Fashion Color Trend Report - SS10 Christian Dior Haute Couture

As John Galliano has been the designer of Christian Dior since 1997 till now. My color trend analysis will mainly focus on him to forecast spring/summer 2010 Christian Dior Haute Couture based on the other designers like Marc Bohan, Gianfranco Ferre and mainly Christian Dior.

"Dior" has a meaning of gold. Palace of versailles is an important place in France which decorates mainly in gold color. So, gold is a main conceptual color for Christian Dior. Besides, gold color can be linked to many other concepts like Egypt and India. In s/s 2004 haute couture, John Galliano used gold color entirely from neck to toes in some of his designs to show the feeling of Egypt. In s/s 2006 and 2003, there were outfits in gold color. Gianfranco Ferre was influenced by India, gold color was applied in many of his outfit. Dior's designers sometimes might not use gold color in the whole outfit but at least they used gold color in some detail parts e.g. gold embroidery or print like s/s 2005, s/s 2007, s/s 2008 and s/s 2009. John Galliano is influenced by Chinese cheung sam and Japanese kimono which are embroided with gold color. So gold color will be seen in s/s 2010 Christian Dior Haute Couture.

"New Look", this stunning outsit amazed people and it represented the start of the brand. This look consisted of black and white. So, we can see how important black and white colors are for Christian Dior. These two colors show femininity and elegance. "Femininity and elegance" is the idea of Dior. Femininity is the central to John Galliano's creations. He said "my role is to seduce". There are black and white ( may also add gray ) in almost every collection of Christian Dior. So, achromatic color scheme is widely used in Dior's collection. And John Galliano will apply this in s/s 2010 Dior Haute Couture.

John Galliano left class for seeing opera during his schooling. The dramatic design and use of color of costumes affect John Galliano so much. His design and use of color is thus bold and exaggerating. He also influenced by his spanish mother. His design is so colorful due to the colorful spanish fabrics and exotic culture. In s/s 2008, John Galliano used almost all color ranges: red, orange, yellow, green, blue and purple. John like to use yellow, red, green/blue. Analogic and Complimentary Color Scheme is adopted and it will continue to apply in s/s 2010 Dior Haute Couture.

Red always appears in Christian Dior collection. But why is red? Because it is the color of flag of French ( blue, red and white ). It represents the spirit of French and Dior as the origin of Dior is French. The French Revolution (1789–1799) was a period of political and social upheaval and radical change in the history of France. Nepoleon is an important person to John Galliano. He used The French Revolution as the theme for his guaduate fashion show. This is a bloody war. John Galliano used red color in s/s 2006 collection to present this theme. Influenced by Spain, John used red color extensively esp. vibrant red. See the bullfight in spain, the cloth is red and the bullfighter dresses in gold. John dressed as a bullfighter in s/s 2007 haute couture fashion show. Sometimes the bullfighter dress in gold and bluegreen. Spanish dresses are in red, pink and purple. Spanish flag is in red and yellow ( see picture above ). These combinations are always seen in John's collection. So, red, yellow, pink, purple, bluegreen and gold will be adopted in s/s 2010.

John Galliano always gets inspiration from arts and cultures, like theatre, painting, Japan-Kimono, Chinese culture, egypt and spain. The range of the color thus varied a lot according to that year of travelling experience and inspiration. Next year John Galliano will also use one of the art work to get inpirated.

Many people are concerned about the limitation of design due to the financial suinami. But this doesn't affect John Galliano. He has commented about this topic: we ( designers ) has the duty to be creative and innovative to design the best outfit for cutomers. John will just use colors whatever he likes.

ss07 dior haute couture

PARIS, January 22, 2007

By Sarah Mower

What psychological process did it take to lift John Galliano to the extraordinary place of brilliance he reached—or rather, rediscovered—in his Spring couture? Everything about the Dior collection—inspired, he said, "by Pinkerton's affair with Cio-Cio San, Madame Butterfly"—reconfirmed his unique talent to evoke beauty, sensitivity, narrative, and emotion in a fashion show. Kimonos, obis, and geisha makeup were Dior-ified, transformed into delicate translations of New Look peplum suits and full-skirted dance dresses. Each look sprouted yet more miraculous planes of origami folding, their stiff geometries creating necklines like flowers or hovering birds. Every dress had an intense color and character of its own; a hot pink, an eau-de-nil with coral, cascading shades of burgundy and imperial purple. Some were painted, others sculpted from curviform furls of woven straw.

