that these clothes get designed for a purpose overlooks the entire reason for this annual exercise.
 
Wow there's such mixed reviews this season. It' seems us Galliano fans have split into two groups. A, The ones who expect the classic Dior silhouettes and B, The ones who long for the 90's Galliano extravaganzas.
 
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while it all looks pretty.... i do agree with people saying 'same old, same old'. he might have a few more chances here and there, but nowhere near enough to upgrade the whole collection. it's sometime up to the point where i'm insulted that he shows the same dress, but in a different color (doubt even different fabric). what is this, Armani?

that said, i do like the over-feathered pieces.
 
What is it that you mean? Fantasy + far from the reality of things as in unattainable for financial reasons or as in by default unwearable - for display only?

it is both. it's unattainable for most people in the world and the "hype" of couture is used by the couture houses to display - if you like - an idea of elegance, art and supreme craftsmanship.

I honestly adore couture for the fact that it is made by hand and that the designers has - almost - unrestricted ability/means to showcase their visions in clothes.
 
I have to say its been years since I've been impressed by Galliano and his work for Dior. But I surprisingly really like this collection. Yes, its more of the same of the past few seasons but somehow its so much better executed!
 
I think it's lovely - I particularly like the red and black degrade looks and I love the runway, especially when it was bathed in red light.

No, it's nothing particularly new, but it's certainly true to the house.
 

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