John Galliano’s arrival at Dior in 1996 marked a seismic shift in the landscape of luxury fashion. As the first British designer to helm a French couture house since World War II, Galliano injected a potent dose of theatricality and rebellious creativity into the venerable Maison Dior. His appointment, following a brief but impactful stint at Givenchy, signaled a new era where fashion giants embraced disruptive talents, placing them at the creative forefront. Alongside contemporaries like Alexander McQueen and Marc Jacobs, John Galliano at Dior redefined the codes of haute couture, crafting collections that were as critically acclaimed as they were commercially successful, cementing his place as a visionary, albeit chaotic, force in contemporary design.
Two decades on, the John Galliano Dior era resonates even more intensely. In an age of digital archives and rapid-fire trend cycles, his collections – once experienced as immersive, live events – now live on as decontextualized fragments on social media, fueling a renewed appreciation for their audacity and artistry. A new 448-page book, the latest in Assouline’s series chronicling Dior’s history, seeks to capture the breadth and depth of Galliano’s transformative 15-year tenure at Dior, offering a timely re-examination of his profound impact. This period was not just about clothes; it was about storytelling, spectacle, and a relentless pursuit of beauty that pushed the boundaries of fashion itself.
John Galliano’s path to fashion eminence was unconventional. Initially trained in illustration, his foray into clothing design was spurred by Sheridan Barnett, a tutor at Central Saint Martins, who recognized his nascent talent. Galliano’s formative years were steeped in the romanticism of vintage cartoons and historical narratives, particularly those of bawdy Marie Antoinettes and Parisian demimondes. For him, fashion became a medium for narrative expression, a canvas upon which to paint elaborate stories. While his technical skills were initially less refined – legend has it he once used red wine to dye fabric – his imagination was boundless. Surrounded by a coterie of equally visionary collaborators, including Pat McGrath and Philip Treacy, John Galliano at Dior pioneered the theatrical runway show. His presentations were legendary for their immersive sets, dramatic lighting, and pulsating soundtracks – a stark contrast to the more restrained shows of the time, and reportedly, to the chagrin of Anna Wintour. Models under Galliano were not mere mannequins; they were characters embodying the spirit of each collection, encouraged to flounce, prowl, and truly perform on the catwalk.
John Galliano Dior AW00 Hobo Couture collection featuring model in newspaper dress with liquor bottle accessory
From the delicate grace of Madame Butterfly to the opulent grandeur of Versailles and the dramatic flair of the Opera Garnier, John Galliano Dior shows were heart-stopping odysseys. He presented visions of escapee princesses and enigmatic gypsy queens, each collection a new chapter in his ongoing fashion narrative. While commercially astute – responsible for iconic pieces like bias-cut slip dresses, newspaper prints, and the ubiquitous Saddle bag – Galliano’s unwavering commitment to fantasy and spectacle was a breath of fresh air in the often-staid world of haute couture. Like his collections, Galliano himself was a chameleon, adopting different personas each season through wigs, makeup, and costumes, embodying his belief that “fashion is above all an art of change.” The John Galliano Dior years were a whirlwind of creativity, marked by moments of unparalleled brilliance, and while his legacy is complex, its impact on fashion remains undeniable. It’s important to acknowledge the complexities and controversies that later shadowed his career, but within the realm of his Dior work, the focus remains on the extraordinary artistic output.
AW00: From Hobo to Haute Bourgeoisie
Today, the very idea of “Hobo Couture” might trigger immediate backlash, but John Galliano’s AW00 collection for Dior, inspired by the marginalized Parisians he observed during his morning jogs, generated little controversy at the time. While models donned threadbare ensembles accessorized with empty liquor bottles and discarded trash, just six months later, Galliano’s creative lens shifted dramatically to the opposite end of the social spectrum. AW00 then morphed into an exploration of the subconscious of a fantastical society wedding. The collection, beginning with a bishop-like gown – later famously worn by Rihanna at the Met Gala – unfurled into a panorama of bourgeois fantasies. BDSM-inspired brides, naval officers reimagined as sex dolls, and provocative French maids paraded down the runway to the sounds of whip cracks and moans. John Galliano at Dior excelled at constructing intricate narratives, and in this collection, he cast everyone as players in a grand, albeit unconventional, marriage of costume and haute couture.
