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« Sono apparsa alla Madonna. » - C.B.
  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Sasha Pivovarova

  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Marcelina Sowa

  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Vlada Roslyakova

  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Kinga Rajzak

  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Lindsay Ellingson

  • John Galliano F/W 2007 This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.

    Agyness Deyn

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  8. matilde347 reblogged this from missteratophilia and added:
    John Galliano - 2007
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    Galliano, my love!
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    This is basically what I imagined people in the Capitol of Panem wearing, I am just saying.
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