Paris Fashion Week: John Galliano Spring 2007
9 October 2006
4 Comments
John Galliano’s Spring 2007 Show in Paris started off simple enough with clean white suits and bold sequined eyebrows but got progressively complicated, ultimately ending in undecipherable mayhem. While some of it may seem a bit “over the top”, art at this level makes me think that I would rather skip next New York Fashion Week and save my pennies for gay ol’ Paree.
What a blast it must have been to witness this kind of mayhem in the flesh!
Photos from Style.com — See the rest here.
the purple top looks like liquid satin. and i really love the hat in the picture below it. that red flower if phenomenal. ya think a flower that big would look cute on a crocheted cloche? :o)
i dunno. i think it speaks about dramatic contrast. i mean, notice the first few. the black eyebrows are odd, but the suits are very clean, both features stand out because they are so differnt, but by the time we reach the neo-edwardian-from-space hats, one no longer notices the sequined brows. Everything is a bit space-ageish, or just mod perhaps, after all we have done this before. But still, CONTRAST. The green gown is really lovely–nice lines, a really unique pattern and off centre design is eyecatching. But then that Edwardian hat…oh, do look up Edwardian headwear if you get a chance…this was the reign of King Edward, 1900-1910. some desperatly tried to cling to old Victorian ways and social rules, yet in the face of a modernizing world, a world about to enter into mechanized warfare, the combined decadence/constrant (like that of a perfect corset) of the fashions and lifestyles of the wealthy seems more than naive. So wonderfully distracted we still are, and perhaps this designer is highlighting this. Contrast. The real, the dream. Qualities of the light (the suits) are contrasted with the dark (the eyebrows and lipstick); the beautiful(the dresses and suits, esp 3, 6,7) against the darkly beautiful(last photo w/mourning hat and the black lipstick/dark hair combo in general) as well as the grotesque (oddly appealing but remniscant of death); elements of the progresive(futureisticly mod 1,2,3,4 with vulcan eyes and vacuum-seal clean lines)are mingled with reminders of the past (Eliza Dolittle’s got nothin 5,6,7); Gilded Age Decadence (the luxuriant and flowing fabrics in 4 5 6 7, the exagerated sizes of accessories, the full pouts) that reminds us of the prolific is balanced by synonomous reminders of death or the non-living (zombies or porcelain dolls, with their quepie wigs, pale faces, black lips, and eyes made expressionless by false brows and augen-negating make-up, the models are anything but vibrantly alive. The hats in 4 and 6 are large, but skeletal and the model in 8 looks the part of a widow); There is simultaneous freedom in the design (it certainly breaks convention) as well as signs of oppression in the onerous budens of oversized eyebrows, wigs, and hats. CONTRAST. When two opposites are held together, they become more meaningful for their opposition. It is generally speculated that we understand things only in contrast and comparision rather than singular concepts. The juxtaposition of opposite elements brings the duality within and between into perspective, but also shows how they relie upon one another for their effects. I dont think he expects anyone to wear these hats, they are symbols. A language. o! or like pawns, used to lure out more prominant pieces into the center of the board. ohhh, yeah….. tons of spelling and grammar errors. Dont care. thats just how i roll. deconstruct THAT.
Medea, whoever the hell you are - that was an amazing comment about contrast and I couldn’t have said it better myself. I’m glad someone else can look at such a hat of ridiculous proportions and see that it’s what the hat icons that Galliono was trying to depict.
wat is up the models
Leave your response!
Archives
Blogroll
Friends
Our Sites
Stuff We Like
Trashionista on...
Recent Comments
Most Commented
Most Viewed