Christian Dior Haute Couture S/S 2010
models: karlie kloss, frida gustavsson, anja rubik, siri tollerød, flo gennaro, heloise guerin, lindsay ellingson, vlada roslyakova, magdalena frackowiak
‘Black Couture’, Natalia Vodianova by Karl Lagerfeld, Numéro #41 March 2003.
2007 Divine DIOR by John Galiano hot pink jersey fox sleeved evening coat
Christian DIOR, by John GALLIANO, autumn- winter 2007.
Divine shocking pink shimmering jersey evening coat .Long sleeves dramatically adorned three quarter way with shaded matching fox .Double breasted, curved collar, diagonally shaped seams draped to the centre front waistline,like origami folding, to emphasize the curves. The back with curving side seams following the shape of the bodice and hips.
Closure with large boldly sewn metallic studs.
Fully lined with a rich hot pink silk satin. Knee length.
Made for DIOR’s 60th anniversary.
pencilled on a studio house label ” N°71712088080 , color P3 , 21”
BE GLAMOROUSE -Paris
FOR INSPIRATION, JOHN GALLIANO TOOK AN EPIC FASHION FIELD TRIP TO THE FAR EAST, RECORDED IN A EXCLUSIVE DIARY FOR VOGUE MAGAZINE.
Last fall, John Galliano and his Dior team set off on a three-week voyage around China and Japan to research ideas for his January couture show. John wanted to see for himself the art and culture he’d looked at in books and to witness the surging modernization of China that is creating a new nation of young costumers.
Vogue - Spring 2002
John Galliano for Christian Dior Fall Winter 1998 Haute Couture
This dress, which is known as the Maria Luisa, is held in the collections of the Metropolitan Museum of Art in New York
‘In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano’s beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through.’