nyc_art_style
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i don't like the set.
Christian Dior HC S/S 08 Paris
- Thread starter larien
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i don't like the set.Some of these silhouettes are fantastic, it's just the fabrics used are entirely too bulky in my opinion. I love volume, but I don't like gowns to look like upholstered love seats. The embroidery is just too excessive. I guess we'll have to wait for Galliano to throw a completely unexpected collection at us. It needs to happen soon, Galliano and predictable should never be in the same sentence.
kimair
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after seeing the entire collection (thanks faith 
), i have say that this is bad...
i don't hate it, but i do strongly dislike it...
it's like galliano was referencing himself, but not in a good way...
not doing anything fresh and new...
which is unfortunate, because i look forward to the dior couture show every season...
), i have say that this is bad...i don't hate it, but i do strongly dislike it...
it's like galliano was referencing himself, but not in a good way...
not doing anything fresh and new...
which is unfortunate, because i look forward to the dior couture show every season...
rive gauche
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dior_couture1245
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Thanks so much for the video and the backstage pics!!!!
D
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Dior: Vivid colors to banish doom and gloom
Lets hear what suzy has to say about it.
PARIS: 'The colors! The lightness! The embroidery! It was magical," said the actress Diane Kruger backstage at the Dior show on Monday. Like everyone from the burlesque artist Dita Von Teese to John Galliano himself in his Henry VIII hat, Kruger was in the chic black that dominated the audience as the Paris haute couture season opened.
If the set of limpid water surrounded by silken boudoirs looked like a sensual spa in your Freudian dreams, the show itself was a multicolored, multifaceted, super-size-me tonic. It wasn't Galliano's most emotionally moving presentation nor his most daring, but it had a mesmerizing combination of puffy-light silhouette with intense decoration.
"Haute couture is the place for dreams," said Galliano, referring to the architecture and the lightness of clothes that - even when a suit was relatively severe - would have a jacket that ballooned out at the spine. Add fuchsia, chartreuse, canary yellow, leopard print and embroidery that winked like the gilded plaques of a Gustav Klimt painting, and you had a rich and rare combination of color and pattern.
As the models did their usual Galliano teeter on weird platform shoes, batting fluorescent feathered eyelashes at the eager photographers, you might have thought that the designer had been doing his research at the historical erotica exhibition on display in Paris rather than merely channeling the subtle sensuality of the John Singer Sargent portrait of "Madame X" that he named in his program notes.
Whatever the references, Galliano's vision at Dior is to click on an image from the past but drag it like a screen icon into his world. However wide and swooshing the dress (and that could mean with a short or a floor-sweeping hemline), its shape seemed to grow out of a 21st-century body. If there were giant roses bursting from the hem of a purple dress, the bodice was sinuous and fitted. A cocktail dress would swell, Poiret-style, at the hips, but the rest of the yellow satin would be restrained as a sheath.
The designer has learned so much technically in his decade at Dior - not least how to take a full-backed coat or a grand gown from the Christian Dior archives and produce it as a weightless cupola.
Didn't the embroidery weigh things down a bit? A single dress with a print that looked more pop art than classical could have been the start of something fresh and intriguing. But once that look melted into the Klimt embroideries, with all their russet richness and metallic glimmer (hairdos included), the show just rolled on along as a visual treat.
And it seems that excess can equal success.
Bernard Arnault, chairman and chief executive of LVMH Moët Hennessy Louis Vuitton, said that couture was having a golden moment at Dior, partly thanks to emerging luxury markets like Moscow.
Sidney Toledano, president and chief executive of Christian Dior Couture, said that, overall, couture figures were up 35 percent in 2007 from the previous year, with new money from across the globe discovering high fashion. The markets may have plunged about 7 percent while all this gorgeous glamour was walking the runway, but high fashion, it seems, is coloring over the gloom and doom and turning a financial crisis into a crescendo of opulence. By Suzy Menkes
//iht.com
Lets hear what suzy has to say about it.
