The wounds are still fresh and Galliano’s financial involvement with LVMH is complex to say the least, but business must continue and a successor found.

So who could possibly replace John Galliano at the helm of Dior?  Will the new designer take the maison in a completely new direction or look to the archives the restore a sense of stability?  Take a look at the closest contenders…

Mutterings in fashion circles suggest that Italian designer Riccardo Tisci will make the move from fellow LVMH brand Givenchy.  During his five years with Givenchy, Tisci has transformed it into a youthful, desirable brand with his dark, rock ‘n’ roll aesthetic.

The move would mirror Galliano’s own sidestep from Givenchy to Dior and although Tisci has made Givenchy his own, the cachet of Dior may prove an alluring option.

Alber Elbaz has also been named as a potential replacement and with his amiable nature and reverence to Lanvin’s heritage, he would be a desirable choice.  But would Elbaz want or need to leave Lanvin while at the height of his career?

Olivier Theyskens charmed critics with his demi-couture at Rochas and developed a more wearable aesthetic at Nina Ricci.  Fashion editors have been going mad for his sleek tailoring at Theory, but it’s possible that he’d jack in bon chic for a more creative role in the blink of an eye.

However, Theyskens’ anti-capitalist philosophy may constantly be at odds with Dior’s courting of a more trashing monogram-mad market, which defines most of the brand’s sales.  He’s turned the job down twice already, but the current crisis could mean a more attractive offer from Dior.

Ironically, Anna Wintour recently claimed that the Rodarte sisters had the ‘Imagination and originality to be in the same spirit as a John [Galliano] or an Alexander.’  Now it could be time to put La Wintour’s prophecy to the test.

Kate and Laura Mulleavy have the gothic, theatrical sensibilities to continue Dior’s otherworldly aesthetic, but it’s questionable whether they would fit the corporate LVMH mould.

Other potential candidates are said to be from the LVMH stable – Phoebe Philo of Céline and the group’s golden boy Marc Jacobs.

Phoebe Philo’s minimalist-luxe vision for Céline is worlds apart from the playful decadence of Dior and would Marc Jacobs really leave Louis Vuitton, which seems to run perfectly in tandem with his eponymous label?

Who do you think will succeed John Galliano at Dior?  Will Dior play it safe or take a chance on a younger designer?

Any woman will gasp at the name.  We are talking haute-couture, glamour and chic.  Dresses so beautifully cut they seem unreal, as if they had been sewn on the body – the essence of femininity.

To learn a little more about this magic, rush to the Somerset House’s retrospective of René Gruau, Dior’s iconic illustrator.

The two artists met in 1936, when they were both working in the fashion department of le Figaro.

They shared the same thoughts, the same visions: a friendship that also led to a fruitful collaboration of 50 years…

When Dior launched the New Look in 1947, there was no hesitation: Gruau was the one to illustrate it and he would have carte blanche.

Together they defined an elegant woman –  radiant, clothes likes flower petals around her, mysterious, the femme fatale.

The war had just ended, the public now focusing on a joie de vivre.  Ideal timing for a new style!  Inspired by Japanese calligraphy, Gruau designs have a sophisticated and feline air about them.

In just a few lines, he creates a whole story and you could spend hours imagining the life of his characters.

He succeeds in capturing details: the position of a curl, the eyebrow innocently raised in a silent question, the half smile, the languid pose.

For Diorama, he paints a veil and gloves on a chair – the movement is such you could swear the woman was there a second ago, her perfume still lingering in the room.

So intense you feel you could step in the picture and grab those accessories…

My favourite part definitely is the male image he created.  Imagine the readers’ shock when they opened their Figaro, looked at the Eau Sauvage ad and saw…black slippers, a pair of hairy legs, and a white bathrobe cut at the waist!

What a revolution: sexy yet relaxed.  Although it was controversial at the time, it did prove a real success and more humoristic versions followed.

When Dior died in 1957, Gruau continued to work on the perfumes ads until the late 1980s – an unequalled era which inspired so many other creators: daring, sophisticated and timeless.

