John Galliano (British, born Gibraltar, 1960) for Christian Dior Couture (French, founded 1947). “Creation” Ensemble, fall/winter 2005–6. Beige silk satin, white polyester batting, nude synthetic net, beige cotton braided laces, blue pieced silk with chenille, rhinestone, hammered silver metal, filé, and bead embroidery à la disposition; white leather; beige nylon, polyester batting, and silver metal and pearl hardware with knotted blue silk ribbons. Purchase, The Dorothy Strelsin Foundation Inc. Gift, 2006 (2006.22a–d)
“Creation” exemplifies John Galliano’s articulated interest in exploring, at the time of his fall/winter 2005–6 show, “the construction of haute couture.” Like the other gowns in the series of designs that closed his presentation, this dress appeared as a garment in the process of becoming. The natural muslin bodice, patterned after the cuirasse bodice of the 1880s, suggested the Stockman tailor’s forms on which couture dresses are worked. Layers of different fabrics—the rich blue silk embroidered à la disposition, interfacings, linings, and tulle—are attached provisionally to the corset support and suggest the initial stages of the design process.
The generally hidden interior details that marked the elaborate constructions of couture gowns in the 1950s, such as grosgrain waist tapes, bust pads, and tulle underskirts, are exposed and transformed into the decorative elements of the dress. Structure, therefore, becomes ornament. In a Surrealist displacement, the humble pincushion worn by fitters and sample hands of the atelier is transfigured into a bracelet when shown on the runway. A similar reassignment of function occurs when Galliano shifts a padded bra cup from the bust to the hip. It is a knowing but ironic reference to Christian Dior’s “New Look” silhouette, which relied not only upon the cinching of the waist but also on the padding of the bust and hips to establish a more pronounced curvilinear silhouette.
From Mr. Dior to my tenure at Dior…this look is taken from the couture collection we did to celebrate the hundredth anniversary of Mr. Dior’s birth. For this show we took different sections, defining moments, from Mr. Dior’s life: Granville, his mother, his love of the arts, his clients, and, of course, the “New Look.” This particular look came from the construction phase, where Mr. Dior would work with “his flowers”: his models Victoire, France, and Lucky.
This dress shows the process of construction not deconstruction. What sets couture apart from ready-to-wear is the ateliers, the workmanship, and the amazing attention to detail—nothing is impossible and imagination becomes even more beautiful. For this look I wanted to show the magic of the draping on the form, how the block to the toile to the final gown is created, and all its stages in between. We did lots of “X-ray” fabrics, worked with tulle so you could look through and see—and appreciate as well as understand—all the layers of construction.
For me it is the moment when it comes together and the sketch takes shape, comes to life, that is the most exciting bit. This look is kind of a freeze-frame mid-magic, between the block and becoming the belle of the ball, and becomes something very intriguing and beautiful in its own right. Beauty is in the eye of the beholder after all, and for me beauty is understanding the process, the care, and the craft that creates the magic—that to me is true couture.
—John Galliano
February 29, 2008 at 12:57 pm
I remember loving this dress on the runway, as well as the other few dresses in the “Creation” segment. Seeing it in person was a wonderful treat.
This dress charmed me to no end. As a designer I can say that the Dior ateliers totally captured the feel of putting a dress together. From the tapes marking the proportions and construction to the tiny bits of rumpled basting thread that weren’t completely taken out….it’s authentic looking. It’s almost incongruous that something that seems to be so random, so unintentional, was meticulously planned right down to the last stitch.
That’s the real intrigue here, that something so fine-tuned can look so unfinished.
February 29, 2008 at 3:15 pm
‘It’s almost incongruous that something that seems to be so random, so unintentional, was meticulously planned right down to the last stitch.’
Very interesting, relevant point!
For Galliano ‘beauty is understanding the process, the care, and the craft that creates the magic…’
Galliano points out that ‘this dress shows the process of construction not deconstruction’
True, but at the same time, by showing the stages of the design process,
‘the garment in the process of becoming’ in order to construct, with the whimsical ‘reassignment of function’ elements, there is indeed a deconstructing aspect.
February 29, 2008 at 7:02 pm
And in addition to the foregoing, in its mid-constructed state, the dress is still beautiful!
March 1, 2008 at 6:26 pm
Dresses are so simple in daily lives no matter if they are couture or simple ready to wear ( pret a porter). But when you pay attention to them at the museum in this case here, it is so important, such a great piece of history.
