John Galliano Research Articles

Luxury Brands Success: Dior as an Example

Luxury goods continue to captivate the aspirations of today's youth, with each brand boasting a distinctive history and unparalleled style. Dior, a renowned luxury brand with nearly a century of heritage, stands as an iconic example. While the name Dior is synonymous with fashion, the profound reasons behind its enduring status as a high-end luxury brand remain relatively unexplored. This article delves into the three enigmatic secrets of Dior's success, a source of inspiration for those who aspire to make their mark on the fashion world, and for anyone who appreciates the art and craftsmanship of luxury brands. First, central to Dior's triumph is its lineage of visionary creators. Christian Dior, the brand's illustrious founder, And other creative luminaries like Marc Bohan, Gianfranco Ferre, and John Galliano's innovations ensured Dior's perpetual allure and global influence. Secondly, Dior's ascendancy owes much to shrewd marketing and branding strategies. And finally,superlative craftsmanship is the cornerstone of Dior's enduring success. The commitment to detail, perfection, ensures Dior's reputation for unparalleled quality. The brand's enduring allure serves as a testament to the enduring values of hard work, innovation, and a genuine passion for the craft. Just as Dior's legacy continues, so can individuals and brands thrive by staying grounded, working diligently, and nurturing a deep love for their art.

Now I Know How Joan of Arc Felt: el mito de Juana de Arco y su legado en la moda y cultura visual contemporáneas

Christine de Pizan, una de las principales representantes de la Querella de las Mujeres – debate literario que a finales de la Edad Media reivindicó la virtud natural de la mujer – compuso en 1429, y, por lo tanto, en vida de la homenajeada, su Ditié de Jehanne d’Arc, dando origen a uno de los mitos femeninos más longevos de la historia. El presente trabajo analiza cómo Juana de Arco, convertida en icono de fortaleza, libertad, virilización y misticismo femeninos, ha sido, desde entonces, una constante en el mundo de la indu-mentaria y la moda, cobrando especial protagonismo en la pasarela contemporánea, de la mano de algunos de los principales diseñadores internacionales como Paco Rabanne, Jean Paul Gaultier, Alexander McQueen, John Galliano o Donatella Versace, quienes han hecho de la Doncella de Orleans una perfecta combinación de historia, leyenda y estética que no hace sino demostrar el valor semiótico y simbólico de la moda como expresión artística e instrumento de comunicación no verbal.

El tejido indigena en el diseño de moda actual: una mirada entre el trabajo manual y la fabricación industrial

Este artículo de análisis o reflexión se centra, en primer lugar, en las comunidades indígenas de Colombia y Perú, en las que se pueden ver las técnicas, tecnologías y productos con los cuales se elaboran los distintos tejidos. Esto incluye las materias primas y los procesos técnicos y tecnológicos desarrollados por la comunidad indígena, las relaciones sociales en la actividad del tejido y, por último, las necesidades espirituales y físicas (uso) que estos productos tejidos satisfacen. En segundo lugar, se analiza la influencia del tejido tradicional indígena latinoamericano en el mundo del diseño de moda actual. Para esto, se toman como ejemplos tres conocidos diseñadores de modas, que se han basado en estos diseños indígenas para algunas piezas de sus colecciones (John Galliano para Dior, Jean Paul Gaultier y Hernán Zajar). Finalmente, se exponen las diferencias que se encontraron entre ambos diseños (los indígenas y las colecciones de moda) y se busca responder a la pregunta de cómo estos diseñadores han apropiado o interpretado los diseños indígenas, si permanecen la significación y el simbolismo originales de estos tejidos o si, por el contrario, solo se conserva la forma del diseño (figura-patrón).

Dumpster Chic and Haute Homeless: Placing Brother Sharp in a fashion industry continuum

Abstract In 2010, a Chinese homeless man became an Internet sensation when photos of him were posted online. Soon nicknamed ‘Brother Sharp’, the man’s celebrity went viral, first in China and then the world; Chinese young men imitated his style while he still ate out of trashcans. His fame coincided with a controversial homeless-inspired menswear collection from Vivienne Westwood, and the two incidences were linked in the media. While Brother Sharp’s sudden fame was a phenomenon of the Internet age, the idea of the homeless and the poor has had a long history as inspiration and entertainment for the general public. This article traces fashion collections from Christian Francis Roth and John Galliano, among others, the popularity of Mary Kate Olsen’s ‘Dumpster Chic’, along with the phenomenon of ‘slumming’ across centuries, and the ethics of such fashion expressions and fascinations.

