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John Galliano, Fall/Winter 1994–1995

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In 1990, John Galliano moved from London to Paris. His early years in Paris are described as an ebb and flow, mostly determined by financial backing or the lack thereof. Cycles of decline and regrowth have since characterized the public perception of Galliano. After forgoing the previous season due to lack of funds, Galliano’s spring/summer 1994 collection was presented in the Louvre’s Cour Carrée to critical acclaim. In March 1994, pieces from the collection were celebrated in a Vogue editorial

“Coiled Corset,” Shaun Leane for Alexander McQueen, Fall/Winter 1999

Kate Bethune

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The “Coiled Corset” is an example of radical body adornment made by jeweler Shaun Leane for fashion designer Alexander McQueen’s collection “The Overlook” (fall/winter 1999). Leane, who originally trained as a jeweler and goldsmith, first worked with McQueen in 1995, when he made silver watch chains for his “Highland Rape” collection (fall/winter 1995). His creative collaborations with McQueen soon propelled him to work with new materials and on a much larger scale to create elaborate body sculpt

Pink

Emma Davenport

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Associated with cultural symbols of affection and sensuality, the color pink has often been used to depict and challenge gender identities. On the catwalk, pink has appeared in the work of a variety of designers including Versace, Chanel, Stella McCartney, and John Richmond. From pastel shades to dazzling brights, pink has been a frequent trend across all seasons, whether used to create a splash of warmth in the winter or a spot of coolness in the summer. Featured both in womenswear and menswear,

Stephen Sprouse, Fall/Winter 1988

Lorynn Divita

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Stephen Sprouse was a pioneer in merging street style and high fashion. During his early career at Halston, he was drawn to the downtown New York punk scene. Working with Keith Haring, Jean-Michel Basquiat, and Andy Warhol, his fall/winter collection of 1988 had all of the hallmarks of a Sprouse collection, with Day-Glo fabrics, sheath dresses, and bold graffiti prints. It was also Sprouse’s last collection for a decade. Stephen’s career flourished again at the end of his life thanks to his famou

Ensemble from the “Portrait” Collection, Vivienne Westwood Ready-to-Wear, Fall/Winter 1990–1991

Waleria Dorogova

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

With her characteristic historicist approach, Vivienne Westwood designed numerous garments inspired by French works of art from London’s Wallace Collection. For an ensemble in the fall/winter 1990 “Portrait” collection, she borrowed motifs from two masterpieces—a seductive pastoral canvas by François Boucher (1703–1770), printed onto an eighteenth-century-style corset, and a design from a vanity mirror by André-Charles Boulle (1642–1732) printed on a pair of black velvet leggings. Works by both a

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

Waleria Dorogova

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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,

“Angie Dress,” Christian Dior by John Galliano, Haute Couture Fall/Winter 2000–2001

Waleria Dorogova

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The omnipresent significance of the eighteenth century and the masked ball for the House of Dior found expression in the design of “Angie” for the “Masquerade and Bondage” collection, a short variation on 1760s court dress, paraphrasing the fashionable life and cruel fate of Marie Antoinette. Using the surface of the hip panels as a canvas for narrative and caricaturized embroideries, the dress becomes an epitome of storytelling through dressmaking, evoking crucial episodes of French history. Gal

Alexander McQueen for Givenchy, Fall/Winter 2000

Lydia Edwards

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

“I can’t be too literal with my references,” Alexander McQueen said in 2000, when asked to pinpoint the theme of a recent collection. “It’s a number of references culminating together to make one idea.” Nevertheless, with a researched family history dating back to the 1500s, McQueen always acknowledged that “Every part of my background comes from something, be it the Jacobites or the Huguenots,” and influences from Giovanni Bellini to André Courrèges can be glimpsed in his collections. The pieces

Vivienne Westwood, “On Liberty,” Fall/Winter 1994

Lydia Edwards

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

“My job, more than anything, is to idealize women,” Vivienne Westwood has said of her work, including the fall/winter collection “On Liberty,” which premiered in Paris in 1994. Her appropriation of historic styles is well known, but in this collection a reinvention of the bustle, the nineteenth-century skirt support that accented a woman’s behind and allowed for elaborate skirt drapery, is more fluid than similar iterations have been. Westwood’s stark wire cage from 1990, for instance, was not so

Jean Paul Gaultier Menswear, Fall/Winter 1989

Tony Glenville

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

It is firstly important to put Gaultier within the context of his times. From the first catwalk show he was considered an “enfant terrible” yet at the same time a superb craftsman, and a designer who acknowledged the history and heritage of French fashion. His view of the world was from Paris and however much time he spent time in London and declared his admiration for London club culture and youthful attitudes to style, he remains a designer whose reference points span Madame Grès to Barbès Roch

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1984

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Shown at the Palais Garnier in Paris, home of the national opera, this fashion show was the most lavish and over-the-top fashion event in Paris at the time and began Karl Lagerfeld’s tradition of showmanship and set design. As with Karl’s first Chanel collection, this collection was panned for its deviation from Chanel’s trademark of easy comfort, with the classic Chanel suit made in a fitted silhouette that outlined the derrière. But it was also praised by others for updating Chanel’s image from

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1985

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection continued the development of Lagerfeld’s Chanel. Beaded looks were made to look like intricate tapestries and the hems of skirts were either floor-length or well above the knee, a deviation from Chanel’s strict rule of creating skirts 2 in. (5 cm) below the knee, no matter the fashion. The final bridal look was a white satin miniskirt suit. Two-tone, matronly pumps were a Chanel signature; the black stilettos in the collection underscored the younger, sexier direction of the house

