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Galliano: Spectacular Fashion PDF

396 Pages·2019·123.171 MB·English
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9781474277846_txt_app_linked .indd 1 6/26/19 2:35 PM BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2020 Copyright © Kerry Taylor Auctions Ltd, 2020 Kerry Taylor Auctions Ltd has asserted its right under the Copyright, Designs and Patents Act, 1988, to be identified as copyright holder of this work. For legal purposes the Acknowledgements on p. 7 constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: John Galliano for the Christian Dior Haute Couture Spring-Summer 2000. (© JEAN-PIERRE MULLER/AFP/Getty Images) All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. If any have been inadvertently overlooked, the publishers will be pleased to make the necessary arrangement at the first opportunity. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. ISBN: HB: 978-1-4742-7784-6 ePDF: 978-1-4742-7787-7 eBook: 978-1-4742-7785-3 Typeset by Lachina Creative, Inc. To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. 9781474277846_txt_app_linked .indd 2 6/26/19 2:35 PM The Collections Introduction: The Genius of John Galliano 9 Early Days 11 1984 Graduation Show: Les Incroyables, BA Honours Degree show 14 1985 Spring/Summer: Afghanistan Repudiates Western Ideals 20 1985–86 Autumn/Winter: The Ludic Game 23 s 1985 The Courtelle Collection 28 1986 Spring/Summer: Fallen Angels 29 1986–87 Autumn/Winter: Forgotten Innocents 35 t 1987 Spring/Summer: Untitled (Panniers) 41 n 1987–88 Autumn/Winter: (The Rose) 45 1988 Spring/Summer: Blanche DuBois 50 1988–89 Autumn/Winter: (Hairclips) 54 e 1989 Spring/Summer: (Charles James) 58 1989–90 Autumn/Winter: Nancy Cunard 63 1990 Spring/Summer: (Greek widows, African football, 50s cocktail) 68 t 1990–91 Autumn/Winter: (Fencing) 72 n 1991 Spring/Summer: Honcho Woman 77 1992 Spring/Summer: Josephine Bonaparte Meets Lolita 82 1993 Spring/Summer: Filibustiers 87 o 1994 Spring/Summer: Princess Lucretia 92 1994–95 Autumn/Winter: Black 98 1995 Spring/Summer: Misia Diva (Pin Up) 103 c 1995–96 Autumn/Winter: Dolores 109 1996 Spring/Summer Galliano Ready-to-Wear: L’École de Danse 114 The Move to Givenchy 118 f o 1996 Spring/Summer 120 Givenchy Haute Couture: The Princess and the Pea 120 1996–97 Autumn/Winter 124 e Galliano Ready-to-Wear: Baby Maker 124 Givenchy Ready-to-Wear: Toreador 127 Givenchy Haute Couture: Empress Josephine 130 l b 1997 Spring/Summer 135 Galliano Ready-to-Wear: A Russian Gypsy Named O’Flanneghan (Circus) 135 Givenchy Ready-to-Wear: (Jane Austen goes to Marrakech) 138 a t 3 9781474277846_txt_app_linked .indd 3 6/26/19 2:35 PM Galliano Arrives at Dior 141 2001–02 Autumn/Winter 220 Dior Ready-to-Wear: (Boxers, Boho & Rave) 220 Dior Haute Couture: Maasai 142 Galliano Ready-to-Wear: Techno-Romance 223 Dior Haute Couture: Rebel Chic 225 1997–98 Autumn/Winter 147 Dior Ready-to-Wear: Dior’s Little Sweetheart 2002 Spring/Summer 228 Pin-Ups 147 Dior Ready-to-Wear: Street Chic 228 Galliano Ready-to-Wear: Suzy Sphinx 149 Galliano Ready-to-Wear: (Africa) 231 Dior Haute Couture: The Edwardian Raj Princesses Dior Haute Couture: From Mongolia to chez Dior or Mata Hari 153 Russia 233 1998 Spring/Summer 156 2002–03 Autumn/Winter 236 Dior Ready-to-Wear: In a Boudoir Mood 156 Dior Ready-to-Wear: Funky Folklore 236 Galliano Ready-to-Wear: Haute Bohemia 158 Galliano Ready-to-Wear: Esquimeau 238 Dior Haute Couture: A Poetic Tribute to the Dior Haute Couture: New Glamour 240 Marchesa Casati 161 2003 Spring/Summer 243 1998–99 Autumn/Winter 166 Dior Ready-to-Wear: Tough Chic 243 Dior Ready-to-Wear: Sportswear on Heels 166 Galliano Ready-to-Wear: Bollywood 245 Galliano Ready-to-Wear: