Creation
"Creation" exemplifies John Galliano's articulated interest in exploring, at the time of his fall/winter 2005-6 show, "the construction of haute couture." Like the other gowns in the series of designs that closed his presentation, this dress appeared as a garment in the process of becoming. The natural muslin bodice, patterned after the cuirasse bodice of the 1880s, suggested the Stockman tailor's forms on which couture dresses are worked. Layers of different fabrics--the rich blue silk embroidered à la disposition, interfacings, linings, and tulle--are attached provisionally to the corset support and suggest the initial stages of the design process.
The generally hidden interior details that marked the elaborate constructions of couture gowns in the1950s, such as grosgrain waist tapes, bust pads, and tulle underskirts, are exposed and transformed into the decorative elements of the dress. Structure, therefore, becomes ornament. In a Surrealist displacement, the humble pincushion worn by fitters and sample hands of the atelier is transfigured into a bracelet when shown on the runway. A similar reassignment of function occurs when Galliano shifts a padded bra cup from the bust to the hip. It is a knowing but ironic reference to Christian Dior's "New Look" silhouette, which relied not only upon the cinching of the waist but also on the padding of the bust and hips to establish a more pronounced curvilinear silhouette.
"From Mr. Dior to my tenure at Dior…this look is taken from the couture collection we did to celebrate the hundredth anniversary of Mr. Dior's birth. For this show we took different sections, defining moments, from Mr. Dior's life: Granville, his mother, his love of the arts, his clients, and, of course, the "New Look." This particular look came from the construction phase, where Mr. Dior would work with "his flowers": his models Victoire, France, and Lucky.
This dress shows the process of construction not deconstruction. What sets couture apart from ready-to-wear is the ateliers, the workmanship, and the amazing attention to detail-nothing is impossible and imagination becomes even more beautiful. For this look I wanted to show the magic of the draping on the form, how the block to the toile to the final gown is created, and all its stages in between. We did lots of "X-ray" fabrics, worked with tulle so you could look through and see-and appreciate as well as understand-all the layers of construction.
For me it is the moment when it comes together and the sketch takes shape, comes to life, that is the most exciting bit. This look is kind of a freeze-frame mid-magic, between the block and becoming the belle of the ball, and becomes something very intriguing and beautiful in its own right. Beauty is in the eye of the beholder after all, and for me beauty is understanding the process, the care, and the craft that creates the magic-that to me is true couture."
-John Galliano
The generally hidden interior details that marked the elaborate constructions of couture gowns in the1950s, such as grosgrain waist tapes, bust pads, and tulle underskirts, are exposed and transformed into the decorative elements of the dress. Structure, therefore, becomes ornament. In a Surrealist displacement, the humble pincushion worn by fitters and sample hands of the atelier is transfigured into a bracelet when shown on the runway. A similar reassignment of function occurs when Galliano shifts a padded bra cup from the bust to the hip. It is a knowing but ironic reference to Christian Dior's "New Look" silhouette, which relied not only upon the cinching of the waist but also on the padding of the bust and hips to establish a more pronounced curvilinear silhouette.
"From Mr. Dior to my tenure at Dior…this look is taken from the couture collection we did to celebrate the hundredth anniversary of Mr. Dior's birth. For this show we took different sections, defining moments, from Mr. Dior's life: Granville, his mother, his love of the arts, his clients, and, of course, the "New Look." This particular look came from the construction phase, where Mr. Dior would work with "his flowers": his models Victoire, France, and Lucky.
This dress shows the process of construction not deconstruction. What sets couture apart from ready-to-wear is the ateliers, the workmanship, and the amazing attention to detail-nothing is impossible and imagination becomes even more beautiful. For this look I wanted to show the magic of the draping on the form, how the block to the toile to the final gown is created, and all its stages in between. We did lots of "X-ray" fabrics, worked with tulle so you could look through and see-and appreciate as well as understand-all the layers of construction.
For me it is the moment when it comes together and the sketch takes shape, comes to life, that is the most exciting bit. This look is kind of a freeze-frame mid-magic, between the block and becoming the belle of the ball, and becomes something very intriguing and beautiful in its own right. Beauty is in the eye of the beholder after all, and for me beauty is understanding the process, the care, and the craft that creates the magic-that to me is true couture."
-John Galliano
Artwork Details
- Title: Creation
- Couture Line: (a) House of Dior (French, founded 1946)
- Design House: House of Dior (French, founded 1946)
- Designer: John Galliano (British, born Gibraltar, 1960)
- Date: fall/winter 2005–6
- Culture: French
- Medium: (a) silk, synthetic, cotton, wool, plastic, metal; (b, c) leather; (d) metal, synthetic, pearl, silk
- Credit Line: Purchase, The Dorothy Strelsin Foundation Inc. Gift, 2006
- Object Number: 2006.22a–e
- Curatorial Department: The Costume Institute
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Multiple artists/makers
fall/winter 1961–62
House of Dior
Marc Bohan
1980s
House of Dior
Christian Dior
spring/summer 1955
House of Dior
Gianfranco Ferré
spring/summer 1993
House of Dior
Gianfranco Ferré
1990–97
Related Content
Publications
Books, guides, and catalogues published by The Met.
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.