Latest news with #JohnGalliano
Tatler Asia
2 days ago
- Entertainment
- Tatler Asia
Mid-year fashion review: Why ‘Newstalgia' is the most personal trend of 2025
Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week The assertive tailoring once synonymous with 'power' and corporate core has shifted towards something more fluid, without losing its edge. The sharpness remains, but it's softened—evident in Bottega Veneta's sculpted but unpadded jackets and The Row's languid blazers that slip over the body like silk robes. At Saint Laurent, the shoulder retains its presence, but is offset by diaphanous sheer blouses or fluid trousers. Oversized blazers still rule, but they've softened, often cinched at the waist or rendered in fluid tailoring that moves with the body. Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Transparency is everywhere, but this time, it feels deliberate, imbued with nuance rather than provocation. Sheer has evolved from spectacle to subtlety. At Loewe, whisper-fine feathered knits reveal more than warm. Alaïa's gauzy overlays add dimension, not exposure. In climates like Singapore, this airy approach to layering is both stylistic and strategic—less trend, more practicality wrapped in elegance. Above Loewe spring-summer 2025 fashion show at Paris Fashion Week Above Loewe spring-summer 2025 fashion show at Paris Fashion Week Voluminous silhouettes have held steady, but their purpose has shifted. No longer just maximalist statements, they've become more about ease, airiness, and emotion. JW Anderson and Simone Rocha experiment with volume as play—dresses that swing, balloon, or crumple, inviting a tactile connection. Even Saint Laurent's fuller midi skirts feel grounded in functionality, echoing the mid-century with just enough tension to feel current. There's also a richness to the materials: suede in sun-washed hues, fluid silks, featherlight faux furs. Celebrities have already embraced the return of high-glamour opulence (we predicted this back in January), stepping out in gilded accessories and floaty silhouettes that photograph like a dream. Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Parallel to the rise of Newstalgia is a growing obsession with the archive. No longer just the domain of collectors or fashion historians, archival fashion has found new cachet with consumers seeking pieces that tell a story. Helping to fuel this movement are the celebrities who wield nostalgia with ease. Zendaya in archival Versace, Jenna Ortega reviving John Galliano's Dior newspaper dress worn by Carrie Bradshaw in 2010. Above Jenna Ortega in John Galliano's newspaper Dior dress from the autumn-winter 2000 collection Above Sarah Jessica Parker's character Carrie Bradshaw wears the newspaper Dior dress in 'Sex and the City' (2010) When a red-carpet look references a specific fashion era, it invites viewers to recontextualise their own wardrobes. Suddenly, that old Fendi baguette or a pair of kitten heels from the early noughts feel fresh, rather than a fashion homage. Vintage shopping, once niche, has become integral to luxury consumption, not only for its sustainability but for its uniqueness. In a market saturated with sameness, a rare piece from a past collection feels meaningly and undeniably exclusive. Above Zendaya in vintage Versace autumn-winter 2001 collection Ultimately, what's most compelling about Newstalgia is how personal it feels. Nostalgic fashion trends hinge on how they're styled—it isn't about dressing like your mother (or grandmother); it's about taking the best bits of their wardrobes and making them yours. Looking ahead, this softened approach to nostalgia is unlikely to disappear. If anything, expect designers to lean further into reinterpretation in the upcoming spring-summer 2026 presentations—exploring ways to honour heritage while responding to the urgency of now. Pre-fall previews suggest a continued fascination with volume, along with a refined palette of neutrals and unexpected pastels that feel grounded rather than whimsical. Credits
CNN
3 days ago
- Entertainment
- CNN
This ‘Sex and the City' dress achieved cult status. But it has controversial origins
Remember when Carrie Bradshaw of 'Sex and the City' wore a Christian Dior newspaper-print dress? Bradshaw, the fashion-forward sex columnist, played by Sarah Jessica Parker in the television series, defined late 1990s and early 2000s lifestyle aspirations for Gen X women when she and her three friends dominated the small screen from 1998 to 2004. (The television series and sequel aired on HBO and Max, respectively, which share the same parent company as CNN: Warner Bros. Discovery.) Cut on the bias and featuring a newspaper print, the now iconic outfit designed by John Galliano became a piece of fashion legend, courtesy of a scene from season three, episode 17, which saw Bradshaw wearing it while walking in slow motion through the traffic-lined streets of Manhattan. In those brief on-screen moments, the dress — which was from Dior's ready-to-wear autumn-winter 2000 'Fly Girl' collection — assured cult status. In January 2000, Galliano had already been at the helm of Christian Dior for four years, during which he injected the storied French fashion house with an exciting new