Just as the Dior drama was hitting an electrifying climax, Bill Gaytten pacified the frenzy with a sugar-sweet collection that sang like a lullaby....and almost put me to sleep.
Gaytten's creations were reminiscent of 1940's casual dressing with an hourglass silhouette, modest shapes and tonal hues of champagne, blush pink and vanilla. But it was all a little too vanilla, if you ask me; the first 40 looks were invariably dispensible. His interpretation of off-duty ballerina styling was too modest and too understandable to line up with previous Dior designs that managed to work depth into minimalism and even the most simple designs.
However, with credit to Gaytten, the designer did hit a high-note with evening-wear. The audience breathed a sigh of relief. Employing haute theatrics, clothes began to translate into something worthy of its ballet theme. Dramatic elegance was expressed through tutu tulle and long silk organza skirts that moved from opaque to translucent in the light. The delicate fabric was then twisted and layered to form a bodice for the doll-like dresses.
One highlight, for me, were the block-heel shoes that emulated pointe ballet pumps when seen from the front. But it was an innovative touch that sat solitary in a collection of pleasant, wearable but safe designs. Oh God, Galliano really is gone, isn't he? Bummer.