As I looked at old 15th hundred shoes, it made me really think about the history of shoes and how they have evolved.
You have done a great job displaying these beautiful and not so beautiful pieces.
Frank.
March 2, 2008 at 12:14 am
I’m currently doing a seminar course on Human Ecological epistemologies, and a recurring ‘thread’ (hehe) in our discussions is the notion of how little people know about what goes into the goods and services they consume.
I also TA an apparel design course at my University and it is very common for the students to have little to no understanding of how these incredible haute couture creations might have been constructed.
I therefore think that such pieces as this are not only visually stimulating in their own right, but so very informative and thought/question provoking at the same time. Imagine the discourse that could be started by displaying this in a classroom!
I only wish I could have seen it in person! :o(
March 2, 2008 at 1:24 pm
‘…in our discussions is the notion of how little people know about what goes into the goods and services they consume.’
Excellent point. Even in our ‘global’ economy, where we have no excuse for not being informed, we do not want to know about sweatshops, child labor and other unfair practices.
‘Imagine the discourse that could be started by displaying this in a classroom!’
Absolutely. Perhaps you can ask the education department of the museum to provide you with good pictures for your seminar course on Human Ecological epistemologies. If that fails, you could, perhaps, contact the public relations office of the designer.
March 2, 2008 at 3:43 pm
This dress make the wearer look like they have a third breast on their hip. The rest is just plain creepy!!
March 2, 2008 at 4:25 pm
oh, i just adored to see the process, or the half naked dress, c’est tres jolie
March 2, 2008 at 6:26 pm
‘This dress makes the wearer look like she has a third breast on her hip. The rest is just plain creepy’
The third breast on the hip did not escape you!
What you missed is that the exposure of the construction process of the dress structure itself, becomes ornament: ‘ In a Surrealist displacement, the humble pincushion worn by fitters … is transfigured into a bracelet when shown on the runway. A similar reassignment of function occurs, when Galliano shifts a padded bra cup, from the bust to the hip. It is a knowing but ironic reference to Christian Dior’s ‘New Look’.
Ironic reference indeed.
March 4, 2008 at 5:37 pm
Cuando ví el video del desfile donde Galliano presentaba a medio descubrir la técnica interna de cada vestido de Dior resaltando así la maestría de la CASA y los secretos íntimos de dar forma angulosa de la cadera en la mujer de los años 1947 admiré la idea, pues muestra lo que todos ocultan y para un observador atento ponía la técnica del modisto al servicio del público, me encantó esa colección y fué el mejor Homenaje a Dior.
March 5, 2008 at 6:51 pm
‘el mejor Homenaje a Dior.’
Tiene razon.
Rinde homenaje a Dior de una manera implicita y explicita.
Galliano, con gran generosidad, nos deja participar, para hacernos comprender, cada paso a seguir en la construccion de la obra.
March 7, 2008 at 5:40 pm
After reading some of the comments about Galliano’s , “creation,” I think I missed something. At first, I thought that the creation was a travesty and that the designer had created something akin to the Emperor’s New Clothes. How much better it would have been to have seen a finished product that had been inspired by Mr. G’s experimentation.
March 11, 2008 at 2:52 pm
I think it’s important to take a step back from fashion as fashion and be able to understand it’s impact on so many other aspects in life. This dress is a beautiful narrative of the unseen processes by which ready-to-wear is made, and it’s increasing moral dilema. We overconsume, and this dress offers us a whimsicle approach to share a world in which people still take pride in handcraftsmanship.
March 12, 2008 at 11:47 am
‘el mejor Homenaje a Dior.’
Tiene razon.
Rinde homenaje a Dior de una manera implicita y explicita.
Galliano, con gran generosidad, nos deja participar, para hacernos comprender, cada paso a seguir en la construccion de la obra.
March 13, 2008 at 6:31 pm
This dress provides an insight into the world of couture designing. The audience usually never has a chance to see the process of creating a couture design. This dress shows what is under the outside design, and lets the audience have an inside peek at a couture gown. When looking at a dress you can see the finished design but most people don’t take the time to think about the designing and hard work that goes into a dress to make the final look. This dress makes me stop and think about all of the work that goes into a couture dress and I appreciate the designs even more.
