I see Dior as another Chanel-type, in its feminine cuts and beautiful details. But John Galliano’s strange self-style may be working to butcher the classic Christian Dior name, with his Spring 2006 Couture show for Dior.

The catwalk was a Fright Sight Show where fashion took a backseat—to a political statement of a French revolution that seems more like a Friday the 13th Horror Film Festival. With models draped in dark folds of fabric and covered in blood-red capes, with lights dimmed, it’s hard to see any style at all.

Even pricey pieces were ruined, like the pearls dripping with blood dye and spattered white leather pants (that bring up their own frightening thoughts).

I can hardly stand to look at—or display—any photo from this show, especially with models in gory make-up of zombie-dead eyes or in full white-face, and covered by eerie sheets of sheer cloth. Crosses further a dreary image.

At least the show ended with some humor; a goofy Galliano swishing a rapier sword, supposedly as a pirate, complete with that silly little mustache. Oh, please.

Yes, I have no thorough review of the actual styles, as I don’t see any true attempt at creating fashion garments, here. Of the stylistic pieces of which I can get a good view, they do not resemble apparel.

Thanks for the props, Almost Girl and Fashion Tribes Blog.

Starting a day late, due to my busy first day of classes (my schedule begins with and battles against the shows!), I begin the Spring 2006 Couture shows with a favorite pick: Chanel (picked so before seeing the collections).

Chanel’s show brought us back to 60s mod, with a kickoff look of boxy dresses and prim skirt suits. Black/White boots adorned the lightstepping feet of these walking displays of porcelain models. 60s made way to the good old times of our girlhoods with bows and lace, and all things nice. Every little girl’s fashion fantasy was blown up to twice the size of life, little by little, with spreading flower printed lace and ever-flaring skirts. After every imaginable, frilly expansion, the collection made way to floor-length gowns.

But these were in no way the ordinary or usual gowns we always see. Whether completed by petite jackets, continuing the feel of lace—accent or overflowing, or accentuating woman’s curves with exaggerated widths, once more, the wedding white frocks, amidst the pale or neutral, pushes the biggest dreams of the girl inside for beauty and romance. The shoes became demure and fairy-tale-like. At an over-the-top climax, the show ended with a young lass of pure, innocent beauty, in a flowing number much like a christening gown. Thus the transformation completed.

Worst:

Thanks for the props, Almost Girl and Fashion Tribes Blog.