Backstage Hair & Makeup at Christian Dior Couture Spring 2011

Backstage shots of hair and makeup at the show, fantastico! You can see, to give the models that haughty, high cheek-boned and highly arched brow look of Rene Gruau’s fashion illustrations in the 1950s, they used Face Lift Tape! Apparently it’s common in the fashion world and the entertainment industry, I had no idea!

Details at Christian Dior Haute Couture Spring 2011

Thanks to, we can get a closer peek at the lovely coiffed hair, Gruau-esque makeup, killer heels, contrasting colored gloves, half-moon manicures and fine details that made me love this show so so much…

John Galliano for Christian Dior Haute Couture Spring 2011

Oh god, kill me now! I can die happy after this collection. It’s Galliano’s tribute to Christian Dior’s fashion illustrator, Rene Gruau, who made the New Look so iconic in the 1940s and 50s. Perhaps I’ll post some Gruau illustrations to let you see just how strong the influence is here. It also reminds me of Gene Kelly and An American in Paris, which I watched again recently. Oh Galliano, marry me! Or more to the point, dress me!

Here is the entire collection. I would normally just post my top picks, but I feel this one stands as a whole. Enjoy!

Oh my, I never posted the Christian Dior Fall 2008 Couture collection?

Gasp! I must right this wrong immediately! One of my all-time favourite shows:

Sarah Mower on

In a way, it was a classic: combining the indelible fifties inspiration of Lisa Fonssagrives, Dior mannequin and wife of Irving Penn, and that of the new model of French conservative chic, Carla Bruni-Sarkozy. Those two streams of thought merged into a collection John Galliano called “fresh couture—restrained and refined.” If it didn’t exactly result in 100 percent conventionality (there were plenty of sheer skirts and fetishistic patent belts that might not work at a political summit), the happy fact that the first lady of France has chosen to dress at Dior gave Galliano full rein to revel in the realms of glamour the house established 60 years ago.

The templates were all there: big coats, wasp waists, nipped jackets, circle skirts, tulle dance dresses, architectural gowns cut from spiraling lace and jutting scrolls of crin. Mostly framed in black and white, with tints of gray, caramel, Parma violet, mint, and chartreuse to follow, the shapes traced familiar silhouettes—albeit a familiarity shot through with Galliano’s irrepressible touches of perversity. A nod to Dior’s New Look peplum became a stiff patent hip-jutting belt with cross-lacing in the back, and a knowing acknowledgment of the basis of the hourglass silhouette came in a couple of see-through gowns with the corsetry fully on display. Still, this was Christian Dior very much under control and within the scope of reality. Add some lingerie and take off the belts, and it’s no stretch at all to imagine Madame Sarkozy finding plenty here to wow the world in her demure manner, come fall.