Lola, it’s so true. Total creative control. And look at the results! It’s bursting with energy, life, creativity, humor, spectacle. No wonder it was a hit!
And also so true about John providing the public a real, accessible offering of products...t-shirts, jeans, bags, sexy little dresses, bathing suits, etc. It was a genius strategy. It’s all here.
The Matrix Couture collection was definitely the turning point for John at Dior - after two years of very pretty, albeit more traditional looking collections (still amazing), the Fall 1999 Couture show I think was so impactful because it was the first time that a Parisian Couture house had a designer come in and instead of uphold a legacy (like Gianfranco Ferre’s tenure, for example), John was able to get to the core of Dior’s cache and interpret it for the contemporary world he lived in.
Think about it...by today’s standards...The New Look is rather conservative. But put in context of decimated post-War Paris, a world of rations and sobriety, you realize how truly shocking a skirt was using meters and meters of fabric really was!
John’s most creative period at Dior - from 1999 to 2006 - you realize he was remaking Dior in that same strategy for the aughts. Shocking. Irreverent. Decadent. Brave. Glamorous. Excessive and exuberant. I think it’s why his tenure at Dior is so legendary. It was the perfect example of reviving a house. It was electric!
I also think it’s why...when things began to take a turn for the worse, post-Madame Butterfly collection...when all he did was reinterpret the literal New Look again and again...it had no life...it was the literal interpretation of Dior...not the interpretation of the spirit of it, anymore.