This was a return to form, and then some: a collection that represented a comprehensive ditching of the techno-brashness, crude drag-queen posturings, and overdone multireferencing that had come to obscure Galliano's talent in an increasingly bewildering way. Whatever caused this turnaround—the bleak sense of withdrawal of his last ready-to-wear collection puts it in particularly sharp relief—the recovery has been spectacular. Giant gray House of Dior chairs set on a series of podiums helped rekindle the magic of those delightful nineties shows in which Shalom Harlow and her friends used to method-model their way up and down Galliano's catwalks. And lo! There was Harlow herself, the bride, sprigs of diamonds atremble in her geisha hairdo.

For anyone who first glimpsed Galliano's raw, romantic genius 20 years ago, or witnessed the impact of his first, all-black Japanese collection done on a shoestring a decade ago, today's presentation recaptured everything that ever made him a force to be reckoned with. Was it anything new? No. But when Galliano does what he does this brilliantly, there's no one who can touch him.

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Madame Butterfly is an opera in three acts
acter in the opera :
1.Cio-Cio San (Madama Butterfly)
2.Pinkerton, a U.S. Naval Officer

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color details:
pink
purple
burgundy(like red)
coral(like gray)

Comment from SS 1996 to "Dior vs John"

Though i like John very much, i like to search the previous designer of Dior. Because i always think that John Galliano's style is not Christian Dior's style. Christain Dior's design is elegant and feminie, so the type of color is limited. At the past, women will not put much colors on them. But John Galliano's design is exaggerating like the collection of egypt. So his design is always colorful color.

In one lecture, our department associate head, Raymond said present dior is so different from past dior.

The silhouette of Christian Dior is amazing!!!

But the similiarity is that they create something different and innovative. You can see New Look from Dior and every haute couture from John.

Though they have different styles. John tried to keep some Dior's element, like basing on achromatic color scheme ( white, black and gray ) to add other color scheme. Based on the meaning of Dior, gold always appear in Dior's and John's collection. Flora print always appear in red flower with green leaf dior's outfit. I found out from the history book that some outfits had been reconstructed by the latter designer. We can see except the self personality of designer, the background of the brand is very important for the designer to create a collection.

In this ss1996 from Gianfranco Ferre, he adopted achromatic color scheme ( white, black and gray ). Flora print appeared in this collection again.

It may be boring with no breaking point. Dior changed the designer next year which the position was replaced by John Galliano.

SS08 Dior Haute Couture

SS08 Dior Haute Couture
collection Video from:
http://www.youtube.com/watch?v=WigeBcjSkCM
http://www.youtube.com/watch?v=BAZ2IRseBQM
http://www.youtube.com/watch?v=h0d25qMFML0

PARIS, January 21, 2008
By Sarah Mower
Who else could open a supposed treatise on Symbolist painters with a blast of Led Zeppelin, gigantic overblown shapes, eye-watering color, and a whole lotta bling? Why, only John Galliano in his haute couture mode, of course. He blew vast volumes of air into multiple meters of duchesse satin, and whorled floriform shapes and swing-back swags into every passing silhouette. For garnish, there were great plastic flowers, chunks of sparkle, and frissons of dangly paillettes as embroidery. Topping it all off: towering laquered updos—"inspired by Vreeland's Vogue," he said—with myriad lamp-shade and saucer hats made to hover over them by the gravity-defying hand of Stephen Jones.