energy. The British designer had become known for his fantastical collections and elaborate, narrative-driven runway shows. That year, he showed Dior's spring-summer haute couture collection at the Palace of Versailles, the former residence of the French royal family. Against this decadent backdrop, he sent models down the runway in dresses, jackets and pants made to look stretched, slashed and distressed, accessorized with what looked like garbage found on the street — miniature whiskey bottles, for example, and discarded kitchen utensils. Some models were draped in what appeared to be layers of newspapers reimagined as voluminous pants or peeping through sheer slip dresses. The collection, titled 'Hobo,' was inspired both by the displaced people the designer saw while jogging and by the 'Tramp Ball' trend from the 1920s and 30s whereby the wealthy dressed as the homeless for glamorous soirees. In this couture collection, the newspaper print was taken from the fashion pages of the International Herald Tribune. While the fashion press was complimentary of the collection in reviews, controversy soon ensued. Social welfare advocates and French critics were appalled. Was Galliano making a statement on class and privilege with this collection, or mocking the homeless? The homeless community staged protests outside Dior's headquarters in Paris' swanky 8th arrondissement. The opprobrium caused Galliano to release an official apology ten days after the collection debuted, stating, 'I never wanted to make a spectacle of misery.' Nevertheless, at Dior's autumn-winter 2000 ready-to-wear show, newspaper print again made its way into the collection, entitled 'Fly Girl.' However, this time Galliano created the fictional 'Christian Dior Daily' newspaper for the show and the design — inspired by Elsa Schiaparelli's 1935 newsprint pattern — which was seen on the runway printed on chiffon, leather, the lining of coats and on dresses. The garment that Parker would later wear was modeled in the fashion show by Angie Schmidt. In a 'Sex and the City' episode titled 'What Goes Around Comes Around,' which aired in October 2000, Parker's character wore the piece with her signature gold nameplate necklace, black lace Manolo Blahnik heels and a Fendi baguette bag — a vision of the modern New York woman whose glamour outpaced her practicality. While the dress had a controversial 'hobo chic' beginning, on Bradshaw it became emblematic of a new type of heroine — imperfect, neurotic, complicated, messy yet relatable. Twenty-five years on, the cowl-neck slip dress continues to fascinate. At the May premiere of Jenna Ortega's latest film 'Hurry Up Tomorrow,' the actor made headlines after she arrived onto the red carpet wearing the archival gown. Ortega took a few cues from Parker's on-screen version (she donned a similar gold pendant necklace and smoky eye makeup) but finished the look with a gold slingback heel. Following its runway debut, the dress went into production. Today, when it shows up on the secondary market or at auctions, it is considered a fashion holy grail, selling for many times its estimate. In December 2024, two identical versions of the historic dress happened to go to auction that same month — the first was at Kerry Taylor Auctions in London, and the second at auction house Sotheby's in New York. In both instances, the dress far exceeded its estimated selling price. In London, it fetched £55,000 ($69,000) — nearly tripling its estimate. And in New York, it more than doubled the expected price, selling for $54,000. In an email, Sotheby's told CNN that it acquired the coveted dress from a private collector who purchased it new when the 'Fly Girl' collection was first released nearly 25 years ago. 'It is by John Galliano at his peak during the Dior years. This fact alone makes it a desirable vintage collector's item,' said Lucy Bishop, who oversaw Sotheby's 'Fashion Icons' sale. Galliano later repurposed the print as 'the Galliano Gazette' for his namesake label and has since released several commercial collections featuring the famed motif. None have captured the zeitgeist quite like the original, even though celebrities including Rita Ora have worn an iteration of it. Galliano was fired from Dior in 2011 for a public antisemitic tirade and ousted from his namesake brand a month later. (He later apologized for his behavior.) But his fashion legacy still inspires. More recently, designer Demna (who only goes by his first name) gave his take on newsprint for Balenciaga's spring-summer 2018 collection, covering cardigans and shirts in the motif as a reaction to 'fake news' made famous by Donald Trump's tweets. Newspapers, once only a platform to distribute daily happenings, are continuing to inspire, only in a different guise. With nostalgia for 2000s fashion continuing to rise, the popularity of the design has made its way to mainstream fashion brands, with the likes of Réalisation Par, Shein and Zara all releasing their own versions of the print. So enduring is the style that Bradshaw actually wore the dress again in 2010's 'Sex and the City 2' movie. With the third season of SATC reboot 'And Just Like That…' released this week, whether she'll dig it back out of her closet remains to be seen.
