John Galliano’s fall 1995 Dolores collection marks a pivotal moment. It was essentially his last as an indie designer.
; a year later he transferred to Christian Dior and his namesake brand was acquired by LVMH. Corporate dollars would enable Galliano to further embellish the show template that he had made his own.
The Dolores of the show title was the actor Dolores del Rio. The invitation to the presentation consisted of pages from the heroine’s “tortured correspondence from the Rose of Alhambra hotel to her lover, Jaime, aboard the ocean liner Berengaria, along with a lock of hair and a broken locket,” reportedArriving at the venue, guests were ushered onto a snow-covered rooftop set littered with scows and populated by burly sailors.
Perhaps most exuberant were the flamenco dresses, which allowed Galliano, who was born in Gibraltar, to iterate on his own heritage. There were ruffled numbers cut on the bias in shades of lavender and fuchsia, and took the place of tiaras. The Catholic imagination was also at work. A model in a whisper-light dress of virginal white carried a rosary and was followed by a shipmate wearing an ersatz crown made of prayer cards.
The real, and successful, love story of this collection was that between a man and his scissors. Galliano romanced the cloth with a technical savoir faire that was awe-inspiring. The carnation dress worn by Carla Bruni was not only cut on the bias but seamless, thanks to the floral inserts. One of these dresses is in the collection of The Met’s
, and the catalog description notes that Galliano used the carnation “as a symbol of undying love.” What more is there to say?
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