.Zee.

Sasha Pivovarova, Lily Donaldson, Brad, Laura Blokhina, Johanna Jonsson

Daul Kim, Catherine McNeil, Han Jin, Iekeleine Stange, Kim Noorda

Michaela Kocianova, Olga Sherer, Alyona Osmanova, Grieta Bastika, Suvi Koponen

Alana Zimmer, Laragh McCann, Guntars, Fédérico, Jake

Freja Beha Erichsen, Anja Rubik, Laragh McCann, Bobbi Wiens, Behati Prinsloo

Gemma Ward, Raquel Zimmerman, Suvi Koponen, Jessica Beyers, Julia Dunstall

Vlada Roslyakova, Caroline Trentini, Eva Helene, Irina Kulikova, Kasia Struss

Snejana Onopka, Diana Moldovan, Denisa Dvorakova, Coco Rocha, Irina Lazareanu

Backstage

Continued

Details / Close Ups

Tanya Dziahileva, ??, ??, ??, ??

Freja Beha Erichsen, ??, ??, Katarina Ivanovska, Natasha Poly

??, ??, ??, ??

Designer John Galliano

Gemma Ward, Daria Werbowy, Kim Noorda, Coco Rocha, Lily Cole

Jessica Stam, Mariya Markina, ??, ??, ??

Iekeliene Stange, ??, ??, ??, ??

Alyona Osmanova, Johanna Stickland, Vlada Roslyakova, ??, ??

Marcelina Sowa, ??, Agyness Deyn, Irina Lazareanu, Sasha Pivovarova

Patricia Schmid, ??, Olya Ivanisevic, ??, Daiane Conterato

PARIS, March 3, 2007 – It's a vintage season for John Galliano—in more ways than one. At Dior, he celebrated the 60th anniversary of the New Look in high movie-star style. Then his own decadently staged collection returned to the romantic, excessive, eccentric hothouse scenes people so adored him for in the early nineties, complete with "vintage" Galliano bias-cut dresses. The notion of entertaining fashion audiences as guests and treating models like individuals has become such a forgotten art that the arrivals at the show—greeted with a cast of made-up Parisian street characters, overflowing dinner tables, potted palms, dogs, chicken coops, Turkish rugs, bordello couches, and an unmade brass bed—were instantly put in party mood. We were in Pigalle during the tens and twenties—the world of Kiki de Montparnasse and Brassai's Madame Bijou.

And there were the girls, striking totally convincing attitudes, as if no one could teach them a thing about absinthe drinking or streetwalking. Who knew this supposedly blank generation of Sashas, Lilys, and Cocos had it in them to act up like a bunch of old-school supermodels? That, like the clothes, seemed a flashback to everything that made Galliano good in his first years in Paris. The theme sent him off on an orgy of costume reference (and self-reference) that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, gigantic leg-of-mutton-sleeved jackets, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his signature bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon.

The roll of credits included Stephen Jones' millinery, Pat McGrath's makeup, Julien d'Ys hair, and Michael Howells' set design. All played crucial supporting roles in bringing Galliano gloriously back to full cinematic form. Was there anything new here? Well, yes, in the way the show touched the Poiret sensation of the season; then again, no—but perhaps that was exactly the point. If the early nineties are a reference point in fashion now, here was Galliano, bringing himself back for a new generation—and judging by the way those twenty-year-olds got into it, they're ready for every ruffle and cloche the man can throw their way.

– Sarah Mower

I can't wait for the video of this!!

Thanks Zee! McQueen is always crazzzy! I like the blue and metallics

thx zee

You're welcome guys . That was a loooot of uploading, so I'm tired now. I just realised how bad the review I posted makes this collection sound but i love everything about it, the clothes (except for a couple of items), the hair, the make-up, the set, the music.... even the damn pyramid.

Anyway I'm off now, good night!

Backstage

Details / Close ups continued

Details / Close ups

Anna Barsukova, ??, Olga Sherer, Alyona Osmanova, ??