High fashion or high fascism? A Kantian analysis of aesthetics, beauty, genius, power and politics

Abstract This article explores the response of the fashion world to an incident involving John Galliano. This incident is used as a case study to examine issues about beauty and fashion, the politics of aesthetics, the philosophy of human affairs and the relationships between morality and good citizenship. It seeks to question some conceptions of beauty that circulate within the world of haute couture and also to problematize the use of the term ‘genius’ when this is divorced from any consideration of moral acceptability. Two philosophical works are used to help with this task: Immanuel Kant’s ([1790] 2000) Critique of the Power of Judgment, and Hannah Arendt’s (1992) Lectures on Kant’s Political Philosophy. In exploring whether individuals can be expected to exhibit an acceptable moral condition under a ‘good constitution’, the Galliano incident prompts, in complex ways, consideration of three things: ‘What constitutes a bad man?’, ‘What constitutes a good citizen?’ and ‘What constitutes a good state?’ Corollary questions include, ‘are “the beautiful” and “the good” related?’, and ‘should one who fails to show moral behaviour be considered a genius’?

현대패션에 나타난 그로테스크에 관한 연구: 2000년 이후 컬렉션을 중심으로

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.

Characteristics in the Lingerie Looks Designed by John Galliano

This study aims at developing and producing the creative design of a lingerie look after reviewing the aesthetic value about lingerie look featured in John Galliano`s works. As for the research method, the selection process from the works was followed together with literature review for empirical analysis over lingerie looks, where 2,764 pieces in total were reviewed from Galliano`s Pret-a-Porter collections covering from 2001S/S until 2010F/W and Christian Dior`s Haute Couture and Pret-a-Porter collections that he is in charge of as head designer and 291 pieces were finally singled out that show the lingerie look image well. Then, the formative expression was examined about those looks and the characteristics were induced from them. Formativeness expressed in Galliano`s lingerie look, in term of lingerie style, was categorized as erotic, retro, and deconstructive. The glittering and smooth material like silk and satin, and the visible material like lace and chiffon were mainly used for material rather than foreign material. By doing so, the romantic and erotic image was highlighted. In the production method, it was grouped into transposition of wear, direct and indirect exposition, and deconstructive way. These aesthetic characteristics introduced by formative expression appeared in the form of eroticism, play, and deconstructiveness.

‘High Fashion Crime Scenes’: Recent trends in fashion imagery, a legacy of film noir

Roland Barthes suggested that photographs are, essentially, about death. This article traces the relationship between crime scene photographs of the 1930s and 1940s, the visual aesthetic of film noir and a resurgence of the genre in high fashion photography. From the bruised-eyed runway models of Comme de Garçons in the 1980s to the preoccupation with death, trauma, alienation and decay in the work and promotions of Vivienne Westwood, John Galliano, Alexander McQueen, Hussein Chalayan and Victor & Rolf throughout the 1990s, this trend has grown stronger in the new millennium, as seen in campaigns by leading fashion photographers, both in editorial and in advertising for luxury brands. LA photographer Melanie Pullen continues to explore these themes in her ongoing work ‘High Fashion Crime Scenes’. Drawing on Weegee’s Noir explorations of urban life and films such as Irvin Kershner’s 1978 film, The Eyes of Laura Mars, Pullen uses fashion as a symbol of the deceased’s everyday life, the mundane juxtaposed with the catastrophic. This imagery probes the unions between beauty and brutality, artifice and alienation, glamour and gore. Drawing on the seminal work of John Berger on photographic advertising in Ways of Seeing (1972), Jennifer L. Pozner’s work within the media, and Caroline Evans’ influential text Fashion at the Edge: Spectacle, Deathliness and Modernity of 2007, this article will attempt to unravel the relationship between high fashion and violent death within contemporary visual culture.