Cabaret 169 Dior Haute Couture: Hardcore Romance 248 Dior Haute Couture: A Voyage on the Diorient Express or Princess Pocahontas 172 2003–04 Autumn/Winter 251 Dior Ready-to-Wear: Hardcore (Fetish and 1999 Spring/Summer 176 Japan) 251 Dior Ready-to-Wear: (Communist/ Galliano Ready-to-Wear: In the Mood 254 Constructivist) 176 Dior Haute Couture: Creating a New Dance 257 Galliano Ready-to-Wear: Ballets Russes 178 Dior Haute Couture: Surrealism 180 2004 Spring/Summer 260 Dior Ready-to-Wear: Homage to Marlene 260 1999–2000 Autumn/Winter 183 Galliano Ready-to-Wear: Pretty Baby 262 Dior Ready-to-Wear: Sportswear 183 Dior Haute Couture: Egyptian 264 Galliano Ready-to-Wear: (Maori) 186 Dior Haute Couture: The New Generation or 2004–05 Autumn/Winter 267 Matrix 189 Dior Ready-to-Wear: (Teddy Boys & Poiret) 267 Galliano Ready-to-Wear: Mapping the World 270 2000 Spring/Summer 192 Dior Haute Couture: Empress Sissi/Zsa Zsa Dior Ready-to-Wear: Logomania 192 Gabor 272 Galliano Ready-to-Wear: Music Icons 195 Dior Haute Couture: Les Clochards or 2005 Spring/Summer 275 Homeless 198 Dior Ready-to-Wear: The Latest Blonde 275 Galliano Ready-to-Wear: Too Rich Too Walk 277 2000–01 Autumn/Winter 202 Dior Haute Couture: Edie Sedgwick Meets Empress Dior Ready-to-Wear: Fly Girl 202 Josephine 279 Galliano Ready-to-Wear: Welcome to Our Playground 205 2005–06 Autumn/Winter 282 Dior Haute Couture: Freud/Fetish 208 Dior Ready-to-Wear: Off Duty Icons 282 Galliano Ready-to-Wear: Renée 284 2001 Spring/Summer 212 Dior Haute Couture: Monsieur Dior’s 100th Dior Ready-to-Wear: Trailer-Park Chic 212 Birthday Anniversary 286 Galliano Ready-to-Wear: Picasso 214 Dior Haute Couture: Comic Strip Warriors 217 4 Table of Contents 9781474277846_txt_app_linked .indd 4 6/26/19 2:35 PM 2006 Spring/Summer 290 2009–10 Autumn/Winter 345 Dior Ready-to-Wear: Nude 290 Dior Ready-to-Wear: Orientalist 345 Galliano Ready-to-Wear: Everybody’s Galliano Ready-to-Wear: Ukrainian Brides 347 Beautiful 292 Dior Haute Couture: Cabine Fever 349 Dior Haute Couture: The Passion 295 2010 Spring/Summer 353 2006–07 Autumn/Winter 298 Dior Ready-to-Wear: Film Noir 353 Dior Ready-to-Wear: Gothic Chic 298 Galliano Ready-to-Wear: (Silver Screen) 355 Galliano Ready-to-Wear: Gothic Americana 300 Dior Haute Couture: Equestrienne/ Dior Haute Couture: Planet Botticelli 302 Charles James 358 2007 Spring/Summer 305 2010–11 Autumn/Winter 361 Dior Ready-to-Wear: Back to Basics 305 Dior Ready-to-Wear: The Seduction of the Galliano Ready-to-Wear: The Work of Fabergé, As Libertine 361 Seen Through the Eyes of Jeff Koons and Roy Galliano Ready-to-Wear: (Nomadic Tribal Lichtenstein 307 Princesses) 363 Dior Haute Couture: Madame Butterfly 309 Dior Haute Couture: Floral Line 365 2007–08 Autumn/Winter 314 2011 Spring/Summer 368 Dior Ready-to-Wear: (Return to Luxury) 314 Dior Ready-to-Wear: South Pacific 368 Galliano Ready-to-Wear: The Family That Eats Galliano Ready-to-Wear: Portrait of the Muse 370 Together, Stays Together 317 Dior Haute Couture: René Gruau 373 The Death of Steven Robinson 319 Dior Haute Couture: Le Bal des Artistes 320 2011–12 Autumn/Winter 376 Dior Ready-to-Wear: (English Romantic Poets) 376 2008 Spring/Summer 324 Galliano Ready-to-Wear: (Untitled) 378 Dior Ready-to-Wear: Gangster Girls 324 Galliano Ready-to-Wear: It’s All in the Stars/Grey Renaissance 380 Gardens 326 Dior Haute Couture: Madame X & Klimt 328 Margiela: Margiela Artisanal collection Spring/ Summer 2015 380 2008–09 Autumn/Winter 330 Dior Ready-to-Wear: Pure Glamour 330 Credits 383 Galliano Ready-to-Wear: Pleasure Dome 332 Index 387 Dior Haute Couture: Contemporary Couture 334 2009 Spring/Summer 337 Dior Ready-to-Wear: Tribal Chic 337 Galliano Ready-to-Wear: British 339 Dior Haute Couture: Flemish