About the Look

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his champagne-pink evening dress was designed by John Galliano in 2000. The use of sheer lace, corsetry closure, and boning create a sense of intimacy. Yet considering its diagonal seams, asymmetrical neckline, and thigh-high slit, this garment expresses anything except delicacy.

The silk bodice of the garment features an adjustable one-shoulder neckline, hugs the body around the waist, and meets the cotton lace skirt diagonally at the hip, leading into an elegant train. With the turn of the century bringing high expectations, Galliano proved capable, raising his standards as well as leg-slits. In figure 1, the model wears the gown unlaced until the end of the bodice, revealing the length of her legs. Attractive as it may be unlaced, it can be laced further down by the wearer if desired (Fig. 2). The grommets along the neck allow for a ribbon to be tied from front to back as an optional strap, as seen in detail in figure 3.

On the runway, the gown was paired with matching ankle booties, smoky eye shadow, and a textured up-do (Fig. 2). The punk rock style of the collection can be seen in the runway presentation by clicking the video to the right; this look appears at 4:27.  Galliano was able to convey a playful side of sexuality by incorporating deconstruction and imperfection, which is paralleled in a similar look he designed for Spring/Summer 2000 Dior (Fig. 4).

In 1996, John Galliano moved from Givenchy to lead the house of Christian Dior. Simultaneously, he managed a line under his own name and designed twice as many innovative collections every season. Galliano hit the ground running with his first show as creative director at Dior. In Galliano (1997), Colin McDowell wrote of the experience: “The Galliano for Dior couture shows at the Grand Hotel had been spectacular” (38). A graduate from Central Saint Martins, Galliano’s ready-to-wear and haute couture collections were liked by many and he received high praise for his unique ability to tell stories through his work. His aesthetic often focused on seduction or historical references. In Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano (2015), author Dana Thomas discusses how his debut with Dior was impressive:

“Fashion had never seen such opulence, extravagance, or boldness of presentation and design. It was obvious that money was no object – that Galliano had no constraints creatively or financially. The result was couture on steroids, and it left guests gasping and reeling… As the crowd erupted in applause, Galliano took his curtain call.” (231)

His influence on the fashion industry skyrocketed and other houses were beginning to journey to the past as he was too. In The History of Modern Fashion (2015), authors Daniel James Cole and Nancy Deihl write that John Galliano’s designs were among some of the most imitated looks in the fashion industry during the time, especially his bias-cut silk dresses inspired by the 1930s (395). This champagne-pink Galliano evening gown from Spring/Summer 2000 is an excellent example of his iconic technique. The asymmetrical corset twists around the torso, highlighting the model’s curves. As seen in figure 6, the lace cotton panels of the skirt lay behind in a three-point train, with seams that wrap around to emphasize the bias-cut detail. Cole and Deihl explain that Galliano’s use of lace and bias cuts is typical of his design for his own brand and for Dior: “In 1997 he interpreted Christian Dior’s Bar suit with a peplum jacket made of leather lace over a short bias cut skirt” (400). The daring thigh high slit is made possible by the corset style closure that fastens from the side back to the side front, with ribbon lacing through the trail of grommets, as seen in figure 5. Yet, despite how romantic and delicate this garment appears at first glance, it is anything but.