▽ Nuances maximalistes
With an abundance of big-hitting outerwear, Galliano offered yet again an almost comical parody of couture. We can see a vast amount of different fabrics, cuts and patterns mashed into single looks, undoubtedly reminiscent of Galliano’s fantastic mind and skills. One’s eye can’t focus on one thing, it has to keep moving from top to bottom to be able to capture all aspects of the looks. It can barely be done whilst looking at pictures!
“What the show notes [is] a manifestation of “the vocabulary of glamour subverted through the collage of authentic classics”” (vogue.com, 2016)
▽ The muses
Galliano relies quite a lot on recurrent muses, and this show brings back his top inspirational women. Using women from the past, and not any women, but rich, glamorous and madly capricious women that lived a sumptuous lifestyle far from our own reality. This gives Galliano this sense of unreal luxury, which transports us to a world of fantasy.
The Golden Age of French Couture: Celebrating the end of war in 1947, Dior’s ‘Golden Era’ set a standard for dressmaking and high fashion that has rarely been surpassed.
Edith Bouvier Beale (1917 – 2002): Edith Bouvier Beale was an American socialite, fashion model and cabaret performer. She was a first cousin of Jacqueline Kennedy Onassis and Lee Radziwill.
Blanche Dubois: Blanche DuBois is a fictional character in Tennessee Williams’ 1947 Pulitzer Prize-winning play A Streetcar Named Desire. Blanche hides her insecurities of growing old, and realising that her beauty is fading, behind a veil of social snobbery and sexual propriety.
Miss Havisham: a character in the Charles Dickens novel Great Expectations (1861). She is a wealthy spinster who lives in her ruined mansion. Dickens describes her as looking like “the witch of the place”. She is said to look like a cross between a waxwork and a skeleton, with moving eyes.