Old Masters 342 Names in brackets are unofficial working titles Table of Contents 5 9781474277846_txt_app_linked .indd 5 6/26/19 2:35 PM 9781474277846_txt_app_linked .indd 6 6/26/19 2:35 PM I would like to express my gratitude to the lecturers and archivists at Central Saint s Martins: Howard Tangye, Bobby Hillson, Anna Buruma and Alistair O’Neill. Thanks also to collectors and makers who allowed access to their personal archives – Steven t Philip, Hamish Bowles, Iain R. Webb, Matthew Greer, Slim Barrett and Mark Walsh. n I am indebted to those who shared their memories of working/collaborating with John Galliano: Johann Brun, Paul Frecker, Gail Downey, Tom Mannion, Neil Mersh, e Deborah Andrews, Mark Mattock, Vanessa Newman, William Casey, Bouke de Vries, Dovanna Pagowski, William Casey, Patrick Cox, Lorraine Piggott, Sue Bottjer, m Karen Crichton, Ian Bibby, Luiven Rivas-Sanchez, Patricia Belford, Hannah Wood- house, Stephen Jones, Limpet Barron O’Connor, Maria Lemos, Julie Verhoeven, Danda Jaroljmek, Lars Nilsson, Katell le Bourhis, and the late Michael Howells. e Special thanks to Olivier Bialobos, Jérôme Gautier, Philippe Le Moult and Dior Héritage for allowing me access to their archives – in particular, Soizic Pfaff and Solène Auréal-Lamy. Special thanks also to Yoox Net-A-Porter Group, Tara Tier- g ney and Felicia Scicluna for providing access to the Runway Show Collection and archives of Galliano (1985–2010) and Dior (1997–2010) catwalk shows, interviews and backstage footage. Thanks to the Givenchy archive, and to Brett Croft at Condé d Nast for allowing access to the Vogue archive. e I am particularly grateful for the access to the Bloomsbury Fashion Photography Archive, which was invaluable, as was the encouragement and support of my Bloomsbury editors Lee Ripley and Frances Arnold. Thank you to Alex Dives who l originally suggested me for this project. w This book would never have got off the ground without the support of my col- leagues Kate Osborn and Lucy Bishop; research assistants Waleria Dorogova and o Alex Baddeley; and Olga Kott for studio photography. Thank you also to museums, archivists, dealers and auction rooms who kindly n shared images with me: Jorge Yarur at Museo de la Moda, Brigitte Pellereau at Patri- moine John Galliano, Marilyn Glass, Resurrection Vintage Archive, Roger Vale and k Brian Purdy, Cheryl Vick/MRS Couture, Cris Consignment, Gregory Chester, Doyle, Sotheby’s, and Tennants Auctioneers. c Final thanks to my husband Paul Mack for his patience and forbearance whilst I switched off from daily life and became engrossed in the creative genius of John a Galliano. 7 9781474277846_txt_app_linked .indd 7 6/26/19 2:35 PM A portrait of John Galliano from 1985 by Tom Mannion dressed in Ludic Game pieces. 8 9781474277846_txt_app_linked .indd 8 6/26/19 2:35 PM Introduction: The Genius of John Galliano There is something special about a Galliano gar- hôtel particulier in borrowed diamonds; the out- ment – it could be the shape of a lapel, the curve of rageous lavishness of the Diorient Express, which a sleeve, the play with proportions or the combina- included a real steam train, acres of orange sand tion of unusual fabrics. and Moroccan tents; and the romantic beauty of “A Poetic Tribute to the Marchesa Casati”, staged at the It was at Dior that Galliano was given free reign Opéra Garnier, with a finale of fluttering paper but- to indulge his fantasies and ideas, which resulted terflies cascading from the gilded ceilings. in some of the most spectacular clothing ever to grace the Paris catwalks. Galliano is something of Over the years I have been frustrated at the lack of an alchemist, taking fabrics and transforming them accurate information about this