Gemma Ward (I want this dress!!!), Maryna Linchuk, ??, Kinga Rajzak

Designer Alexander McQueen

Mariya Markina, Daiane Conterato, Egle Tvirbutaite, Catherine McNeil, Vlada Roslyakova

Daria Werbowy, Viviane Orth, Coco Rocha, Ana Mihajlovic, Eva Poloniova

??, ??, ??, Irina Lazareanu, Jessica Stam

Freja Beha Erichsen, Kasia Struss, Bruna Tenorio, Kim Noorda, Iekeliene Stange

??, Anna Mariya Urazhevskaya, Ana Mihajlovic, Natasha Poly, Viviane Orth

Gemma Ward , Magdalena Frackowiak, Snejana Onopka, Alana Zimmer, Caroline Trentini

Catherine McNeil, Kasia Struss, Bruna Tenorio, Kim Noorda, Daria Werbowy

Vlada Roslyakova, Maryna Linchuk, Egle Tvirbutaite, ??, Raquel Zimmerman

PARIS, March 2, 2007 – In a season when the agendas of fashion are finally being rewritten, all a professional audience really comes to Paris for is to witness brilliant designers working on modern cut for 21st century life—and to inspect it in close-up. Even on a Friday night, in rain and heavy weekend traffic, they will drag themselves to an inhospitable sports venue at the ends of the périphérique to see an Alexander McQueen show with just those expectations. Unfortunately, the audience was confronted with a distracting, overwrought show that only succeeded in ramming home the realization that the theatrics and stadium-sized presentations of the nineties are—or rather should be—a thing of the past.

To be fair, McQueen had put a heartfelt personal passion into a collection that was based on a startling revelation from his family history. His mother, who traces family trees, discovered that her bloodline leads back to a victim of the Salem witch trials who was hanged in the Puritan hysteria of 1692. The themes of witchcraft, paganism, and religious persecution played on the dark and angry side of McQueen's creativity, but the way he articulated them ultimately ended in one of the season's most deleterious cases of concept overwhelming clothes.

First of all, there was a pentagram traced in red in a black-sand circle, with an inverted pyramid hanging over it. As the show started, a macabre film—of naked women, swarming locusts, faces decaying to skulls, and blood and fire—started to play above the models' heads. Theoretically, no one objects to being disturbed and discomforted by a pointed McQueen performance—it's an accepted part of his identity. What they did object to was that the point was lost in the distractions, and what interesting clothes did emerge could barely be appreciated at the distance he put between models and audience.

The clothes were there, as far as it was possible to see. The opening of the show proved McQueen is thinking about new shape, in this case pod-like structures that broke the mold of his usual corseted silhouette. The volumes, shown over black leather leggings, moved toward a curved-back, forward-facing shape that put him somewhere in line with other experiments that are going on in Paris. McQueen's research on religion had found links between ancient Egypt and the folk culture of the earliest British immigrants to the New World, so there were Nefertiti hairdos and couture-detailed clothes fashioned to mimic the lapis lazuli and gold of sarcophagi. One blue dyed fur was shaved and shaded like overlapping feathers, and a gilded column and green jersey gown with coiled snakes at the breast looked fit for Elizabeth Taylor starring as Cleopatra.

After that, though, it swiftly became a bumpy and difficult ride. Quieter pieces like a cardigan dress, a nipped-waist parka, and a shearling skirt (core items that sell so well for McQueen) got drowned by the gore flowing on the screens. At the end, there were some of the gowns he is so good at—a trail of emerald velvet with copper bugle-beaded strands of hair spilling to the waist, and a chic black silver-beaded gown that rippled from the shoulder line as it moved. Still, even those didn't have the power to fill the space or to placate an audience driven to the end of its tolerance by an experience that—journey and waiting-in-the-dark time included—took four hours. McQueen is too talented to get stuck in an outdated habit of presentation like this.

– Sarah Mower

Watch the full show here ------> http://www.frillr.com/?q=node/2445

that's not her first cover, that was a vogue cover she did with lily cole. there was an editorial with it.

and thanks for the new runway pics, guys! she's been so fantastic this season, i love her more than ever. she was in john galliano today (well yesterday, it's gone midnight) and looks STUNNING!

if i get a chance to buy the agyness deyn and the jessica stam tshirt, i'm going for it. the website hates me though and i don't think they're selling anything online at the moment. this is cute, but it'll get old quick.

i love love love this! i just sat and watched the video and it's amazing. there was a couple of mishaps though, did anyone see them?

this was a good show, although i prefer the s/s07 collection. i have the full video of this with original music, does anyone want me to upload it?

ugh. all totally average this time.

Fernanda Prada

Face: 70

Body: 70

Sexiness: 70

Natural Beauty: 70

Bree Conden

Face: 70

Body: 70

Sexiness: 70

Natural Beauty: 70

Rosie Huntington-Whiteley

Face: 50

Body: 50

Sexiness: 50

Natural Beauty: 50

can you tell i don't like her?

Alessandra Ambrosio

Face: 60

Body: 100

Sexiness: 100

Natural Beauty: 55

i hate them both, but seeing as i just watched the dior show and natasha was treating the runway like it was vs or something and held gemma up for ages i'll have to vote for her. plus rosie may be annoying but she's british and that's a plus point for me.