Christian Dior by John Galliano (b.1960), Haute Couture, AutumnWinter 2004. Photo (c) Laziz Hamani. Dior Héritage collection, Paris
“A lot of people get into a spin about Gala themes unless they are prescriptive – but Camp shouldn’t be an intimidating one. After Alessandro Michele’s Gucci impact, campness is everywhere in fashion – we’re all now used to huge pussy bows, embroidery, sequins, diamante and a general feeling of not holding back.”
“In terms of style, it’s really about unpicking what we know and love. Capucci was top of my camp list for 20th Century fashion labels, but early Chanel was actually very camp – and so was Dior’s New Look. It might be black silk and incredibly chic but it’s conjured from the idea of manipulation and extravagance – camp is a celebration of artifice.”
“Think of Nineties Mugler; Dior in the Fifties, Courreges in the sixties and then John Galliano’s Dior was entirely camp. His odes to the French 18th Century and the court of Louis XIV – in fact most of what he sent down the runway was definitely, stunningly camp.
“In fact, even more than Gucci, look at what Valentino Couture has produced recently. It’s achingly chic and romantic but undoubtedly camp, as are the confections in acres of tulle by Giambattista Valli.
“Camp is about the idea of a whim – it can be tongue-in-cheek or a failure to be serious; or simply about the joy of dress up without being scared or holding back . It’s about giving in to the whim of dressing differently for its own sake.”