PARIS: 'The colors! The lightness! The embroidery! It was magical," said the actress Diane Kruger backstage at the Dior show on Monday. Like everyone from the burlesque artist Dita Von Teese to John Galliano himself in his Henry VIII hat, Kruger was in the chic black that dominated the audience as the Paris haute couture season opened.
If the set of limpid water surrounded by silken boudoirs looked like a sensual spa in your Freudian dreams, the show itself was a multicolored, multifaceted, super-size-me tonic. It wasn't Galliano's most emotionally moving presentation nor his most daring, but it had a mesmerizing combination of puffy-light silhouette with intense decoration.
"Haute couture is the place for dreams," said Galliano, referring to the architecture and the lightness of clothes that - even when a suit was relatively severe - would have a jacket that ballooned out at the spine. Add fuchsia, chartreuse, canary yellow, leopard print and embroidery that winked like the gilded plaques of a Gustav Klimt painting, and you had a rich and rare combination of color and pattern.
As the models did their usual Galliano teeter on weird platform shoes, batting fluorescent feathered eyelashes at the eager photographers, you might have thought that the designer had been doing his research at the historical erotica exhibition on display in Paris rather than merely channeling the subtle sensuality of the John Singer Sargent portrait of "Madame X" that he named in his program notes.
Whatever the references, Galliano's vision at Dior is to click on an image from the past but drag it like a screen icon into his world. However wide and swooshing the dress (and that could mean with a short or a floor-sweeping hemline), its shape seemed to grow out of a 21st-century body. If there were giant roses bursting from the hem of a purple dress, the bodice was sinuous and fitted. A cocktail dress would swell, Poiret-style, at the hips, but the rest of the yellow satin would be restrained as a sheath.
The designer has learned so much technically in his decade at Dior - not least how to take a full-backed coat or a grand gown from the Christian Dior archives and produce it as a weightless cupola.
Didn't the embroidery weigh things down a bit? A single dress with a print that looked more pop art than classical could have been the start of something fresh and intriguing. But once that look melted into the Klimt embroideries, with all their russet richness and metallic glimmer (hairdos included), the show just rolled on along as a visual treat.
And it seems that excess can equal success.
Bernard Arnault, chairman and chief executive of LVMH Moët Hennessy Louis Vuitton, said that couture was having a golden moment at Dior, partly thanks to emerging luxury markets like Moscow.
Sidney Toledano, president and chief executive of Christian Dior Couture, said that, overall, couture figures were up 35 percent in 2007 from the previous year, with new money from across the globe discovering high fashion. The markets may have plunged about 7 percent while all this gorgeous glamour was walking the runway, but high fashion, it seems, is coloring over the gloom and doom and turning a financial crisis into a crescendo of opulence. By Suzy Menkes
//iht.com
Last edited by a moderator:
I just realized this, some of the embroideries remind me of Dolce and Gabbana's s/s 07 finale dresses. 
http://www.***************/image/2006/Q3/092920060637117032.jpg
http://www.***************/image/2006/Q3/092920060636580206.jpg
elle.com
http://www.***************/image/2006/Q3/092920060637117032.jpg
http://www.***************/image/2006/Q3/092920060636580206.jpg
elle.com
Last edited by a moderator:
JuiceMajor
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Like couture, I kinda like it when you can see someone wearing this straight off the show. This is why I prefer Chanel to Dior. Clearly anyone would look absolutely ridiculous on the red carpet!! Yes it is nice the first few season, but after awhile is like, what's new here?
Didn't realise the show is today. After seeing this, don't think I miss anything!!
Didn't realise the show is today. After seeing this, don't think I miss anything!!
Street_a_Licious
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lol, at least now everyone figured out that the influence is Klimt. i mean, c'mon, the huge geometric hair, the embroidery. it SCREAMS Klimt.
the-smiths
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I almost feel bad, so much time and effort went into these clothes and hair and makeup...Only to suck..
espritDEcouture
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Yes, thanks for the video! I only managed to understand snippets of it but that's because I know my Spanish!
So much effort went into the collection I think I'm going to wait for the video as well. I hate to trash the collection so early....
So much effort went into the collection I think I'm going to wait for the video as well. I hate to trash the collection so early....
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