The Evolution of an Haute Couture Collection - Part 2

Once the muslins were made, they would be presented to Galliano on the models. We would hear loud music blasting from the front area of the design studio where John would be seated with his assistants, Bill and Steven, and models would be prancing back and forth, sometimes with stockings on their heads. Notes were taken, Polaroids were shot, and sketches were drawn. The muslins would be taken to the ateliers where they would be used to make the show samples. The pieces were extremely heavy, with lots of crinoline and tulle to create the volume that Galliano is known for, and it would be tricky to carry the pieces from the design studio to the atelier. (The Dior mansion which headquarters the company is massive).

At the same time, the assistant designers were tending to the rest of the ship, such as this lingerie/swimwear fitting:

One great thing about interning at Dior is that they had the means to employ the top people in their fields. So I found myself fetching shoe polish and spray paint for Stephen Jones, who makes many of the hats and head pieces for the Dior shows. One time I was sent to get hairspray and I saw Stephen Jones and Orlando Pita chatting on the couch by the reception area. A week or so before the show, Pat McGrath waltzed around with her crew, doing makeup tests with models. There were models made up to look like they were sweaty from dancing. She had a rich voice and a thick British accent and was very friendly when she came over with Polaroids of the models to be photocopied.

Around this time we'd see tons of models around the studio for casting. Many were young, very skinny Eastern European girls. We did meet an American girl though, named Valery Prince, who was very friendly. We'd hear loud music blasting from the front area where Galliano and his team would watch the girls walk. The music was a blend of Coldplay, Beyonce, dance music, and tap and flamenco rhythms, which would become the show soundtrack.

As the show approached, things in the studio became more and more hectic. Lots of unfamiliar people came and went. We even caught a glimpse of Monsieur Arnault (chairman of Dior and LVMH) and Monseiur Toledano (Dior's CEO). There was a photographer snapping pictures in the studio, for what I think would be a documentary. There would be music blaring to keep people pepped up, and we were sent to and from the ateliers. Anticipation mounted for the show.