The Formative Characterastics of John Galliano's Works which Appears in the Christian Dior Collections - Based on 2006 S/S ~ 2010 F/W Haute Couture -

The Formative Characterastics of John Galliano's Works which Appears in the Christian Dior Collections - Based on 2006 S/S ~ 2010 F/W Haute Couture -

Altman on Jacobs on Dior: Fashion Through Fractals and Archives

On February 25, 2011, the fashion luxury company Christian Dior suspended John Galliano, who had been its creative director since 1996, after his arrest over making anti-Semitic remarks at a Paris bar. Quickly following his suspension, a video from December 2010 was distributed showing Galliano hurling anti-Semitic invectives at several bar patrons. On March 1, 2011, Dior fired Galliano. At stake in the considerable interest and speculations regarding who takes over at Dior is control of a €24.6B business empire and access to a historic couturier’s archive. In this sense, its designer will influence the label’s books both financial and what will be stored in its physical repository as part of the brand’s creative and artistic repertoire. Despite fashion’s apparent ubiquity, the anticipation surrounding who takes over at Dior is proof that despite fashion’s professed democratization, there still exists a fashion hierarchy with Dior occupying its upper echelon. Since Galliano’s dismissal, fashion insiders have moved from breathlessly feverish in their speculations to desperately calling out for relief in the face of an unexpectedly drawn-out waiting game that is now over a year old and otherwise an eternity in fashion’s hyper accelerated production cycle. To purposely counter fashion’s accelerated internal clock, the purpose of this commentary is to keep fashion in a reflective state rather than a reflexive stance and uses fashion on film, and specifically Robert Altman’s Pret-a-Porter (1994), to give cultural and historical context to all the online speculation and chatter. Altman’s film is the fractal, or the repeating pattern, in a dramatized form, as well as the cultural archive against which to examine the entangled relations of the designer Marc J

Representational Methods of Fun Shown in John Galliano Fashion Show Make-up

Representational Methods of Fun Shown in John Galliano Fashion Show Make-up

A Study on Make-Up Based on Multiple Expression Form in the John Galliano Fashion Show

A Study on Make-Up Based on Multiple Expression Form in the John Galliano Fashion Show

디올 패션이 향장미용에 미친 영향에 관한 연구

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

Gothic: dark glamour

From its origins in the eighteenth-century literature of terror to its contemporary manifestations in vampire fiction, cinema and art, the gothic has embraced the powers of horror and the erotic macabre. 'Gothic' is an epithet with a strange history - evoking images of death, destruction, and decay. Ironically, its negative connotations have made the gothic an ideal symbol of rebellion for a wide range of cultural outsiders.Popularly associated with black-clad teenagers and rock musicians, gothic fashion encompasses not only subcultural styles (from old-school goth to cyber-goth and beyond) but also high fashion by such designers as Alexander McQueen, John Galliano of Christian Dior, Rick Owens, Olivier Theyskens, and Yohji Yamamoto. Fashion photographers, such as Sean Ellis and Eugenio Recuenco, have also drawn on the visual vocabulary of the gothic to convey narratives of dark glamour. As the text and lavish illustrations in this book suggest, gothic fashion has deep cultural roots that give it an enduring potency.

Headlines Make Fashion: The Use of Newsprint Fabric and Newspaper Clippings in Fashion and Fancy Dress

This article explores the use of newspaper-printed fabric in nineteenth- and twentieth-century fancy dress costumes, as well as its employment by fashion designers such as Elsa Schiaparelli and John Galliano. It examines the use of authentic newspaper clippings and paper applied to fancy dress and fashion, and discusses Viktor and Rolf's innovative method of using real newspaper within their conceptual framework.

The Idea of Africa in European High Fashion: Global Dialogues

African form and design have stimulated the creativity of European fashion designers for centuries. They have been used as inspiration for clothing designs, fashion accessories, and jewelry. By looking at the lure of the exotic in a historical perspective, and the importance of Africa in scientific, sociopolitical, and artistic arenas; this article will analyze the dynamic presence of African aesthetic expressions and styles in European fashion arenas in the twentieth century. This phenomenon was prominent between the years 1991 and 2000, with 1997 displaying a sustained African presence throughout the year. The work of John Galliano and Jean Paul Gaultier reveals African motifs and ideas have inspired their designs, and are also employed to communicate social and political messages. Conversely, African fashion designers such as Xuly Bët and Seidnaly Alphadi, who work in Europe and in Africa, use their own aesthetic to design their collections, to spur their home economies, and to place Africa in the global fashion circuit. In the twenty-first century, the era of globalization and instantaneous communication par excellence, such issues disclose the interrelationship between African and European fashions. Inspiration and creativity, fueled by the allure of exoticism may become a global dialogue, which goes both ways.