Even 50 years down the line, each piece remains as powerful.  Magnifique!

Dior Illustrated: René Gruau and the Line of Beauty runs until 9 January 2011 at Somerset House, Strand, London WC2R 1LA

Photos by Coralie Aude Grassin

Coralie Aude Grassin takes a tour of the iconic, newly re-opened Savoy Hotel…

The name itself evokes the utmost elegance; glamorous rooms, ladies in furs and jewels, gentlemen in tuxedos…the exact definition of chic.  This is not just another 5 star place, you see.  To us French, The Savoy is supposed to be the most beautiful palace in the world, as iconic as Big Ben.

Built in 1889, it made quite an avant-garde start: the first luxury hotel in Britain with electric light in each room, constant hot and cold water and even electric lifts. The place to be from the start!

Newspapers even posted what was called a Savoy Correspondent who was posted there full-time, to keep an eye on celebrities.  Cesar Ritz and the famous chef Escoffier were part of the original staff.

It has seen its share of stars: Charlie Chaplin, Fred Astaire, Audrey Hepburn, Coco Chanel, Christian Dior…the list goes on and on. Some, Sarah Bernhardt for example, even lived there for decades. Not even the war slowed it down.

Of course, there was food rationing and bombing but it remained as distinguished as ever – the shelters were said to be the smartest in the capital and Churchill regularly took his cabinet to lunch there.

After three years of closure, the hotel has just reopened its doors and I could not resist getting a glimpse.  What has changed?  With a sigh of relief, its regulars will admit, nothing.  It has been renovated, not modernised.

I have seen my share of beautiful places but was just taken aback at how gorgeous everything looked, reflecting its glorious past with just a touch of contemporary.  The balance of Art Deco details and Edwardian atmosphere is amazing.

There are now two bars to enjoy – the American Bar is all glittery, silver and white and the new Beaufort bar is in contrast with a glossy black and gold leaf setting – the perfect place for a glass of the finest champagne.

You will also find a boutique selling delicate pastries and chocolates and even the Savoy’s teas. You can even spy on the chef preparing his ganache or the latest treats.

Step in a little further to discover the Thames foyer, the heart of the hotel. The cupola had been shadowed since the Blitz and has been reopened for the occasion, bringing natural light to the room. A pianist regularly plays adding to the exceptional atmosphere. This is just the place for an afternoon tea!

It will be difficult to leave this palace – you only want to sit and sip a cocktail while watching the elegant ballet of staff (it takes 600 to run it smoothly) and guests – but do visit their small museum. The room is dedicated to pictures of its past, New Years Eve menus, dances and events… further proof that it remains as glamorous as ever.

The Savoy Hotel, Strand, London WC2R 0EU

My favourite exhibitions are usually of the fashion kind and this Autumn there are some incredible happenings in the art and fashion world.

Firstly, from next week until late September, Selfridges will host a retrospective of Dame Vivienne Westwood’s iconic shoes from 1973 to 2010.

The Ultra Lounge will be devoted to five decades worth of Viv’s much-loved shoes, from the voluptuous, death-defying platform heels, to the classic Pirate Boots and her later collaboration footwear with melissa.  The infamous Super Elevated Gillie platforms that toppled Naomi Campbell on the catwalk in 1993 are also sure to make an appearance.

If you’ll be Paris during fashion week or any time from mid-September through to October, you really must take a detour to see Karl Lagerfeld’s photographer Exhibition at the Maison Européenne de la Photographie, in the Marais.

Kaiser Karl’s love of photography and keen eye for detail has led him to shoot the Chanel campaigns, produce numerous editorial spreads, publish his own photography books and direct his own short films.

The featured photographs have yet to be revealed, but perhaps there may be some images of his Chanel girls Freja Beha Erichsen and Lara Stone alongside some insanely chiselled and beautiful male models such as Brad Kroenig and Karl’s muse,  Baptiste Giabiconi.

