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Edited by on March 7 2011 at 4:12 PM

Apparently there was some hullabaloo about John Galliano during Paris Fashion Week — who knew?  But what turned out to be Galliano’s final collection for Christian Dior was as anti-climactic as his fall from grace. A pretty but by no means fitting end to a brilliant career, Dior’s Fall 2011 will no doubt provide loads of speculation as to its creative director’s state of mind.

Galliano shied away from the 40s noirish silhouettes and Japanese themes that have informed his collections since Dior’s brilliant Spring 2007 Haute Couture show for a mix of 18th century Romanticism meets 20s flapper with a bit of 60s Bohemian thrown in for good measure.

All of these disparate elements managed to come together cohesively, but the effect was more sedate, almost tame, to what we’re used to seeing from Dior, even in Ready-to-Wear. Galliano always shined in haute couture — his imagination could soar with the house’s seemingly limitless resources and confidence in his judgment, where as the RTW was distilled into a more palpable version for consumers.

A/W 2011 was more than just distilled, it was watered down from the spectacular heights achieved just two months ago in Paris. Could something have happened between then and now that radically changed John Galliano? Or was this the work of someone who was tired, or lost, or just no as longer inspired?

Who’s to say? But it was more than just the work of one man as was so profoundly proven when the Dior atelier came out in their white coats to take the bow traditionally taken by their director. Though the show may not be particularly memorable, that moment will stay with people for some time.

Photos: Style.com

 

Story by Lester Brathwaite

I was center square from 1969 to 1978, during which I perfected the art of the zing as well as a crippling cocaine addiction. Bea Arthur was responsible for both. @LesFabian lester at fashionindie.com