[Editor’s note: This collection was originally presented on March 17, 1995, in a warehouse near the Pigalle district in Paris, and the photos have been digitized as part of Vogue Runway’s ongoing efforts to document historical fashion shows.]
John Galliano’s tumble 1995 Dolores selection marks a pivotal moment. It was fundamentally his very last as an indie designer. About four months soon after this presentation, Galliano was named the creative director of Givenchy a yr afterwards he transferred to Christian Dior and his namesake brand was obtained by LVMH. Corporate bucks would enable Galliano to additional embellish the exhibit template (made narrative, elaborate mise-en-scène, emotive modeling) that he had produced his very own.
The Dolores of the show title was the actor Dolores del Rio. The invitation to the presentation consisted of web pages from the heroine’s “tortured correspondence from the Rose of Alhambra resort to her lover, Jaime, aboard the ocean liner Berengaria, along with a lock of hair and a broken locket,” documented The New York Periods. Arriving at the location, friends had been ushered on to a snow-coated rooftop set littered with scows and populated by burly sailors. One of them, the report continued, “with bare toes and pink manicured toes leaned towards a chimney looking through a book known as Killer in Drag.” The model’s furtive movements prompt some unease, but there was no repressing the pleasure of the clothing.
Potentially most exuberant have been the flamenco attire, which permitted Galliano, who was born in Gibraltar, to iterate on his possess heritage. There had been ruffled quantities slice on the bias in shades of lavender and fuchsia, and peinetas (hair combs) took the location of tiaras. The Catholic creativity was also at operate. A design in a whisper-light-weight costume of virginal white carried a rosary and was followed by a shipmate sporting an ersatz crown manufactured of prayer playing cards. The display opened and closed with black-and-white appears, maybe suggesting that a reconciliation in between opposing urges (or good and undesirable shoulder angels) can be achieved—though probable not for the passionate Dolores.
The real, and productive, love story of this collection was that between a person and his scissors. Galliano romanced the cloth with a specialized savoir faire that was awe-inspiring. The carnation costume worn by Carla Bruni was not only cut on the bias but seamless, many thanks to the floral inserts. One of these dresses is in the assortment of The Met’s Costume Institute, and the catalog description notes that Galliano used the carnation “as a symbol of timeless adore.” What additional is there to say?