A Study on the Avant-Garde Characteristicsof Make-up in Fashion Shows- Centering on Fashion Shows of John Galliano since 2003 S/S-

A Study on the Avant-Garde Characteristicsof Make-up in Fashion Shows- Centering on Fashion Shows of John Galliano since 2003 S/S-

From Fé in the Desert

from Fé in the Desert Jessica Hagedorn (bio) Characters Fè Sloan—Bill’s ultra-chic wife; age 30s, early 40s Bill Sloan—Fè’s wealthy husband; age late 30s, early 40s Tyrone Arroyo—an ex-con just released from Attica; age 40s or 50s James “Mook” Blake—an ex-con just released from Attica; age 20s Ramon Fontaine—a movie producer; same age as Tyrone Arroyo Suze Meinhof—Ramon Fontaine’s secretary; in her 20s Setting The play mainly takes place in the Sloan household in California’s Palm Springs Desert. There are brief stopovers in Culver City, the Santa Monica Airport, the Attica Correctional Facility and the Staten Island ferry terminal. Time The present. from Scene One (Lights up on FÈ—stylish, sexy, whippet-thin—as she addresses the audience.) FÈ: Miuccia Prada . . . Henry Beguelin . . . John Galliano for House of Dior . . . Helmut Lang . . . Narciso . . . Rodriguez . . . Yohji Yamamoto . . . Issey Miyake . . . Rei Kawakubo for Commes Des Garcons . . . Delicious, isn’t it? A litany of exotic names and labels that probably don’t mean a thing to you. My juju. It gives my life purpose, maintaining this polished veneer. This façade. There—I’ve gone and done it. Given it up too early, broken the rules. My sister would say that in a “play” such as this—I love that word, don’t you? [End Page 1230] “Play”—you’ve got to keep the mystery going and let the story unfold. “Show, don’t tell.” Ha-ha. My sister used to live in New York. She went to a lot of theater and taught at a university and had a lot of rules about what made good art, GOOD . . . and bad art, BAD. Until it all came tumbling down and she exiled herself to a dump in the San Francisco Tenderloin! I’ve been told she was an excellent teacher but somewhat rigid. Writing had to be this, not that. Movies had to be—oh, dear god, did the poor girl ever relax and just have FUN? I did. I do. FACE? Francois Nars. You can never go wrong with the French. Francois’ motto? “Make-up is not a mask.” A load of tired crap, but I forgive him. Now you’ll have to admit—I look good. And if I were to allow you to get close enough? You’d know I smell good. And of course the underwear’s exquisite! La Perla, darlings. None of that tacky Victoria’s Secret hooker shit for Miss FÈ . . . (the following is spoken as FÈ gets into the driver’s seat:) And now Miss FÈ is gonna step into her husband’s brand-new Escalade—a pretty vulgar machine, really—and take a little ride. I have my own car, of course. But I love climbing into this tank of a thing that sits so high up off the ground I feel absolutely safe! Plus the sound system? PERFECTION. My husband hates music—but I insisted on having custom speakers installed just for ME. I like my music way, way UP, especially on a sizzling, sweltering, sauna of a day like today! (FÈ turns on CD player. Smokey Robinson’s “Your Love Was Just A Mirage” blasts from the speakers. FÈ lipsynchs happily as she drives) ....... Two (Same day, late afternoon. The kitchen of FÈ and Bill Sloan’s luxurious desert home. Lights fade up on Bill uncorking a bottle of wine. A sumptuous dinner is on the stove. FÈ enters and drops several fancy shopping bags and purse on the counter. She pecks Bill on the cheek and—without missing a beat—reaches into her purse, pulls out a tiny vial of coke and snorts a couple of hits.) BILL: What the hell are you doing? FÈ: What the hell does it look like I’m doing? BILL: Is that coke you’re ingesting? FÈ: Think of it as nostalgia for the mud, Bill. “Déjà vu”. Want some? It’s quite pure. [End Page 1231] BILL: For godsake, Fè. Where do you get that stuff? Nobody does coke any - FÈ: I almost died today. BILL: What? FÈ: Had a little accident. Driving home from that stupid mall. BILL: Were you driving...