CNN
3 days ago
- Entertainment
- CNN
This ‘Sex and the City' dress achieved cult status. But it has controversial origins
Remember when Carrie Bradshaw of 'Sex and the City' wore a Christian Dior newspaper-print dress? Bradshaw, the fashion-forward sex columnist, played by Sarah Jessica Parker in the television series, defined late 1990s and early 2000s lifestyle aspirations for Gen X women when she and her three friends dominated the small screen from 1998 to 2004. (The television series and sequel aired on HBO and Max, respectively, which share the same parent company as CNN: Warner Bros. Discovery.) Cut on the bias and featuring a newspaper print, the now iconic outfit designed by John Galliano became a piece of fashion legend, courtesy of a scene from season three, episode 17, which saw Bradshaw wearing it while walking in slow motion through the traffic-lined streets of Manhattan. In those brief on-screen moments, the dress — which was from Dior's ready-to-wear autumn-winter 2000 'Fly Girl' collection — assured cult status. In January 2000, Galliano had already been at the helm of Christian Dior for four years, during which he injected the storied French fashion house with an exciting new energy. The British designer had become known for his fantastical collections and elaborate, narrative-driven runway shows. That year, he showed Dior's spring-summer haute couture collection at the Palace of Versailles, the former residence of the French royal family. Against this decadent backdrop, he sent models down the runway in dresses, jackets and pants made to look stretched, slashed and distressed, accessorized with what looked like garbage found on the street — miniature whiskey bottles, for example, and discarded kitchen utensils. Some models were draped in what appeared to be layers of newspapers reimagined as voluminous pants or peeping through sheer slip dresses. The collection, titled 'Hobo,' was inspired both by the displaced people the designer saw while jogging and by the 'Tramp Ball' trend from the 1920s and 30s whereby the wealthy dressed as the homeless for glamorous soirees. In this couture collection, the newspaper print was taken from the fashion pages of the International Herald Tribune. While the fashion press was complimentary of the collection in reviews, controversy soon ensued. Social welfare advocates and French critics were appalled. Was Galliano making a statement on class and privilege with this collection, or mocking the homeless? The homeless community staged protests outside Dior's headquarters in Paris' swanky 8th arrondissement. The opprobrium caused Galliano to release an official apology ten days after the collection debuted, stating, 'I never wanted to make a spectacle of misery.' Nevertheless, at Dior's autumn-winter 2000 ready-to-wear show, newspaper print again made its way into the collection, entitled 'Fly Girl.' However, this time Galliano created the fictional 'Christian Dior Daily' newspaper for the show and the design — inspired by Elsa Schiaparelli's 1935 newsprint pattern — which was seen on the runway printed on chiffon, leather, the lining of coats and on dresses. The garment that Parker would later wear was modeled in the fashion show by Angie Schmidt. In a 'Sex and the City' episode titled 'What Goes Around Comes Around,' which aired in October 2000, Parker's character wore the piece with her signature gold nameplate necklace, black lace Manolo Blahnik heels and a Fendi baguette bag — a vision of the modern New York woman whose glamour outpaced her practicality. While the dress had a controversial 'hobo chic' beginning, on Bradshaw it became emblematic of a new type of heroine — imperfect, neurotic, complicated, messy yet relatable. Twenty-five years on, the cowl-neck slip dress continues to fascinate. At the May premiere of Jenna Ortega's latest film 'Hurry Up Tomorrow,' the actor made headlines after she arrived onto the red carpet wearing the archival gown. Ortega took a few cues from Parker's on-screen version (she donned a similar gold pendant necklace and smoky eye makeup) but finished the look with a gold slingback heel. Following its runway debut, the dress went into production. Today, when it shows up on the secondary market or at auctions, it is considered a fashion holy grail, selling for many times its estimate. In December 2024, two identical versions of the historic dress happened to go to auction that same month — the first was at Kerry Taylor Auctions in London, and the second at auction house Sotheby's in New York. In both instances, the dress far exceeded its estimated selling price. In London, it fetched £55,000 ($69,000) — nearly tripling its estimate. And in New York, it more than doubled the expected price, selling for $54,000. In an email, Sotheby's told CNN that it acquired the coveted dress from a private collector who purchased it new when the 'Fly Girl' collection was first released nearly 25 years ago. 