SS03: An Orientalist Opera
The fashion world is unlikely to witness another John Galliano. Contemporary sensibilities and heightened awareness around cultural appropriation would likely engulf many of his past designs in controversy. His SS03 collection for Dior, dubbed the “Asian” collection, is a prime example. Inspired by a three-week trip to China and Japan, the show was a spectacle of orientalism, complete with circus performers and acrobats. Models were transformed into Geishas, enveloped in voluminous fabrics, their faces painted in stylized makeup, peeking out from beneath marabou-trimmed hats and layers of willow-patterned chiffon and taffeta. The New York Times described it as “the most staggering example of self-indulgent luxury since Louis XIV held court at Versailles,” criticizing its operatic extravagance at a time of global political tension. However, the collection’s commercial success was undeniable; Dior’s couture division saw a 41 percent surge in annual revenue, a testament to the allure of Galliano’s vision, despite the critical debate it sparked.
AW03: Apocalyptic Flamenco
John Galliano is often described as both a creative visionary and one of the last great couturiers, roles that, perhaps, are not mutually exclusive. At both Dior and Givenchy, he created extravagant, almost theatrical clothing, a testament to a time when fashion houses had the financial latitude to indulge such artistic largesse with million-dollar runway productions. Whether contemporary designers enjoy the same freedom is debatable. His AW03 show for John Galliano Dior transported alien showgirls, gypsies, and cabaret performers to a terrestrial stage. Models were painted in surreal blue and yellow gradients by Pat McGrath or rendered swarthy and sweat-slicked. The collection was an apocalyptic journey through dance culture, with fierce bailarinas de flamenco stomping the runway in ruffled skirts, corsets, and fitted jackets, transforming leg warmers and leggings into ballroom-esque ruffles. The show served as a poignant homage to his Gibraltan father, who had passed away just a week prior. “We danced flamenco at his funeral,” Galliano explained, “It’s important to remember where we came from.”
SS04: Nefertiti and the Sphinx Line
Galliano’s fascination with historicism, albeit chaotically and richly referenced, resurfaced in his SS04 collection for Dior. Erin O’Connor opened the show to the strains of Beyoncé’s “Baby Boy,” embodying Nefertiti. With an arched back, feline eyes, exaggerated cuffs, and an empress crown, Galliano unveiled what he termed the “sphinx line” – “elongated, tight, accentuated, but crossed with the elegance of Avedon and Penn.” Models moved at a glacial pace, encased in silver lamé and golden snakeskin, resembling walking sarcophagi, adorned with metallic orbs and imposing Jackal headdresses, complemented by crystal-encrusted scarab earrings. While Galliano introduced more contemporary elements, such as undulating tulle and peplum silhouettes, the show sparked debate about wearability. Suzy Menkes questioned at the time, “Is Galliano the most amazing, evocative, and extraordinary designer couture has ever had? Or is he a costumier building unsalable products behind a superbly decorated couture façade?”
AW04: Marie Antoinette on the Runway
John Galliano, fashion’s ultimate romanticist, conjured visions of jewel-encrusted moiré and fur-trimmed silk, pushing beauty to its most opulent and extravagant extremes in his AW04 collection for Dior. The models appeared to have stepped directly from a film set, perhaps depicting Elizabeth or Marie Antoinette, with alabaster-powdered faces and slightly askew tiaras. They navigated the runway in squared-off panniers and dresses so voluminous they seemed to require yards of fabric equivalent to upholstering multiple sofas. In fact, Karolina Kurkova famously became stuck in the exit due to the sheer size of her gown and had to be physically assisted. Inspired by Empress Elizabeth of Austria (Sissi), the collection was so divorced from contemporary fashion that critics felt they “may as well have been looking at a museum piece,” as Cathy Horan noted. Comprising 28 regal figures, the collection, while perhaps lacking Galliano’s signature chaotic energy, with its blown-up hourglass silhouettes and gilded fabrics, casts a long shadow over today’s often minimalist fashion landscape. Perhaps, as Cathy Horan and others suggested, they didn’t fully appreciate the moment they were witnessing.
AW06: Medieval Warrior Women
Rumor has it that Drew Barrymore was so overwhelmed by the beauty of John Galliano’s Dior AW06 couture show that she fainted. Staged within a Renaissance maze, the presentation featured a procession of medieval warrior women clad in gilded chainmail, 3D-folded latex gowns, and towering glass coronets, each look completed with an armored sleeve. Draped gowns were juxtaposed, sometimes literally spliced together, with hard-shell breastplates reminiscent of Joan of Arc, while goth-punk Siouxsie Sioux-inspired figures stalked the runway in dark, shaggy layers of fox and yak hair, blending Hollywood glamour with raw punk energy. At the conclusion of the 20-minute spectacle, John Galliano took his bow in a spacesuit, a fitting gesture for a designer so consistently intent on transcending time and space through his creations at Dior.
Dior John Galliano 1997-2011 is available for pre-order ahead of its official release on February 15
