• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• Journal of Fashion Business
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• v.3 no.2
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• pp.19-29
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• 1999

The purpose of this study is for consideration of John Galliano's fashion design works. Galliano, young British designer, became the chief designer of Givenchy in 1995 and of Christian Dior in 1996. Through fashion information from WWD, High Fashion, Mode et Mode, Collezioni, Vogue, Internet sites and video tapes from 1995 to 1999, his works were concerned for this study. The results are as followed; First, we can find dynamics in Galliano's works. The dynamic mood came from his study about historic costume. Second, new beauty from dismantling and reconstruction was expressed on his designs. Third, his experimental creativities were based on fashion business. Therefore Galliano's eccentricity signify the Maximalism against the Minimalism which dominated the end of 20th century. So we can find a clue to new millenium in fashion world in his designs.

• Journal of the Korean Home Economics Association
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• v.51 no.2
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• pp.147-159
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• 2013

This study aims at developing and producing the creative design of a lingerie look after reviewing the aesthetic value about lingerie look featured in John Galliano's works. As for the research method, the selection process from the works was followed together with literature review for empirical analysis over lingerie looks, where 2,764 pieces in total were reviewed from Galliano's Pret-a-Porter collections covering from 2001S/S until 2010F/W and Christian Dior's Haute Couture and Pret-a-Porter collections that he is in charge of as head designer and 291 pieces were finally singled out that show the lingerie look image well. Then, the formative expression was examined about those looks and the characteristics were induced from them. Formativeness expressed in Galliano's lingerie look, in term of lingerie style, was categorized as erotic, retro, and deconstructive. The glittering and smooth material like silk and satin, and the visible material like lace and chiffon were mainly used for material rather than foreign material. By doing so, the romantic and erotic image was highlighted. In the production method, it was grouped into transposition of wear, direct and indirect exposition, and deconstructive way. These aesthetic characteristics introduced by formative expression appeared in the form of eroticism, play, and deconstructiveness.

• Journal of Fashion Business
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• v.13 no.2
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• pp.50-65
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• 2009

The main purpose of this study is to identify characteristics of shapes of John Galliano's Dior Collection as the chief executive designer of Christian Dior Maison during $1996{\sim}2007$ after he showed himself in Paris in 1990. This study was based on the analyses of John Galliano's design trends of his collections, the pictures of his works in Christian Dior's collection, real works, documents and fashion magazines, newspapers, mass media, internet sites and other visual materials. The study identified characteristics of shapes in Dior Collection until 07/08 F/W as the chief executive designer of Christian Dior Maison, and the design trends before his post-Paris period. Followings are the conclusions of the study. First, Galliano was open to any types of cultures as a liberalist, and also respectful to the tradition or principles. He led the fashion business with new trends by exploring both sides. Second, he succeeded in commercializing his avant-garde feature. Especially, His creativity changed the image of Christian Dior to younger and more casual one. Third, born in England and worked in French, he always took both English (Victorian Style) and French(Napoleon era, Femme Fatal style) sides, and showed excellent formulation that the times needed by combining topical Chinese, Japanese, Egyptian styles.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.14-30
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• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.19-40
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• 2009

The purpose of this study is to grasp the world of Galliano works who lead Dior Couture and to make use of this knowledge to comprehension of general trend in Haute Couture and $pr{\hat{e}}t-{\acute{a}}$-porter in the future. The method of research is to search for the characteristic of Haute Couture and the general tendency of Galliano works, and to view the inclination of Dior Couture by Galliano. For sphere of research, 2000s is discussed with focus on Haute Couture, exclusive of ready-to-wear. As a result, Galliano's Couture works were distinguished into four specificities. First, the historicity including historical event, personage and epoch. Second, the orientalism. Third, the pictorial characteristic including synthetic art and public art. Forth, the quality of humor. These subjects bring about a result that break down each boundary, in the method of interpreting, as try out mixing between every elements. Galliano pursue a new domain through the fusion of East and West, past and present, classic and pop, artistry and commercialism, this induce more familiar Haute Couture to the public, breaking the strict form of Couture. It seems that this tendency will be advanced toward extrovert Couture producing the low-age phenomenon in Couture, the mixture of multi-culture and the vitality. This fusion suggest the popularity and the commerciality of Couture, which is predicted decrease the difference between Couture and $pr{\hat{e}}t-{\acute{a}}$-porter.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.173-182
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• 2022

As consumption pattern and fashion communication become digitalized, fashion houses are being inherited by creative directors owing to their expanding role. While the roles and responsibilities of creative directors have been changing extensively along with the dynamic nature of the fashion industry, researches on creative directions have mostly focused on luxury brands. This study examined the creative direction of John Galliano for Maison Margiela, a conceptual brand to be maintained by a creative director. To analyze this, the authors established a creative direction analysis model constituting five elements: brand heritage, trend, democratization, brand status, and persona, drawing on the luxury brand architecture by Kapferer and Bastien. Thus, Galliano has maintained anonymity as a heritage of Maison Margiela, expanding the existing Replica lines, and introduced fashion shows focusing on current issues or social phenomena. As a democratization strategy, he directed the brand to associate with more popular brands or expanded diffusion lines to secure broader customer base, while demonstrating couturier-like showmanship in the media and establishing his own persona. His direction for Maison Margiela recreates and expands brand heritage by transforming the brand philosophy. Therefore the new creative direction communicates with the wider public and diversifies customer bases through democratization strategies, while building Galliano's own persona.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.51-66
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• 2005

Fashion is to emphasize the importance of total coordination in creating an image. Therefore, modern fashion is not the conformation of fixed beauty but it exist in the expressed form of the variety and the completion according to the individual's personality for the self image of the clothes, the hair and make-up, the accessories and the like. This study Is aimed at reviewing one of the tendency of modern fashion coordination and the characteristics of John Gallianos fashion work and there upon, analizing the characteristics of John Galliano's fashion show, who is one of the most leading fashion designer, by dividing them Into four categories in large: 1) The maximum effect of fashion image by make-up and hair style 2) Adventurous fashion coordination with daring decoration 3) Fascinating fashion coordination Harmonized with color 4) Enlargement in the concept of fashion coordination by experimental way of clothing

• Journal of Fashion Business
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• v.13 no.4
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• pp.163-177
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• 2009

In this study, the characteristics of headwear design by John Galliano's collections had been placed under the interpreting the immanent characteristics of presented in external things. His headwear design was found to have following characteristics; ethnic forms, historical forms, natural modeling forms, artifical forms, false hair forms and abstract forms. And his headwear design was found to have folling immanent characteristics; expaned exaggeration, introduced into existing form and reconstruction, mixed with different motives, change of texture, introducing and parody by natural and artifical form, pure abstacted construction. Furthermore, it can be identified that immanent characteristics and external things are mutually linked.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.