'It is by John Galliano at his peak during the Dior years. This fact alone makes it a desirable vintage collector's item,' said Lucy Bishop, who oversaw Sotheby's 'Fashion Icons' sale. Galliano later repurposed the print as 'the Galliano Gazette' for his namesake label and has since released several commercial collections featuring the famed motif. None have captured the zeitgeist quite like the original, even though celebrities including Rita Ora have worn an iteration of it. Galliano was fired from Dior in 2011 for a public antisemitic tirade and ousted from his namesake brand a month later. (He later apologized for his behavior.) But his fashion legacy still inspires. More recently, designer Demna (who only goes by his first name) gave his take on newsprint for Balenciaga's spring-summer 2018 collection, covering cardigans and shirts in the motif as a reaction to 'fake news' made famous by Donald Trump's tweets. Newspapers, once only a platform to distribute daily happenings, are continuing to inspire, only in a different guise. With nostalgia for 2000s fashion continuing to rise, the popularity of the design has made its way to mainstream fashion brands, with the likes of Réalisation Par, Shein and Zara all releasing their own versions of the print. So enduring is the style that Bradshaw actually wore the dress again in 2010's 'Sex and the City 2' movie. With the third season of SATC reboot 'And Just Like That…' released this week, whether she'll dig it back out of her closet remains to be seen.
Yahoo
4 days ago
- Entertainment
- Yahoo
From Princess Diana to Diana Ross, These Are the 15 Most Iconic Bridal Looks of All Time
When you buy through links on our articles, Future and its syndication partners may earn a commission. As wedding season kicks off, my calendar remains disappointingly void of invitations. I find myself in that in-between phase—half my friends are still single, while the others are only just tiptoeing into the realm of long-term commitment. A few proposals have been floated, but the flurry of save-the-dates has yet to arrive. Still, as a romance-loving fashion writer with an insatiable eye for bridal style, I refuse to let wedding season pass me by. If I can't admire aisle-bound ensembles in real time, I'll do the next best thing: revisit some of the most iconic bridal looks in history. From Old Hollywood elegance to modern-day minimalism, these unforgettable gowns have shaped bridal fashion for generations. Whether you're a bride-to-be seeking inspiration or simply someone who appreciates the artistry of a beautifully crafted dress, join me in taking a look back at some of the most magical wedding looks to ever grace the aisle. Style Notes: Kate Moss's fashion legacy—though long and undeniably iconic—can, in my book, be distilled into a handful of defining moments: her unforgettable turns on the Mugler, McQueen, and Vivienne Westwood runways; the launch of her buzzy Topshop collaboration in 2007; and, of course, her 2011 wedding to Jamie Hince. For her walk down the aisle, Moss chose a custom John Galliano gown—an ethereal, embroidered ivory dress with an opaque bodice that softened into a sheer, whisper-light tail. Designed fresh off the back of Galliano's tenure at Dior, the gown embodied a blend of vintage romance and contemporary ease. Its 1930s-inspired draping and subtle decadence captured both the undone elegance of Moss's personal style and a modern vision of bridalwear. View Deal View Deal View Deal Style Notes: Bianca Jagger's ivory suit was one of the first bridal looks that ignited my fascination with wedding fashion. Sleek, striking and ahead of its time, her Yves Saint Laurent ensemble retold what it meant to be a bride. The tailored blazer, sharp and structured, was offset by a fluid column skirt, creating a silhouette that felt at once powerful and poetic. For her Saint-Tropez ceremony, Jagger completed the look with YSL's now-iconic Le Smoking jacket, an ivory skirt, and a wide-brimmed hat delicately veiled in tulle. Open-toe sandals gave the look a final flourish of insouciant glamour, helping her set the tone for decades of boundary-pushing bridal style to come. View Deal View Deal View Deal Style Notes: When Lady Diana Spencer stepped out in her ivory silk taffeta and antique lace gown in 1981, she didn't just marry into royalty—she made bridal history. Designed by David and Elizabeth Emanuel, the dress was a theatrical vision of regal romance: all sweeping volume, intricate lace, and statement puff sleeves that added a touch of playful grandeur. The antique lace trim delicately framed her face, while the billowing skirt and 25-foot train added drama in spades. Diana's dress didn't just define the bridal aesthetic of the 1980s—it set the standard for fairytale fashion for decades to come. Its voluminous silhouette and lavish detail captured the opulence of its time, yet its influence continues to ripple through modern bridalwear. For those drawn to that kind of princess-worthy drama, look to cascading tulle, sculptural organza, and ornate finishing touches. View Deal View Deal View Deal Style Notes: