John Galliano F/W 07.08 Paris

[D'Felipe]

The only thing in life that matters right now is this collection

I HEART GALLIANO

 

[Foxie-Pooh]

Bravo! This is the best collection so far!!!

 

[*sayan]

I almost love

 

[3RingCircus]

...But that involves a mixture of people... plus size, old and a transexual by the looks of it!

DO you mean the person in the yellow striped top? That's the plus model Veronique! LOL The makeup is a bit hard on her, as well as some of the others but when is John ever subtle??

 

[AudiEC]

There's something Germanic and dark about this collection. It reminds me of Expressionist works by Kirchner and Beckmann of the post-war period.

His whole presentation has hints of gloom, even in his use of bright colors. Very tense and uneasy...I love.

Someone mentioned a correlation to Galliano's Weimar collection. I'm not familiar with that collection but did he explore these same themes?

...and the clothes. Impeccable.

 

[FASHIONLOVA]

i love everything. the man is a GENIOUS.
it s so dark and deep

 

[dior_couture1245]

Wow. Wow. Wow.

This is....amazing. This is so old Galliano, with the cluttered sets and with the models' having to act with their surroundings!

I MUST see the video of this! (hopefully the music will be good...don't fail us again, Jeremy...)

 

[BaroqueRockstar]

this is so amazing, it's beyond words.

 

[Moofins]

Marry Me Galliano.

 

[static]

^Will you consider sharing him?

 

[ApertureRomance]

I love this so much , some of the models look like they've jumped out of Brassai photograph.

 

[opheliarose]

I always lurk around collection threads but never comment on them. This, however, deserves something along the lines of oh my God, it's incredible and stunning. The makeup is just fantastic and just wow. I adore it

 

[dior_couture1245]

I love the soggy models in black at the end!...especially Natasha!

 

[lordevan]

very... corpse bride

 

[city girl]

There's something Germanic and dark about this collection. It reminds me of Expressionist works by Kirchner and Beckmann of the post-war period.

His whole presentation has hints of gloom, even in his use of bright colors. Very tense and uneasy...I love.

Someone mentioned a correlation to Galliano's Weimar collection. I'm not familiar with that collection but did he explore these same themes?

...and the clothes. Impeccable.

i agree..it's dark and gloomy. especially those black outfits

 

[brian]

PARIS, March 3, 2007

It's a vintage season for John Galliano—in more ways than one. At Dior, he celebrated the 60th anniversary of the New Look in high movie-star style. Then his own decadently staged collection returned to the romantic, excessive, eccentric hothouse scenes people so adored him for in the early nineties, complete with "vintage" Galliano bias-cut dresses. The notion of entertaining fashion audiences as guests and treating models like individuals has become such a forgotten art that the arrivals at the show—greeted with a cast of made-up Parisian street characters, overflowing dinner tables, potted palms, dogs, chicken coops, Turkish rugs, bordello couches, and an unmade brass bed—were instantly put in party mood. We were in Pigalle during the tens and twenties—the world of Kiki de Montparnasse and Brassai's Madame Bijou.

And there were the girls, striking totally convincing attitudes, as if no one could teach them a thing about absinthe drinking or streetwalking. Who knew this supposedly blank generation of Sashas, Lilys, and Cocos had it in them to act up like a bunch of old-school supermodels? That, like the clothes, seemed a flashback to everything that made Galliano good in his first years in Paris. The theme sent him off on an orgy of costume reference (and self-reference) that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, gigantic leg-of-mutton-sleeved jackets, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his signature bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon.

The roll of credits included Stephen Jones' millinery, Pat McGrath's makeup, Julien d'Ys hair, and Michael Howells' set design. All played crucial supporting roles in bringing Galliano gloriously back to full cinematic form. Was there anything new here? Well, yes, in the way the show touched the Poiret sensation of the season; then again, no—but perhaps that was exactly the point. If the early nineties are a reference point in fashion now, here was Galliano, bringing himself back for a new generation—and judging by the way those twenty-year-olds got into it, they're ready for every ruffle and cloche the man can throw their way.

– Sarah Mower

a nice review..... i'm a little shocked to hear that the hair wasn't done by pita this time!

 

[ibimus]

Not quite as nice as his couture collection, but I guess that's to be expected. Still, it's very, very good for RTW.

w00t, John!

 

[ibimus]

Bah, now I can't edit my above message, which I posted way too soon. I've seen all of the pictures now, and am madly in love.


Does anybody have the giant-sized, un-watermarked pictures that they might so kindly share?

 

[adorefaith]

i think this is some of his best work....
some very very beautiful dresses here....
i always find galliano so bizarre and over the top....and struggle to see how it will translate to real life...
but this works for me.......a perfect balance of fantasy and reality...

 

[brian]

Does anybody have the giant-sized, un-watermarked pictures that they might so kindly share?

i will be posting larger pics of the entire collection soon...