Christian Dior | The Haute Couture
Paris Couture Week | Fall Winter 2010
Stephen Jones created headgear that looked like a florist's plastic wrap. Someone else contributed the raffia belts. And nature did the rest. "It's the most inspiring teacher," said John Galliano, after a show that was a hymn to all things floral.
Part of his research involved studying real flowers, spending an hour watching the light change on a parrot tulip, for instance. That partly explained the collection's wonderful colors, especially the vibrancy of the dégradé effects. You could attribute the rest to Galliano's contemplation of images by the two great flower photographers de nos jours, Irving Penn and Nick Knight. Dior himself obliged with the silhouette, a tulip shape that Galliano seemed to feel Mr. Christian had never really made the most of. He certainly sorted that out.
In an Edenic fashion world, this would be the daywear that would fully complement evening dresses of an extraordinary dimension—gigantic domes of tulle overlaid with gloriously colored swags of organza. On the opening day of the Paris couture, the casual insolence of the draped one-shoulder outfit that closed the show was a provocation. "Beat this," it declared.
By Tim Blanks
(clic on pic to enlarge for better view)