It would be a grave injustice if the icon behind My Heart Will Go On and The Power of Love didn't earn a spot on this list. Luckily for us, Celine Dion delivered a bridal moment as theatrical as her greatest hits. Her wedding look was nothing short of a spectacle: a 20-foot train trailing behind her and a three-kilo crystal-encrusted headpiece—featuring over 2000 Swarovski crystals—crowned her ensemble with dazzling excess. Every inch of Dion's gown was steeped in drama. Saturated with hand-sewn crystal and pearl embellishments, it shimmered from every angle, proving that when it comes to wedding-day style, more can absolutely be more. A true master class in maximalist bridal fashion, Dion's look was bold, opulent, and utterly unforgettable—just like the woman herself. View Deal View Deal View Deal Style Notes: Long before she became First Lady, Michelle Obama married Barack Obama in 1992 at the Trinity United Church of Christ in Chicago. For the occasion, she chose a classic bridal look that echoed the romance of the day: a traditional white gown featuring an elegant Bardot neckline and softly structured short sleeves that framed her shoulders with grace. The dress flowed into a voluminous satin skirt, a sheer veil draped delicately over her curled hair and pearl drop earrings added a refined, personal touch to the ensemble. Though her gown was more traditional than the contemporary fashion statements she would later become known for, the look captured the poise, elegance and quiet confidence that would come to define her public image. View Deal View Deal View Deal Style Notes: The lace! The satin! The shoe! When Diana Ross walked down the aisle in 1985, she did so in true pop-star fashion—fusing glamour, grace and individuality into one unforgettable bridal moment. Her wedding gown was a study in refined drama: a glossy satin dress with a fluid silhouette, topped with a sweeping lace cape that framed her look with soft, romantic grandeur. The ensemble was both theatrical and sophisticated, balancing bold textures and timeless details in a way only Ross could. The cape—delicate yet commanding—added movement and majesty, while her sleek satin gown beneath offered a streamlined counterpoint. Paired with elegant heels and her signature poise, the look captured the essence of '80s opulence. View Deal View Deal View Deal Style Notes: Dipped in a striking shade of salmon pink, Gwen Stefani's 2002 wedding dress was nothing short of iconic. Designed and hand-painted by John Galliano for Dior, the gown was a bold, painterly statement that captured the early 2000s appetite for fashion that felt rebellious, playful, and anything but traditional. The dress featured a classic strapless silhouette, but it was the ombré wash of color—starting with ivory at the bodice and fading into rich pink at the hem—that really set it apart. Romantic yet unconventional, it felt like a love letter to individuality and creativity, reflecting Stefani's punk-meets-pop sensibility and Galliano's flair for the theatrical. While steeped in the avant-garde, the look still managed to tap into the emotional weight of a wedding gown—it just did so on entirely new terms. View Deal View Deal View Deal Style Notes: Never had I considered a Vegas wedding so seriously—until I laid eyes on Lily Allen's effortlessly cool Nevada nuptials. Eschewing billowing skirts and froufrou flourishes, the singer opted for a knee-skimming Dior minidress in a classic cream shade. The dress, detailed with double-breasted buttons, nodded to vintage tailoring while maintaining a thoroughly modern edge. With its clean lines and mod silhouette, it felt equal parts timeless and rebellious—exactly what you'd hope for in an offbeat wedding moment. Allen completed the look with a soft, billowy veil and a bouquet of peach-toned roses, adding just the right amount of romantic charm to her city-ceremony style. A love letter to fuss-free fashion with a retro twist, Allen's look makes a strong case for the mini as the ultimate modern-bride move—especially if your aisle happens to be in Vegas. View Deal View Deal View Deal Style Notes: What strikes me most about Keira Knightley's bridal look is the playful, carefree charm that seems to infuse every element of it. Eschewing grandeur in favour of something refreshingly low-key, her ensemble felt like a breath of fresh air in a world of structured silhouettes and floor-sweeping trains. Topping her tousled locks was a delicate pink floral headpiece—whimsical and romantic in place of a traditional veil or jewelled tiara. Her dress, a fit-and-flare minidress crafted in airy layers of tulle, brought a youthful, effervescent spirit to the look. Knightley topped it all off with a cropped tweed jacket and a pair of pale-pink ballet flats. The result? A look that felt utterly her own: relaxed, romantic and undeniably cool. It's this easy confidence that continues to earn her a spot on my list of unforgettable brides. View Deal View Deal View Deal Style Notes: Elegant yet relaxed, Yoko Ono's