Somehow, Galliano's primrose path of inspiration had, he said, wended its way from John Singer Sargent's Madame X through to the gilded swirls and bejeweled geometrics of Gustav Klimt. All that richness—plus the vibrant reds, magentas, yellows, purples, and limes ( This collection almost covers all color: red, orange, yellow, green, blue, violet ) —meant the collection teetered (atop vertiginous à la Japonaise platforms) on the brink of overload. Still, strange as it may seem, this was not one of Galliano's more manic excursions into fantasy costume. In the end, something in the odd air of high-society sixties hauteur came over as surprisingly chic.

from http://www.style.com/fashionshows/review/S2008CTR-CDIOR/

Symbolism was a late nineteenth-century art movement of French and Belgian origin in poetry and other arts.

s/s2009 haute couture

s/s2009 haute couture collection video from youtube

Dior Spring Haute Couture 2009-10 Full Show - Part 1
http://www.youtube.com/watch?v=KFTJVm5rDGE

Dior Spring Haute Couture 2009-10 Full Show - Part 2
http://www.youtube.com/watch?v=kE2C6xno39E

review from style.com
http://www.style.com/fashionshows/review/S2009CTR-CDIOR
PARIS, January 26, 2009
By Sarah Mower

There are only two questions anyone is asking Paris couturiers this season: "What are your inspirations?" followed swiftly by, "And what do you think about the recession?" John Galliano's answers were "Flemish painters and Monsieur Dior," and to the point, "There's a credit crunch, not a creative crunch. Of course, everyone is being more careful with their discretionary purchases. I am. But it's our job to make people dream, and to provide the value in quality, cut, and imagination."

He'd cross-referenced the soft blues and golds of Vermeer and the elaborate lace collars and sleeves of Van Dyck with typically Galliano-esque hyper-exaggerations of Dior's tight-waisted, full-skirted fifties shapes. As a starting point, it evoked some of the romantic femininity of Dior's silhouette, but with surface ruffles and bouncing crinolined hemlines that went way beyond any sense of postwar austerity. As for the seventeenth-century Dutch elements, there were cross-laced corseted backs and cartridge-paper scrolls standing out on hips, and, as things progressed, tulip prints and blue-and-white Delftware embroideries peeking from the underskirts. The finale dress, in a gorgeous deep burnt red, had the stately dignity of an historical movie costume—not so much Girl With a Pearl Earring as Rembrandt's Jewish Bride ( OK, that's yet to be made, but the color's exact).

Oddly, though, the clothes became lovelier when the collection didn't stick so literally to the Old Masters—either painterly ones, or the founder of the house. When Galliano escaped the sweet Vermeer palette and moved into ivory, as he did with a slim dress implanted with raw-edged georgette rosettes and embroidered with silver leaves, or with an ingenue off-the-shoulder fifties dance dress banded with black bows, it all seemed simpler, fresher, less stilted. And more like the kind of thing that will actually keep Dior clients dreaming, and, hopefully, spending.

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Flemish (Vlaams in Dutch) is a popular informal term to refer to Belgian Dutch (Belgisch-Nederlands in Dutch), Dutch as spoken in Belgium.

influenced by the flemish painters ( Van Dyck and Vermeer ), the color of his design includes:
yellow ( like gold ) and soft blue

Monsieur (plural: Messieurs) meant "my lord" (mon seigneur) in Middle French, and is now generally used in French as an honorific for all men (not possessing a knighthood or some higher rank), the equivalent to the English titles "Mister" and (in some senses) "Sir".

influenced by Monsieur Dior, the color of his design includes:
black, ivory and red

other color used: red orange
it's quite like the kimono

more about this collection:
http://watch.fashiontelevision.com/collections/designers/christian-dior/clip147774#clip147774

color thorey applied:

Sequence of color

Each color appears in a certain order to succession, keeps the same position in each repeat, and leads the eye in the direction of progression.

-> yellow, blue, ivory, yellow, blue, ivory, blue, ivory, black, red, ivory, black+ivory, ivory, black+ivory, ivory, blue, pink, red orange, red

mainly: black and ivory ( white )
-> Achromatic

other colors: blue, yellow, red orange and red
-> Analogic and Complimentary Color Scheme