John Galliano : Veut revenir dans le monde de la mode 

John Galliano for Christian Dior Haute Couture

Christian Dior Haute Couture /Autumn Winter 2008

John Galiano for Christian Dior Couture, 2000. Photo Courtesy of Laziz Hamani.

pretty-much-everything:

A geography lesson by John Galliano.

In his shows, Galliano transports us to Peru, Brittania, Victorian England, Russia,  Poiret’s Paris, Vermeer’s Holland, Royal Prussia, Middle-Eastern mountains, Tribal Africa,Ancient Egypt and Revolutionary France!

My personal favourite was his homeless-nomad collection with a hint of Peru, mainly because I’m obsessed with Peruvian women and their bowler hats! Also his nomadic-middle eastern princesses, for their beautiful ceremonial headpieces.

(via john-galliano-blog)

seaborder:

Dior

John Galliano

(Source: john-galliano-blog, via johngallianofashion)

“You know, you can absolutely hate a design he did. But then when you hear him explaining it and talking so passionatly about his inspirations and the journey his creative mind made upon creating the dress, you just fall in love with the dress after all. And when you already loved it, you just love it even more. A true visionair this man!”

(Source: fuckyoumswintourimreplacingyou, via john-galliano-blog)

alexisrebecca:

Galliano for Dior Haute Couture, 1997.

(via batangjose)

John Galliano for Christian Dior RTW SS 2011

John Galliano for Christian Dior RTW SS 2011

FAVORITE LOOKS »» Part 1

↳ Dior Ready-To-Wear Summer 2011

John Galliano for Christian Dior RTW SS 2011

stylesq:

Dior Fall 2006 Couture… Hands down one of my ultimate favorite runway shows!

(Source: , via charlottelucy)

carissagold:

Christian Dior Haute Couture - Fall/Winter 2001

ornamentedbeing:

For the House of Dior (French, founded 1947) by John Galliano (British, 1960)

spring/summer 1998

The Met says: In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano’s beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through.

(via john-galliano)