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1990

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In this collection, presented in the Champs-Élysées cinema, Karl Lagerfeld introduced the “slope,” a new iteration of the Chanel jacket that featured a narrow-fitting shoulder line. The clothes were influenced by a combination of eighteenth-century robes à la française and the mod 1960s, with open panniers that revealed miniskirts and thigh-high boots. The playfulness of the collection spoke to the young and daring attitude of the new couture customer. For the finale, Lagerfeld presented three br

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1991

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection is an example of what Bernadine Morris at the New York Times termed “the new age of haute couture,” where couture was about exploring directional, fashion-forward concepts instead of just creating opulent clothing. Presented at the École Nationale Supérieure des Beaux-Arts, Lagerfeld subverted stiff, prom-dressy tulle by molding it into gaucho pants, puffy parkas, and bubble dresses. Atypical fabrics like cellophane and plastic were used on classic tweed jackets. He also introduce

Bill Blass, Fall/Winter 1997

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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

Paul Smith, Fall/Winter 2000

Michael P. Londrigan

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Paul Smith is a world-renowned English designer who has created numerous collections over the years. Paul Smith has built a global empire covering women’s wear, children’s wear, accessories, and menswear. His menswear collection of fall/winter 2000 will be examined while comparing and contrasting his unique style to events in the world that were having an impact on fashion.

Versace, Fall/Winter 1997 Couture

Tessa Maffucci

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

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

Nina Ricci Couture, Fall/Winter 1990–1991

Hayley-Jane Mazières

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The historical Parisian couture house was founded, in 1932, by the Italian-born designer Nina Ricci, who soon became the elegant Frenchwoman’s favorite with her romantic and feminine garments. These differed from the sleek creations of such designers as Gabrielle Chanel and Madeleine Vionnet. In 1963, Gérard Pipart, who had previously worked at Chloé and had been the first designer to propose a modern and refined ready-to-wear, was appointed at Nina Ricci, where he would remain for more than thir

Missoni, Fall/Winter 1998

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

From a simply cut, ribbed sweater in vivid lime greens, reds, and sherbet oranges, to seemingly formal jackets worn wide open to reveal the model’s bra, Missoni’s fall/winter 1998 collection featured classic shapes worn in daring new ways. The brand had traditionally been known for its distinctive, multicolored zigzag stripes, yet the appointment of Angela Missoni, the daughter of the founders, in 1996 as creative director, led to a revived aesthetic, cementing knitwear’s place within fashion.

Oscar de la Renta, Fall/Winter 1994

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Inky black velvets, rich scarlet, and leopard print furs: Oscar de la Renta’s fall/winter 1994 collection oozed the classic glamour that the designer had established his long-standing fashion career with, and was infused with an Orientalist fantasy aesthetic, reflecting the designer’s admiration of sumptuous Eastern designs. This collection confirmed that despite his recent appointment at Parisian House of Balmain, de la Renta’s own ready-to-wear line remained significant and relevant, where he c

Oscar de la Renta, Fall/Winter 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For his fall/winter 1995 collection, Oscar de la Renta focused on simple, stylish shapes, yet crafted them with sumptuous fabrics in rich colors. Heavy usage of appliqué and beading, along with chunky costume jewelry, added the glamour and opulence that de la Renta is renowned for. As a designer who typically favored classic styles over seasonal trends, this collection marked a time in which de la Renta’s designs were remarkably aligned with the contemporary fashion mood.

Vivienne Westwood, Red Label, Fall/Winter 1999

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Quirky, colorful, and colliding: with its juxtaposed styles, influences, and prints, Westwood created a discordant harmony in her fall/winter Red Label collection of 1999. It was the sixth collection that Westwood had produced for her Red Label line, and it was a rapid departure from those of other designers that season. Among Westwood’s peers, the key trends were plain fabrics and creamy, muted colors; Westwood clashed brights, checks, and prints. In contrast to the clean, understated, minimalis

Sonia Rykiel, Fall/Winter 1986

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Held in the Tuileries Gardens on Sunday 23 March 1986 at 6 p.m., Sonia Rykiel’s fall/winter fashion show was a lengthy and glorious celebration of creativity and drama, offering a series of distinct acts of design. Figure-hugging knit silhouettes in vibrant pink as well as subdued tones of camel, black, and white were luxurious enough to transition from day to night. Panné velvet dresses with rows of provocative ruffles declared a new direction in glamour. Matching purses in the shape of oversize

Sonia Rykiel, Fall/Winter 1998

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Celebrating her thirtieth anniversary, Sonia Rykiel presented her 1998 fall/winter collection at the Bibliothèque Nationale de France. The show was saturated in extravagance through looks from day to evening, and sportswear to formalwear. “No one has ever made skiwear look that glamorous,” reported the New York Times. Feminine touches in floral prints, seductive necklines, and bra tops were balanced with low-slung, wide-leg trousers with patch pockets. The collection included not only womenswear

Valentino, Fall/Winter 1990

Laura Peach

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Valentino’s collection for fall 1990 celebrated the designer’s thirtieth year of working in fashion. The decadent overtones of the looks followed the opulent fashions of the previous decade and the luxury that Valentino had become known for. Gold lamé tiered skirts, jeweled sheer tops, and egret feather bodices all appeared on the runway. Certain looks borrowed motifs from Baccarat crystals, a partnership-type trend that would continue in fashion through the decades to come. Several dresses in th

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