March 19, 2008 at 11:15 am
this dress was colorful. I like the gold and blue designs.
March 21, 2008 at 12:05 pm
Is it just me, or does the top of the dress look like an old bra attached to brown stretchy material? The top does contrast nicely with the blue flowy bottom.
March 21, 2008 at 6:40 pm
I really like learning about our history in Fashion. Because when i grow up i would like to get a degree in Fashion and Design at Parsons New school of Design.
March 21, 2008 at 6:58 pm
I like the skirt part. I’d like to see it finished *giggle*.
March 23, 2008 at 2:29 pm
this dress is really pretty well i think so its nice to see these dresses in the exibit
March 23, 2008 at 2:50 pm
This dress confused me.
It looks like a project runway disaster. Ya know someone folded because they didn’t have enough time and this is all they could manage to produce during thier “I don’t have enough time meltdown” instead of actually working and due to that got elliminated on the first week.
Do you hear me?
March 25, 2008 at 2:40 pm
i really liked thhis dress. it made me see what things were like in the old ages
March 26, 2008 at 11:52 am
I think this dress is very unique, but in a good way. I wouldn’t wear it but it is still really cool to look at.
March 26, 2008 at 12:53 pm
I like this dress, although it reminds me very much of what Martin Margiela did years previously. What we see here is the genius of Margiela, his foward thinking which even make couturiers such as Galliano revisit his ideas.
March 27, 2008 at 2:30 pm
Me and my two friends were joking around making fun if this dress by saying ity looked like someone pinned some fabric together and said “there…its a dress” but it is far from that it like total ugh
March 28, 2008 at 1:03 pm
I like the color combination. It’s a nice dress.
Still, Galliano could’ve added more flairto the top. I think that if he added a little ribbon to the top, it would be more sophistocated. And, a slightly longer train, and I would wear that dress in a second.
March 28, 2008 at 5:00 pm
Beautiful and interesting - but did we really need three pieces from John Galliano? I guess the clients are wearing their Ralph Rucci’s . . .
March 31, 2008 at 11:19 pm
I was drawn to this dress because I am trying to learn dressmaking. It makes me think that if a dress designed to look like the under structure of a garment can be so beautiful, what would it look like if it was fully realized? Sometimes the insides of things are a lot more fascinating than the outside!
April 1, 2008 at 1:42 am
I believe this dress is a very interesting piece. It tells a story in itself. Normally we only see the end product rather than a work in progress. This dress shows both.
April 4, 2008 at 5:54 pm
I believe this dress is beautiful because of its image of construction. John Galliano’s approach to the piece is out of the box and shows us the simple construction and structure of a cultural piece, the dress. The small details on this piece is also missed, but when we study it we can see the true beauty in it.
April 6, 2008 at 1:40 pm
“The dress that fell down was so funny, because it doesn’t look like a dress should fall down!!!!”
Nadine, 6 years old (as dictated to her mother)
April 6, 2008 at 3:30 pm
No me gusta.
April 7, 2008 at 6:58 pm
Mientras leía los comentarios con respecto a este modelo de Galliano, homenaje a la técnica constructiva del modelaje y la Alta Costura del diseñador….pensaba en la necesidad de acompañar estas muestras con parte de la historia que hace sentido al ensayo del diseño….en otras palabras….cuán necesaria es la Historia y la investigación de la vestimenta, para comprender los códigos de los diseñadores en la actualidad.
Esto ayudaría a reconocer las fuentes de inspiración y a salir de la mera cuestión de si es bueno o malo…me gusta o no me gusta……aquí el receptor necesita la información que trasciende al modelo y dá sentido al diseño.
April 12, 2008 at 2:30 pm
…’cuán necesaria es la Historia y la investigación de la vestimenta, para comprender los códigos de los diseñadores en la actualidad.’
Palabra clave: código.
Código y contexto, dos conceptos que hay que tener en cuenta.
Sin duda hay una voluntad didáctica en la curaduría de estas exposiciones y una voluntad analítica del sistema de los signos de comunicación de la moda, sus modos de producción, de funcionamiento y recepción. Este análisis semiológico enriquece la presentación con una dimensión didáctica.
En estas exposiciones hay siempre un contexto histórico y es precisamente este contexto el que le confiere tanto valor a las exposiciones del ‘Costume Institute’ del Museo Metropolitano de Nueva York.