bridal look for her 1969 wedding to John Lennon was a master class in minimalist cool—calling on the simple silhouettes of the era to create a style that felt effortlessly chic and refreshingly ahead of its time. Staying true to a traditional white palette, Ono chose a tiered minidress that she styled it with knee-high socks and classic white plimsolls—a choice that felt unconventional then and still reads as boldly original today. Her accessories were just as distinctive: oversized sunglasses and a wide-brimmed hat added an extra dose of personality. Stripped-back yet completely singular, Ono's look was a reflection of her own creative spirit. View Deal View Deal View Deal Style Notes: When I first compiled this list, one look immediately came to mind as absolutely essential: Grace Kelly's wedding dress for her 1956 nuptials to Rainier III, Prince of Monaco. It's a gown that embodies elegance, and its beauty continues to captivate to this day. Classic, poised and imbued with an air of regal refinement, Kelly's dress was a masterwork of bridal sophistication. The dress featured a delicate lace bodice that extended gracefully up her clavicle, framing her neck with an almost sculptural flare. Button detailing cascaded down her chest, meeting a thick satin waistband that transitioned into a voluminous skirt—each element contributing to the dress's romantic allure. As dramatic as the design was, there was an effortless refinement that carried through, ensuring the gown never veered into excess. Set against the backdrop of Monaco's glamour, Kelly's wedding dress echoed the romance and grandeur of the location while maintaining a quiet, regal dignity. It's the perfect blend of old-world romance and sophisticated drama—undoubtedly one of the most iconic bridal moments in history. View Deal View Deal View Deal Style Notes: The only bride on my list to depart from the classic white gown, Sarah Jessica Parker married Matthew Broderick in 1997, wearing a striking black wedding dress by designer Morgane Le Fay. Choosing the dark hue to shift the focus away from herself on her wedding day, Parker later admitted to feeling some regret over the unconventional choice. Yet, for me, it remains one of the most memorable takes on bridal style of all time. The dress, with its sleek lines and soft, ethereal fabric, was a departure from tradition. While many might have shied away from such an unconventional bridal choice, Parker embraced it with poise and confidence, something that only added to the appeal of this bold, unforgettable moment. Even years later, I continue to regard this as one of the most refreshing, boundary-pushing bridal looks I've come across. View Deal View Deal View Deal Style Notes: Solange Knowles's 2014 wedding look captured the free-spirited, offbeat energy of the time. Eschewing the traditional bridal gown, Solange selected a light cream jumpsuit, complete with cape detailing and a scoop-neck finish, resulting in a bridal look infused with a comfortable and chic energy that reflected her unique style. Pictured with a bicycle in hand and a bouquet delicately draped over the frame, Solange's ensemble felt full of personality—a celebration of individuality and a far cry from the expected, yet still wholly appropriate for a wedding. View Deal View Deal View Deal Style Notes: If lavish lace is on your bridal mood board, then look no further than Lily Collins's stunning lace-adorned gown. Draping the actress in layers of intricate embroidery, her bridal look exuded opulence and romance. The gown was completed with a dramatic floor-length cape that extended up to a hood, adding an ethereal, almost regal quality to her ensemble. Making a case for extravagance without ever feeling overdone, the lace detailing—delicate yet rich in texture—created a visual feast, while the cape added a touch of grandeur. Every element of the look played into the fantasy of the occasion, with drama and decadence served in equal measure. View Deal View Deal View Deal Style Notes: It was a had-to-be-there moment. Joining TikTok in time for her summer nuptials and documenting it all the way through, Sofia Richie had us glued to our phones as the quiet luxury purveyor took us through the weeklong occasion of her 2023 wedding. For her big day, Richie selected a bespoke Chanel gown that featured a halterneck design, adorned with intricate embroidery that added a subtle layer of opulence without overwhelming the overall look. The gown's fine detailing was matched only by the ethereal, wispy veil that enveloped her face, creating a soft, romantic aura. The delicate veil, paired with the sleek simplicity of her dress, ensured that Richie's bridal look was both timeless and contemporary, effortlessly chic and deeply memorable. Richie's wedding look set the stage for a new wave of bridal style, one that embraces refined luxury without the need for excess, leaving a lasting impact on the fashion world and beyond. View Deal View Deal View Deal This post originally appeared on Who What Wear UK.
