kriszti.md
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BLEH...
PARIS: From the grandeur of Versailles to the chaos of a train station, John Galliano has taken Christian Dior to many different destinations in his decade at the house. But in Monday's show, the design explored new - yet familiar - territory: his own.
After the yearlong focus on the postwar New Look for Dior's 60th anniversary, Galliano took a step back to the 1930s - to where the gorgeous, Gallic flappers had shimmied through his last John Galliano show.
This time there was a twist: the man-woman thing exemplified by Marlene Dietrich, whom Galliano backstage called one of his icons as he greeted his boss, Bernard Arnault of LVMH, and the singer Sting. The grandes dames of the past, Galliano said, were imagined as if seen through the grainy images of the photographer Peter Lindbergh.
The Dietrich beret, punched with eyelets; her taut, white trench; and variations on the top hat showed a seductive way with masculine clothing. And Galliano powered up the mannish three-piece trouser suit by pairing it with similar outfits when the models were down to satin slips and an elegant dishabille.
Since Galliano himself took his bow in a pair of cotton underpants as perfectly tailored as his Brioni tailcoat, you got the message that androgyny was having another outing. The result was a stand-off, in which Galliano tap-danced around Dior, emphasizing the romantic vision integral to both designers. But there was more John than Christian in the ultra-glamorous take on Galliano's signature bias-cut dresses, so light and liquid in eau de nil and lilac satin that last season's studied Dior couture grandeur had slithered away.
The transparency of diaphanous evening gowns recalled Galliano's launch of the blow-away dress and visible underwear in the early 1990s.
It is the eternal problem for a creative designer, framed by the aesthetic of a house's past creator, how much to depart from the core image. And who can criticize Galliano for using more of his own instincts? He has given so much to Dior, including the staggering July couture show with its creations defined by the great artists of Dior's era.
It would have been intriguing to see that idea revisited in the light of modern artists. But Galliano let the couture and its major theatrics go to turn out a seductive but simple collection that, with its racy tailoring and lacy delicacy, will please rather than provoke.
oh lord....not only is the collection boring by Galliano standards the song is LAME AS HELL!!!!!!the 1st song was "English man in New York" by Sting if i'm not wrong
i don't know for the rest