The spring couture collection John Galliano showed for Christian Dior on Monday was wildly luxurious and full of extraordinary craftsmanship. He used lots of volume to dramatic effect in exaggerated peplums, trapezes and pleated panels. Here, one example: a dress which suggests a robe à la Française.
Inspired by a 19th-century portrait, John Galliano presented a Dior couture collection full of 21st-century extravagance, while Donatella Versace rounded out the first day of the season with a shot of Hollywood glamour.
Christian Dior: "Madame X," John Singer Sargent's wonderfully scandalous portrait of Virginie Amélie Gautreau, was the starting point for the Christian Dior collection John Galliano showed on Monday, the soundtrack of which closed with The Guess Who's "American Woman," minus the anti-war lyrics. Interesting brackets for an outing that gushed with willful decadence in extravagantly bunched taffetas, mega doses of euphoric color and a deluge of mesmerizing embroideries, shown against a set of exotic swags, fringes and tassels lit to a dangerous absinthe green. Just like Sargent's 1884 canvas, Galliano's lineup fascinated with its voluptuousness, its sensuality, its complete disregard for current social mores.
These days, of course, Dior and most other high-end houses are looking beyond the lands of crashing markets and government-issue $500 checks for all. In that light, Mme. Gautreau emerges as something more than mere fashion muse — her X-factor just might stand for all that's still left to be learned about luxury's — and by extension haute couture's — most eager customers. "American woman, stay away from me....I've got more important things to do than spend my time growing old with you." Especially when there's a whole new world of emerging markets out there, luring with the thrill of the unknown and filled with filthy-rich women, mysterious fashion mistresses, if you will, who seem not to share the Western view that discretion is the soul of chic. Not that Galliano's Dior is abandoning its traditional base, but if the wife lets herself go, the mistress might just take over for good.
Nor was Galliano's lineup what one would call exactly wearable by any woman anywhere in almost any conceivable situation. Rather, once again he indulged in a lavish treatise of possibility marked by breathtaking craftsmanship — make that artistry. The clothes are masterpieces of construction, this time featuring controlled volume, oodles of it, in stiffened trapezes, intricate peplums, huge sculpted roses and any number of high-drama robe à la Française back panels, all embellished with stunningly beautiful embroideries and hand-paintings inspired variously by vintage perfume bottles and the mythical Greek Chimera. But extravagance to the nth degree, no matter how gorgeous its components, can turn oppressive. In fall's Bal des Artistes and last spring's ravishing ode to Japonica, Galliano avoided that trap to perfection, transporting his audience to worlds of wonder. Here his impassioned pursuit of more just felt like too much.Versace: The fact that a house opts out of a major wingding couture show does not necessarily mean that its principals are willing to pass on photo ops of the red-carpet and editorial variety. Case in point: Versace, where Donatella Versace has long believed in the value of a good celebrity sighting. Thus she shipped her collection of 15 couture dresses to her Paris boutique for viewing by appointment before they move on to L.A. for the Oscars, should that event take place. Though the house standard sexy goddess dresses were oddly absent, the lineup of siren corsetry, shine and curvaceous frills should be more than enough to land Versace a spot in the awards-show limelight.
@kith is moving into children’s. The men’s and women’s streetwear brand has launched Kidset, a Kith kids line located in New York at 64 Bleecker Street. The line includes mini versions of staple Kith pieces like the Astor bomber jacket and the Kith box logo sweatshirts, along with a wall that can display up to 120 pairs of shoes from @adidas, @newbalance, @timberland and more. #wwdfashion
“I just wanted to create this fully rounded character, but I do think what excited me most was just the opportunity to give a group of people representation that I feel needs it. I like to do characters in projects that stand for something and Karolina definitely does, so that was really exciting to me,” @ginnygardner says of her new role in @hulu’s “The Runaways.” Gardner plays Karolina Dean, a queer superhero, which is a rarity for @marvel. Read more about Gardner’s character on WWD.com #wwdeye (📷: @dandoperalski)
@heriethpaul and @gracebol have a moment on the @victoriassecret fashion show 2017. See every look from the runway on WWD.com. Link in bio. (📷: @giovanni_giannoni_photo) #wwdfashion #victoriassecret #VSFashionShow
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia