Nail color for vegas

Dior, John Galliano set his collection in I the enchanted, overgrown gardens com- ] plete with cobwebbed statuary and ivy-twined I wrought-iron gates of a castle out of Sleep- E ing Beauty. Galliano’s collection, his richest I in ideas for many a season, paid spectacular I homage to the master couturier himself, a | century after Christian Dior’s birth. Galliano skewed his perspective through the deft, distorting penmanship of Dior’s great artist friends Rene Gruau, Cecil Beaton, and Christian Berard. The bucolic setting, although ravaged by time and neglect, suggested Christian Dior’s beloved childhood home at Granville in Normandy, now opened as a museum to celebrate the designer’s work and influences. Dior cherished “the sweetest and most wonderful souvenir” of the villa “Les Rhumbs,” where his beloved mother, Madeleine, defied the elements to create romantic gardens a I’anglaise on a wind-blown bluff above the English Channel. But it was not only his mother’s flower gardens that inspired the young Dior. Memories of her Merry Widow hats, her wasp-waist corsets, and her full skirts supported by elaborate rustling petticoats formed the basis of the designer’s own aesthetic, which defined postwar fashion. It was these Belle Epoque fantasies that Galliano drew on for his Dior overture. Into the gardens raced a caleche driven by a brace of black horses, and out stepped a little boy in his sailor suit (the infant Dior), followed by Maman in dust-colored tulle and lace, molded into exaggerated Gibson-girl forms. Then, to a sound track that featured M. Dior himself intoning his fashion philosophy, Gal-. liano sent out elaborate mid-century evening gowns that appeared to be in mid-construction, named for the star k couture mannequins of the period Lucky, Praline, Victoire, France. Swathes of ice-blue or lilac taffeta were pinned over corsets like Stockman view 178

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