Christian Dior

PARIS, October 10, 2000
By Armand Limnander
Highbrow eyebrows were raised from the very beginning of John Galliano's outrageous presentation for Dior, as a sexy blaring soundtrack introduced a cavalcade of tough babes in patchwork wrapped skirts, sequined, pinned and frayed jackets, rough leather belts, vice squad-defiant heels and pop-colored fishnet stockings.

Classic Galliano motifs—newspaper-print tops, recycled and reconfigured jeans, hard-core leather straps and zippered motorcycle jackets—were thrown together with new creations like a bag that evoked a classic '50s car (complete with door-handle clasp), sporty blousons with racing stripes, a bright yellow life-vest jacket and ruffled, hooded windbreakers. A contest of camouflage, leopard- and leather-trimmed bikinis segued into an array of ravaged prom queens who had clearly had too many drinks (not to mention a pill or two or three) the night before. But even the vampiest gals need a touch of class, so Galliano signed several looks (including lace-front dresses that surreptitiously morphed into trousers) with Dior mementos from the past: Miss Dior, Dior, J'Adore and Diorissimo.

Destruction, reconstruction, punk, recycling, tiaras, sex, patchwork, saddles, logos, commerce, camouflage, street, diffusion, vintage cars…only Galliano could pull it off.

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