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Christian Lacroix, Spring/Summer 1997

Lorynn Divita

Source: Fashion Photography Archive 2015

Article

Lacroix will forever be known as the man who invented the high femininity look during the 1980s. His use of poufs, miniskirts, and corsets may not have been intended to start a debate, but that was the reaction, and his work even became the focus of a chapter of Susan Faludi's feminist tome Backlash. His spring/summer collection of 1997 showed his signature styles with French and ethnic influences. The rise of minimalism caused his look to fall out of favor, but his career continued as a creative

Christian Dior Haute Couture by John Galliano, Fall/Winter 1997–1998

Waleria Dorogova

Source: Fashion Photography Archive 2015

Article

Following his enthusiastically celebrated debut at Dior, for his second couture collection, John Galliano staged another highly theatricalized défilé in the notoriously gallant environment of the Jardin de Bagatelle. It was the first set design in a series commissioned from Michael Howells, who created complementing backdrops for Galliano’s garments and scenography. Aesthetical measures established in the first show for spring—traditional visual codes and the sartorial heritage of Christian Dior,

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1997

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was shown at the Ritz Hotel in Paris, in the Windsor suite—in the mode of a traditional salon show. It drew positive reviews, with one saying it was “the height of refinement … how a couture customer wants to look.” Yet, it focused mostly on evening wear, with sheer, lightweight fabrics. Despite the raciness of the revealing dresses, they looked traditional and refined. To underscore the refinement, Chanel’s logo was absent from the garments. Picture hats and “feather-on-a-stick”

Bill Blass, Fall/Winter 1997

Michelle Honig

Source: Fashion Photography Archive 2015

Article

Shown in the tents at Bryant Park, New York, Bill Blass’s fall/winter 1997 collection did not have any one particular theme. Instead, he designed simple, classic clothes encompassing a range of styles and looks. There were hints of the 1980s, a decade that other designers—such as Oscar de la Renta—looked to for inspiration for their own fall collections. There were animal prints—ranging from giraffe to python—that glorified the animal kingdom, cubist-patterned velvet jackets over wool pants, and

Versace, Fall/Winter 1997 Couture

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

In July 1997, Gianni Versace presented his final couture collection at the Ritz Hotel in Paris just days before he was murdered. The theme of his final show seemed eerily prescient. Many of the models were dressed in black and several of the pieces were adorned with the motif of a Byzantine cross. Even a wedding look, worn by Naomi Campbell, hinted at feelings of the occult. Yet this final haute couture collection was a continuation of the subjects and details he had explored throughout his entir

Dolce & Gabbana, Spring/Summer 1997

Tessa Maffucci

Source: Fashion Photography Archive 2015

Article

Dolce & Gabbana’s spring/summer collection of 1997 capitalized on their strengths. Sensual chiffon hugged curvaceous (but trim) hips and bra straps peeked out from under delicate, negligee-inspired fishtail gowns. The palette of the runway was punctuated by animal prints and florals, often visible beneath the sheer material of the dresses or through open-weave crochet sweaters. Their look is sexy and upbeat, drawing influence from Domenico Dolce’s Sicilian heritage and the imagery of Italian film

Vivienne Westwood, Spring/Summer 1997

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Coquettish glances, provocative poses, and flashes of nudity: Vivienne Westwood’s “Vive la Bagatelle” collection for spring/summer 1997 mixed signature styles from the brand’s heritage with her trademark sense of fun and humor, and presented them with a renewed emphasis on flirtatious sexuality.

John Rocha, Spring/Summer 1997

Nadya Wang

Source: Fashion Photography Archive 2015

Article

John Rocha’s spring/summer 1997 collection showed off his strengths to great advantage. Sleek silhouettes and natural materials created blank canvases on which he could unleash his creative imagination with handcrafted details: beading, appliqué, crochet, and hand-painted designs. These were used on bralettes, dresses, hooded cardigans, sleeveless tops, and trousers in his favored colors of beige, black, and white, together with shades of blue and gray. Underwear-as-outerwear was on trend for the

Givenchy Couture, Spring/Summer 1997

Aimee Williams

Source: Fashion Photography Archive 2015

Article

Alexander McQueen’s 1997 premiere at Givenchy following John Galliano’s departure resounded notably during the spring/summer couture showings, heralding the “revival of couture.” Showing at the École Nationale Supérieure des Beaux-Arts in Paris, the Grecian-inspired collection acknowledged the house’s defining conventions with double-breasted ivory suits and straightened silhouettes that hit above the knee. A generally neutral to white palette of silk, finely woven feathers, and gossamer textures

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