Runway Deep Dive: Gianfranco Ferre at Dior - Haute Couture Spring 1995
by Fashion History Runway Deep Dive Sydney Babineaux
Floral hat from Dior Haute Couture Spring 1995 // Getty
Jonathan Anderson's beautiful debut for Dior (and it was beautiful, don't start with us, we don't want to tussle!) had us thinking back... Before Jonathan, before Raf, and before John - there was Gianfranco Ferré.
Not familiar? No fear, LA based HI Stylist, Sydney is diving deep into the world of Ferré for Dior.
A backstage snap of the Dior 1995 Couture Show // Pinterest
Known as “The Architect of Fashion,” Italian-born Ferré utilized his degree in architecture when designing clothes.
He began his career in fashion in 1970, designing accessories. Nine years later, he was appointed Creative Director for the House of Dior, a position he held from 1989 to 1996.
And while you might be hearing his name for the first time, you’re likely familiar with his work.
In 1994, Ferré created the "ChouChou" bag. The elegant top handle bag that became a favorite of Princess Diane's - so much so they renamed the bag "The Lady Dior."
This went on to become Dior’s most popular bag style to date. (Recently re-imagined in tassels, clovers, and suede by Jonathan Anderson. Swoon!)
Princess Diana sporting the brand new "ChouChou" bag designed by Ferré that would later be renamed in her honor.
I fell in love with Gianfranco Ferré over my time here at Happy Isles. Most pieces that catch my eye when they arrive in the salon happen to bear his name on the label. (Do not sleep on pieces of his eponymous label Gianfranco Ferré!)
While going through the book covering his tenure at Dior, Dior by Gianfranco Ferré, I was struck by the Spring 1995 Haute Couture Collection. And I think you’ll see why…
Dior by Gianfranco Ferré from Assouline.
This collection was entitled Extreme. A name earned by its colorful, bright, and playful nature, Ferré drew inspiration from artists and the pop culture of the time.
A vibrant yellow floral gown that echoed the runway hue. // Pinterest
The influence of artists like Andy Warhol and Jackson Pollock can be seen in the vibrant pops of color, abstract patterns, or the splatter-like details of the florals.
The bodice of the gown that served as the fulcrum of the collection.
At the time, The New York Times declared the show “decadent” and “dreamlike.” And in Ferré's own words: “I am trying to respect the kingdom and the power of couture.”
In the collection notes, the silhouettes are “as lively and as striking as an etching,” truly coming to life on the runway - a kaleidoscope of color.
By this time in the mid-90s, haute couture could no longer just be beautiful gowns. The shows had to make an impact - a vehicle for dreams, for grand gestures - for the Extreme.
Harlow in Dior 1995 Couture for the March Issue of Vogue.
This editorial of Shalom Harlow, shot by Bruce Weber for the March 1995 issue of Vogue, is a favorite of mine and the reason I wanted to write about this collection.
The look from Vogue on the runway.
But as I dove into the looks, I realized it was only the tip of the iceberg.
While the show would eventually explode into splashes of vibrant color - it began with a mix of black and white minis.
Two of the black and white looks from the shows opening.
These fun, short looks were the first to come out on the runway for this collection. Talk about starting with a bang!
Chrystèle Saint Louis Augustin in the black and white floral crystal set that teased the florals to come!
This look is so intriguing, composed of black and white glass beads, sequins, and strass crystals all sewn together to create the floral motifs. One of the many looks from this collection held at the Dior Heritage Collection in Paris.
Yasmeen Ghauri in a sheer lace set.
I mean, this is fabulous! Is it swimwear? Is it lingerie? Is it meant for a night out?
Yes, Yes, and Yes!
Karen Mulder in a white set perfect for the courthouse 🐇
This is giving me, chic Playboy bunny.
But real talk, my favorite part of this look is that it’s three pieces.
When shopping for bridal looks or special occasions in general, I’m a big fan of the "price per wear" logic. When you opt for separates, you’re getting more pieces to break up and mix into your closet - well, after your wedding weekend has passed!
A woven three piece set on Chrystèle Saint Louis Augustin.
The fabric detail on this set is a piece of art.
The crisp white hue and large buttons juxtaposed with the sheer material underneath are unexpected. Here you can see why he earned the nickname “The Architect of Fashion.”
Up close and personal with the set.
In the first photo, you see a simple outfit. Still, upon closer inspection, there is an intense layering of details.
A multitude of fabrics, weaves, and trims make up the look. Let’s face it, they don’t make them like they used to.
Carla Bruni in a sculptural sheer blouse.
The detailing on this sheer blouse (one of many in the collection) further flaunts Ferré's architectural background. The pleating the blouse is divine and adds such a nice touch to something so simple.
It’s details like that that take a look from good to best dressed in the room.
Carla Bruni in a layered polka dot look.
Carla Bruni, the hat, the polka dots, the crescent moon detail at the bust!
Polka dots are having a moment right now, and I felt compelled to include this look. Beautifully cohesive and uniquely elegant.
The show evolved into an explosion of color and florals. A painterly approach to print. // Pinterest
This insane number was the centerpiece of the collection. You can see here Ferré's pop art inspo with the bright colors, large-scale print, and burst of detail at the bust.
The Finale Look. // Pinterest
The finale look! Like a flower in bloom, this ensemble has Dior written all over it.
From the off-the-shoulder overcoat, to the bow closure nipped high at the waist, to the floral column gown underneath.
A masterpiece and the perfect exclamation point on Extreme!
Gianfranco Ferré takes his finale bow. // Pinterest
Photos // Getty unless otherwise noted.
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