>> Huge railroad tie crucifixes hanging at their necks and frizzed pompadours upon their heads, the ghosts of yesteryear walked again on the Dior Couture runway. John Galliano used one part Catholic priest, one part Marie Antoinette, and one part Marquis de Sade to create a melange of corsets, panniers, shrouds, and blood -- a terrifyingly delightful experience. I have always loved Galliano for his showmanship -- his ability to make a couture show fun to watch. And while some say that couture should not be about entertainment, but about the craftmanship itself, I say that here is the product of a brilliant creative mind -- it's not every day that we see that. The ghastly makeup, the eerie reading of Madonna's Justify My Love, and luxuriously perverse details like plasticized blood on ivory crocodile, pearl necklaces with beads dribbling blood down the neck, and net caps reminiscent of an executioner's hood -- it just doesn't get much better for a Dior libertine than that.
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