So, I was thinking back to John Galliano’s Fall 2009 collection the other day. Man, what a show that was. It’s one of those that just sort of sticks in your mind, you know?
I remember very clearly, even though it was ages ago, just being absolutely captivated. We didn’t have the super slick live streams like we do now. I was probably squinting at some choppy video feed, but even then, the sheer impact came through. It wasn’t just about pretty dresses; it was a whole different world unfolding on that runway.
The whole thing felt like diving headfirst into some kind of fantastical, slightly dark Russian fairytale. You had these incredible, rich colors, tons of embroidery that looked like it took years to make, and layers upon layers of fabric. It was opulent, but in a really gritty, almost nomadic way. Not your typical clean, minimalist stuff, that’s for sure.
What Really Stood Out To Me
And the models! They weren’t just walking clothes hangers. They were characters. The makeup was intense, almost like painted masks, and those towering headpieces and bundled-up styling… it was full-on theatrical. Each look told a story. You felt like you were watching a play, or a scene from some epic movie that only existed in Galliano’s head.
I was really trying to wrap my head around high fashion back then. You know, you see some of these runway shows and think, “Who on earth would wear that?” And honestly, a lot of this collection wasn’t exactly your everyday wear. But watching this particular show, something just clicked. It was like, oh, I get it. This isn’t about practicality. This is about pushing boundaries, about creating a dream, or maybe even a beautiful nightmare.
I recall spending a good while after seeing it just trying to process all the details. The textures, the way things were draped, the sheer amount of stuff in each look. It made me appreciate the craftsmanship, even if I couldn’t imagine wearing most of it myself. It was pure, unadulterated creativity, and you don’t always see that, even in fashion.
- The sheer volume of fabric in some of those coats and skirts.
- The incredible detail in the embellishments – beads, embroidery, fur.
- The almost historical, yet totally fantastical, references.
You know, people talk a lot about Galliano’s time at Dior, and for good reason. But his own label, especially during that period, had this incredibly potent, almost raw energy. This Fall 2009 show, with its whole Eastern European, Ballets Russes kind of vibe, felt so incredibly rich and deeply researched. It wasn’t just a mood board; it was a whole universe.
I think what really got to me, and what I still admire, was the total commitment to the vision. There were no half-measures. If it was going to be dramatic, it was going to be the most dramatic thing you’d seen all season. If it was going to be opulent, it was going to be dripping with it.
Looking back, it’s not a collection I remember for specific, wearable items I wanted to own. It’s not about that. It’s about the experience, the artistry, the storytelling. It was fashion as pure spectacle, and honestly, I kinda miss that level of wild imagination sometimes. It was a proper journey, that show was, and it definitely left a mark on how I see fashion even now.