CairoScene
22-05-2025
- Entertainment
- CairoScene
John Galliano's Reimaging of Ancient Egypt for Dior's SS04 Collection
John Galliano's Reimaging of Ancient Egypt for Dior's SS04 Collection On a January Parisian day in 2004, the Seine was frozen, but inside the Dior tent, John Galliano was on fire - as per. What erupted on the runway wasn't so much a fashion show as a fever-dream: an opulent, maximalist séance with the ghosts of Ancient Egypt, reanimated through Galliano's unhinged yet hypnotic imagination. Glitter and gold and a runway drenched in the shimmering illusion of pharaonic power, stretched through a distinctly early-millennium lens. It was decadent, disorienting, and gloriously impractical. This was not fashion for us mere mortals. This was Galliano in full spectacle mode: less designer, more high priest of pageantry. For centuries, Egypt has been the west's mirror of excess and enigma, a sumptuous lens for their hedonism. Think Shakespeare's Cleopatra, reclining in poetic ruin; or Frank Ocean's millennial siren collapsing under the weight of her own mythology. Galliano understood this allure implicitly. When he took an aerial tour of Egypt and he gazed down, he envisioned a catwalk etched into the sand, a mirage where couture replaced civilisation, and a haute couture mirage rising from the dust and ashes of one of the greatest civilisations of human history. The show opened with the surreal kind of theatricality that only Galliano could conjure. Traditional Egyptian music gave way to Beyoncé's Baby Boy, a sonic pivot that said everything: time is irrelevant, genre is a joke, and this is going to be fun. Like Frank Ocean's Pyramids eight years later, Galliano melted millennia into minutes. History wasn't just referenced. It was remixed. Then came the collection. Like fashion's theatrical messiah, Galliano conjured a court of walking goddesses: towering models encased in metallic peplum jackets and sarcophagus-tight skirts, dizzyingly high heels and two-foot-tall hair sculptures, their hips jutted forward, and backs arched in homage to the Penn and Avedon portraits that informed this grand pharaonic hallucination. The Bangles' Walk Like an Egyptian thudded in the background, as if to wink and say, yes, we know exactly what we're doing. Erin O'Connor opened the show swathed in a Nefertiti-inspired headdress and a ribbed, hourglass sheath in striped molten gold fabric, cinched and flared into an origami explosion of sculptural folds around the hips and arms. Every look that followed was another monument: scarab-encrusted corsets, lotus-embroidered gowns framed by leopard print fur stoles. One model looked like a walking pyramid, her skirt plumed in feathers. Another wore a ballooning mirror-panelled dress like a disco meet deity. It was gaudy and it was glorious. And then, subtly, strangely, it shifted. What began as baroque grandeur started to unravel. Literally. The dresses softened, liquefied. Jewel tones gave way to sleek silvers, white chiffon peeled off like ceremonial wrappings. Models morphed from queens into wraiths, mummified and modern. Until, the dresses finally returned to the pageantry and pomp of a more familiar Dior, and Galliano emerged in a tailored pinstripe suit like a devious fashion archaeologist surveying his fantastical dig site. Monumental jewellery dripped from their bodies, so oversized it bordered on surrealism. Turquoise, lapis, coral, and gold earrings the size of eagle eggs. Faces masked in carved wood, crafted by milliner Stephen Jones, evoked gods like Anubis, Bast and Horus. Those without masks wore another kind of facade: gold-dusted lips, redrawn brows, thick kohl liner, Pat McGrath's makeup mastery turning flesh into canvas. But don't mistake this for a gimmick. Yes, it was wild. Yes, it was bedazzled beyond belief. But beneath the rhinestones was a real sense of reverence. Not historical accuracy - Galliano couldn't care less about that - but something more compelling: a cultural homage reimagined as couture hallucination. One thing about Galliano: restraint has never been part of his design vocabulary. This is the man who once sent models down the runway waving dead mackerels at his graduate show. And at Dior Spring 2004, he was in peak form: unfiltered, unhinged, and utterly magnificent. Call it what you will (eclecticism, excess, ego with embroidery?) but thank the gods - and the hot air balloon ride over Egypt - that he never learned to play it safe.
