77 posts tagged "John Galliano"
This Saturday marks the opening of the Impressionist Festival in Normandy, France, and Granville’s Christian Dior Museum is getting in on the action. On May 4, the museum will bow Impressions Dior—an exhibit that pays homage to the nineteenth-century art movement’s role in shaping the fashion house. The show juxtaposes artworks on loan from private collectors and the Musée d’Orsay—Edgar Degas’ Le Bal, Claude Monet’s Paysage de Normandie, and Pierre-Auguste Renoir’s Roses Mousseuses (below) among them—with seventy-four Impressionist-influenced dresses. “Impressionist fashions fueled Dior’s nostalgic daydreams, spurring him to reinvent various pieces from bygone eras,” curator Florence Müller told Style.com. “The Musée d’Orsay’s Degas painting, Le Bal, evokes this lively and refined past, whose charms left a powerful impression on Christian Dior.”
However, it wasn’t just the house’s founder who was inspired by the art movement—more contemporary creative directors have nodded to the Impressionists, too. John Galliano’s yellow tulle Margot dress from Dior’s 2005 Haute Couture collection is on display. Named for ballerina Margot Fonteyn de Arias, its multicolored wool and raffia embroidery boasts a pastoral, painterly quality. Also on view is an embroidered, multicolored tulle-and-silk bustier evening dress from Raf Simons’ Spring 2013 Haute Couture collection.
Positioned next to Renoir’s Marine Guernsey painting will be a fluid dress once worn by Princess Grace of Monaco. “The material of these dresses is often very light and airy, like sheer fabric or organza,” said Müller.” The feeling of fluidity dominates these outfits. They begin to vibrate with nature’s ebb and flow, and the movement of its elements—sea, sky, clouds, or wind—all of which were masterfully interpreted by the Impressionists.”
Impressions Dior will run from May 4 to September 22 at the Musée Christian Dior Granville.
Ever since John Galliano’s unexpected stint at Oscar de la Renta’s studio last January (well, ever since he departed Dior, actually), we’ve been sufficiently curious about his next move. And yesterday night, it was revealed: Via an e-mail to its students, Parsons announced that the couturier will teach a three-day-long master class to a select group of the institution’s BFA candidates. Dubbed “Show Me Emotion,” the course will focus on the influence of emotions on design—a subject, we’d imagine, that Mr. Galliano knows a little something about.
London’s latest fashion week was really only two days—presumably so the models could get back to their naps and their homework. Yes, this week, London hosted the inaugural Global Kids Fashion Week (GKFW), sponsored by the children’s e-tail powerhouse AlexandAlexa (think Net-a-porter for kids).
At Tuesday afternoon’s big launch event, held in the Freemasons hall in Convent Garden, Amber Le Bon spun the tunes, whilst Jodie and Jemma Kidd, Portia Freeman, Charlotte Tilbury, and more came out with their kids to check out models cartwheeling, skipping, and crying their waydown the catwalk. Meanwhile, front row yummy mummies tried to restrain their toddlers from clambering onto the runway (with limited success). It was an exuberant, carnival-like, laughter filled affair complete with a giant bubble machine, popcorn, and temper tantrums backstage. (“So”, remarked one harried hairstylist as her model screamed out while having her hair teased, “not that different from the grown-up shows, then.”)
Participants in GKFW included Chloé, Little Marc Jacobs, John Galliano, Kenzo, Fendi, Missoni, Ralph Lauren, Roberto Cavalli, Little Paul & Joe, Kenzo, Marni, and many more, with ticket proceeds of the sold out event going to Gwyneth Paltrow’s favorite charity, the Kids Company. Consumer and fashion overload? Perhaps. But there’s no denying the fiscal strength of the high-end children’s clothing market. And by the end, most cynicism was brushed aside. As one fierce seven-year-old stomped down the catwalk in a quilted, structured plaid dress from Junior Gaultier, our fashion instinct clicked in. Hmm. Wonder if we fit into the kids’ size twelve.
It’s ready-to-wear time, but the fashion set will fete made-to-measure clothes tonight when Paris Haute Couture opens at the Hôtel de Ville. The Swarovski-sponsored exhibition showcases one hundred pieces from the Musée Galliera’s archives and a few loans from private collections. According to curator Olivier Saillard, the Galliera’s director, it tells a chronological story, starting with Charles Frederick Worth at the turn of the century (the show’s first dress was owned by the Comtesse Greffulhe, who inspired Marcel Proust’s Duchesse de Guermantes) and ending with one of the final pieces Cristóbal Balenciaga made before he shuttered his couture business in 1968.
Many of the dresses are juxtaposed with contemporary pieces; “For me, haute couture is not a discipline slave to the present,” Saillard explained. A Galliano-designed Dior, for example, is matched with Paul Poiret, while a 1920s Chanel is paired with a dress from Bouchra Jarrar’s latest couture collection. Saillard has affection for every piece in the show, but he’s partial to the 1930s. “The thirties is the most elegant period. There were a lot of women designers: Vionnet, Chanel, Schiaparelli—that means something,” he said. “They didn’t see back to the past, they see only the future.” As for couture’s future, Saillard says it’s not dead. “There are a lot of designers interested in haute couture: Raf Simons at Dior; Comme des Garçons is doing another kind of couture; Nicolas Ghesquière was, for me, a good designer who could make haute couture.”
Paris Haute Couture is free to the public from March 2 through July 6, at the Hôtel de Ville.
Ever since the news broke that John Galliano was shacking up chez Oscar, we’ve all been wondering what, exactly, he was doing there. Has he been sketching? Consulting? Auditioning to be Oscar’s creative heir? Just hanging out? After watching de la Renta’s Fall ’13 show yesterday evening, it seemed pretty clear what Galliano’s been up to. Or, at the very least, it was clear that he’s had quite an influence on de la Renta’s work. We’re still waiting for a comment on what Galliano’s precise role was in the collection, but a few pictures—specifically the side-by-sides of Galliano’s Fall ’07 for Dior (left) and de la Renta’s Fall ’13 (right)—can say a lot.