important and influ- into the most magical, romantic or cutting-edge ential designer, despite the fact that he was made fashions. British Fashion Designer of the year four times, was awarded a CBE and also the Légion d’Honneur. In Not only were the clothes spectacular – so were the the past, Galliano’s early years (pre-internet) were shows. Weeks in advance, curiosity was piqued, the often mis-catalogued even by prestigious museums. scene set and the fashion-fable behind the collec- It became my mission to research each collection, tion narrated when an intriguing invitation dropped to examine original garments where possible, note through the mailbox. These included Victorian the key design features and record the changes in books with handwritten notes, tea-stained treas- labelling with the passage of time. I hope this fin- ure maps, records, ballet slippers with tin whistles, ished work will be of aid to collectors, museums Russian dolls and rusty keys with antiquated script and Galliano fans alike. tags. For the early, London-based collections, I was priv- The “happenings” began with his degree show as ileged to meet and interview many of the people his friends “stormed” up and down the St Martins who worked alongside him in the studio. During catwalks dressed as Incroyables charging the barri- the 1980s it was possible to produce collections cades. Over the decades there were to be many great with relatively small fabric orders using out- fashion moments, including Kate Moss, memorable worker machinists, when Galliano himself pressed as his Princess Lucretia fleeing imaginary wolves the clothes ready for dispatch to the shops. How in a large swaying crinoline; the intimate mise- times have changed. In a sense, Galliano’s career en-scène created for his exquisite Black collection reflects the changes in the fashion industry itself with just eighteen looks, where the models snaked from something akin to a cottage industry to the through Sao Schlumberger’s eighteenth-century multi-billion-dollar brands of today. 9 9781474277846_txt_app_linked .indd 9 6/26/19 2:35 PM Galliano in his role as Creative Director during the few. Even with a team of talented, skilled individu- 2000s produced twelve collections a year: Dior als, his workload during the 2000s was extreme by haute couture spring and fall, plus Galliano and any standards. Dior ready-to-wear for both seasons, additional pre-collections, cruise collections and, from 2004, Over many decades working as a specialist fash- Galliano menswear. Galliano’s keen eye ensured ion auctioneer, I have been well-placed to handle that the stores, marketing, shops, perfume, hand- numerous important garments both inside and out bags, shoes and jewellery reflected the “look” of from all the greats – including Charles Frederick each collection. Worth, Paul Poiret, Madeleine Vionnet, Elsa Schia- parelli, Gabrielle Chanel, Christian Dior and Cris- Of course, Galliano didn’t achieve this all by him- tobal Balenciaga, to name but a few. In my opinion, self. Even as a student Galliano surrounded himself John Galliano richly deserves his place alongside with good people, and throughout his career he them in the pantheon of true Fashion Masters of collaborated with some of the best in the business, the twentieth and twenty-first centuries. Spectacular including Amanda Harlech, Steven Robinson, Ste- Fashion is a tribute to the creative output and roller- phen Jones, Nick Knight, Michael Howells, Julien coaster career of this fashion genius. D’Ys, Pat McGrath and Patrick Cox, to name just a Fashion sketch by Galliano when a student at St Martins, 1982. 9781474277846_txt_app_linked .indd 10 6/26/19 2:35 PM

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