Dior SS10 RTW
Respect is owed to John Galliano this season, as it was he who entered the subject of lingerie at the top of the fashion agenda. Thanks to him, what was supposed to be one single article has rapidly expanded into a mini-series, examining the use of underwear in fashion. Back in July, Galliano’s Dior AW09 Couture collection saw a full-circle back to Christian Dior’s first collection of 1947. Shown in a setting inspired by the original Dior salon on Avenue Montaigue, AW09 saw half-dressed models with one half of their body revealing stockings, suspenders, pointed bras, Basques, girdles, lace-trimmed slips and petticoats in pretty 1950s flesh tones, and their other half encased in waisted jackets, bubble skirts, padded-hip coats and full skirted evening gowns in an array of fantastical colour and print.
Christian Dior, whose first collection in 1947 emerged out of the rubble of the Second World War, and who remained the ‘dictator’ of fashion for the next decade, revived Haute Couture with his, as it was coined at the time, ‘New Look’. This oddly named ‘New Look’, which was more of a counter-revolution as women found themselves once again (as during the belle époque) dressed as sex symbols for men’s pleasure, demanded extraordinary foundations to reach this desired silhouette. The wasp-waisted silhouette was created by a construction of tulle and bone bustiers, cupped bras, shoulder pads, bust pads, hip pads, and taffeta slips with rosettes and rouches, all to enhance the curves. Dior became famous for this construction of heavy and constricting undergarments. Therefore, it only seems fitting that underwear should become as key to Galliano as it did to Christian Dior.
Where Dior AW09 Couture was strong, sharp and bright with a 50s movie starlet glamour, SS10 was 40s film-noire, probably finally capturing the real romantic essence of historical Dior. Where Galliano’s earlier collection was all tiny waists, structure, strength and vivid colour, SS10 focused on a more vulnerable femininity. The French lace trimmed petticoats and shorts, cami-knickers and satin teddies, baby doll dresses, fragile flowered chiffon dresses, vintage-esq full-length cascading satin, pleated silk cocktail dresses and transparent delicate fabrics with romantic adornments all brought this new aesthetic to the collection. Galliano’s dramatic edge is undoubtedly still on show, and his distinct creative aesthetic is conveyed through his use of contrasts (of texture, colour, fabric). For example, a structured corset is attached to a chiffon blouse and paired with delicate lace trimmed shorts, or dresses with lace uppers fall into lamé trains, or corseted uppers descend into waterfalls of chiffon ruffles or a lamé wrap dress is finished with lace trim. Galliano said he found the film-noire inspiration for the collection while thinking about Lauren Bacall, American actress and model, “[who] was a great Dior client; there are amazing photos of her in the salon with Bogart”. With this historical impetus he designed the wardrobe for his 40s femme fatale, complete with her side parting and red lips. Thus underwear arrived on the fashion platform.
Revisiting the original aesthetic of Dior’s ‘New Look’ Galliano has found the true Dior essence, fitting for the modern woman. Sometimes only by looking back can you move forward with a fresh outlook, and rediscover what your purpose is. Despite how it is commonly treated and understood, fashion is certainly not an a-historical phenomenon.
Dior AW09 Couture
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