Très Paris, with an himalayan touch. It's not a simple kaleido-work: it's a cosmic equilibrium of geometry and decoration, beauty and self consciousness, sheer and raw materials, roots and modernity, history and impermanence.
Malin bakes the elflocks and Lily should not know, Jeisa seems quite wicked, but she's only a Shakespeare addict, Hannah spoke an enchantment, but love drove her to do it, Sheila'll keep your piece of bread, but Ali has an amulet and it's a gift for you...
Galliano rewinds to the first decade of Marc Bohan at Dior, making a revisited revisitation of Saint Laurent comet-volcanic passage, and Sixties are back, with simple claims: we want women being free, wearing comfortable, looking young and having fun.
Osmanli fumoir: chai samovars and nargilas, timalriots with touareg gibernes, comptoir-men in paisley kaftans, aigrettes on fezs, indian princess with gilded elephants, beaded khussas and roughly cutted enormous gems, persian beauties like desert morganas.
Suggested location for shooting: the entrance lobby of the Eburon Hotel in Tongeren, Belgium, a former convent on the way to Santiago. Six meter high total white ceilings and red squared design couchons.