Couture Report: Christian Dior Fall 2009

Historically, it may turn out that Lacroix is the story of Fall 2009 Haute Couture Week, should this actually be the inspired coutourier’s last show. But so far, my bet for the artistic story is on John Galliano for Christian Dior and this look on Chanel Iman for the iconic image:

Of course, critics are going to say “the emporer has no clothes!” “the mannequin has no pantalons!” Which is true, and a legitimate reaction. Maybe these aren’t complete pieces, since this is one art form that has a more established definition of what makes it complete. (We don’t balk at one-armed statues, do we?) But isn’t that the magic? We get to see a bit behind the beautiful facades to the intricate inner structure of couture garments, as beautiful as the outer shells that would be nothing without the excuisite craftsmanship beneath.

The collection was inspired by archival photographs of Monsieur Dior dressing his “cabine” of models in the mid-twentieth century. Galliano said it was made to be as if the models were half dressed and someone just shouted “go!” which is indeed what it looks like. The interior structure, boning and corsetry of a couture garment is as important as the fabrics, beading and stitching on the outside. It’s the key to how a gown can hide flaws and accentuate or create curves as needed the way a ready-to-wear piece cannot – the reason couture is so transformative. Galliano put this intricate skeleton on display, along with the most exquisite stockings, lace-edged slips, bras and tap pants. Which were, of course, as beautiful as the gowns and New Look bar jackets themselves.

Tags: Christian Dior Fall 2009 Couture, Christian Dior Haute Couture, Fall 2009 Couture, John Galliano

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