Adams apple, anyone? With all these drag faces I was hoping RuPaul herself would take a turn.
First of all, the most wearable were the chic cocktail numbers that dropped below the knee and stuck a little oomph on the hip. I'm a little done with belted frocks in general but his crayola number on the right wisely uses the belt to tuck in that hourglass detail; these were a little bit 20s but modern.
More shape came from funnel-like forms tucked about the skirt, tulles and satins twisted onto themselves or cut to flow away from the thigh, all like petticoats of air. And who doesn't love dramatic details and the occasional bow.
Galliano also played with pleating. Was it sculptural? Yes, a lot of dresses carried squares of pleated fabric on the front of the garment. And no, they floated away almost independently, a demure crimping of the material. It felt like a surprise.
The cream and sky blue florals were also surprisingly classic-but-bold. I like the giant patterns because more-traditional brocades and small detailing are less youthful, but size means confidence, and feeling like a beautiful tableau painting only a few woman can do.
And with that let's return to the Scarlett reference: the fire in Galliano that bursts through everything. In the past he has referenced Incan warriors, Miami Luxe, headdresses, Joan of Arc, and of course that awesome collection about Origami couture. Galliano's character this season emulated the Gone With The Wind heroine in the dramatics and the sass of the collection.
Plus the hottest dress belongs on a girl who can crush a man's balls by going after his brother, deliver a baby, run a plantation, survive the Civil War ... basically Angelina Jolie. So let's pray she wears this to the Oscars!
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