Last night i read the words of an old proverb; "the darkest hour comes before dawn.", it said. Whether it be the sunrise or a twinkling star in the night sky's blanket, light will always lurk through the darkness, hope can burn and conquer all.
But unfortunately, it was a misconstrued notion of this optimism in the face of adversity that seemed to emphatically bulldoze through Bill Gaytten's couture collection. By means of candy shop colours, the temporary artistic director, sought to ice over Galliano's demons and suffocate all doubt about the label's future. However, with a distinct lack of consistency, the flamboyant collection seemed only to speak the unconscious truth of Dior's recent tremors; calm, harmonious and business-as-usual on the surface, but underneath, bubbling with erratic anxiety.
But it wasn't all bad, the designer's somewhat volatile collection of references did serve as a fanciful distraction and dream-like vessel of escapism for the audience. From Frank Gehry to Jean Paul Gouda, Bill Gaytten's inspiration wavered through antithetical worlds that mixed soft and serene with cutting and agile...with subjective results....
Watered down flouros and mineral shades ruffled softly around a frenzy of hyped pop-art prints that evoked, not only a clash of colour, but also a clash of decade defined silhouettes. The effervescence of summer (and the campness of 1980's kid's TV) shone through the so called "fall collection" which ultimately emerged to be created out of time. Poetic or confused?
It was almost as if Gaytten had too much too prove and say but lost his voice amidst the new found power. Nevertheless, i won't dismiss his efforts. Perhaps most poignant in his vision was the recurring eruption of the signature Dior rose emblem. Upon everything from sleeves to skirts, was the romantic impression of swirling taffeta and tulle that unfolded in layers like petals, conveying an evolving future to be found as we peel away the past.
Maybe we just miss old Galliano, absent from his Dior throne for the first time in fifteen years. After all, Dior sales have suffered no losses since the scandal and we are less than accommodating to any man who may or may not succeed him. It's a hard matter to tackle, with the future unwritten, but if we have seen the darkest hour, at least we know that dawn is coming.
But unfortunately, it was a misconstrued notion of this optimism in the face of adversity that seemed to emphatically bulldoze through Bill Gaytten's couture collection. By means of candy shop colours, the temporary artistic director, sought to ice over Galliano's demons and suffocate all doubt about the label's future. However, with a distinct lack of consistency, the flamboyant collection seemed only to speak the unconscious truth of Dior's recent tremors; calm, harmonious and business-as-usual on the surface, but underneath, bubbling with erratic anxiety.
But it wasn't all bad, the designer's somewhat volatile collection of references did serve as a fanciful distraction and dream-like vessel of escapism for the audience. From Frank Gehry to Jean Paul Gouda, Bill Gaytten's inspiration wavered through antithetical worlds that mixed soft and serene with cutting and agile...with subjective results....
Watered down flouros and mineral shades ruffled softly around a frenzy of hyped pop-art prints that evoked, not only a clash of colour, but also a clash of decade defined silhouettes. The effervescence of summer (and the campness of 1980's kid's TV) shone through the so called "fall collection" which ultimately emerged to be created out of time. Poetic or confused?
It was almost as if Gaytten had too much too prove and say but lost his voice amidst the new found power. Nevertheless, i won't dismiss his efforts. Perhaps most poignant in his vision was the recurring eruption of the signature Dior rose emblem. Upon everything from sleeves to skirts, was the romantic impression of swirling taffeta and tulle that unfolded in layers like petals, conveying an evolving future to be found as we peel away the past.
Maybe we just miss old Galliano, absent from his Dior throne for the first time in fifteen years. After all, Dior sales have suffered no losses since the scandal and we are less than accommodating to any man who may or may not succeed him. It's a hard matter to tackle, with the future unwritten, but if we have seen the darkest hour, at least we know that dawn is coming.
The clothes are WOW! I love their makeup.
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