If you have time, pop in to 7L, Karl’s photography bookshop beneath his photography studio to pick up some Karl-prescribed literature.

Somerset House continues its dedication to fashion and the arts with an exhibition to the work of renowned illustrator René Gruau (1909-2004).

René Gruau’s unmistakable, iconic illustration style shaped Christian Dior’s ‘New Look’ in the 1940s and his use of bold, minimal lines has has a remarkable influence of the world of graphic design and illustration, which continues today.

The exhibition will feature original illustrations for Parfums Christian Dior, vintage perfume bottles, sketches and magazines alongside a selection of Dior Haute Couture dresses.  The exhibition also reveals the close friendship between the two creative geniuses and their shared vision of revolutionary elegance.

Vivienne Westwood Shoes, An Exhibition 1973-2010 will run from 26 August – 22 September at Selfridges, London.

Karl Lagerfeld Photography Exhibition will run from 10 September – 15 October at Maison Européenne de la Photographie, Paris.

Dior Illustrated: René Gruau and the line of beauty will run from at 10 November – 9 January at Somerset House, London.

Curated by Saint Laurent’s long-term life and business partner Pierre Bergé and under the patronage of the First Lady of France,Carla Bruni-Sarkozy, the exhibition will cover 40 years of creation, from 1962 to 2002. On display will be 300 pieces of Saint Laurent’s haute couture and innovative prêt-à-porter line, Rive Gauche.

The exhibition ranges from Yves Saint Laurent’s beginnings at Dior as Christian Dior’s successor (including his debut trapèze collection) in the 1950s to the Scandale collection following the May 1968 Paris riots to his evening gowns just before his death in 2002.

Yves Saint Laurent turned style rules on their head and revolutionised Paris fashion with his use of masculine tailoring for women.  His signature look Le Smoking tuxedo has been reinterpreted dozens of times and he’s also responsible for popularising the safari suit and the beatnik look.  Pierre Bergé once said: “Chanel liberated the woman, but Yves Saint Laurent gave them power.”

Also on display will be a number of drawings, films and photos chronicling the history the house of Yves Saint Laurent, including an image by photographer Jeanloup Sieff, depicting Yves partially naked for his eau de toilette campaign, and French film star Catherine Deneuve’s entire Yves Saint Laurent wardrobe.

The exhibition also sheds light on Yves Saint Laurent’s influences, such as opera, cinema, theatre (his early collections referencing the theatre sets of Christian Bérard) and painting – his . His travels to Morocco, China and Russia are well documented in the ‘Chinoiserie’ and ‘Opium’ collections that are presented in the exhibition.

Yves Saint Laurent’s influence has been been Marc Jacobs, Jean-Paul Gaultier and Tom Ford .  The house of Yves Saint Laurent still thrives today under the direction of the talented Stefano Pilati, whose deep respect for Saint Laurent’s aesthetic is evident in the collections.  Unlike Tom Ford before him, Pilati understands the subtle sexiness of the strong Parisienne, but isn’t afraid to drive the house forward with futuristic references.

The garments are drawn from the collection of over 5000 piece at the Fondation Pierre Berge – Yves Saint Laurent in Saint Laurent’s former atelier on the Avenue Marceau.

The exhibition runs from 11 March to August 29 at the Petit Palais.  Tickets are €11.

www.yslretrospective.com

As Tavi smartly pointed out, she is about half the size of the average fashion ed/celeb and the offending bow was shot with holes. Would any editor dare to strip Diane Pernet of her signature raised veil? Non, pas du tout!  So really, the crux of the matter is that the teen fashion prodigy has fast-tracked her way to the privileges that editors have spent years trying to cultivating and maintain and surprisingly enough, they don’t like it!

Couture is an industry clawing on by its teeth, so it’s no surprise that designers are consciously trying to appeal to a younger market – hence Tavi at Dior, Lady Gaga sporting Armani Privé and Valentino’s woodland neon nymphs.

The direction of the house of Valentino has been somewhat vague since the departure of Valentino Garavani.  His second set of predecessors and former Valentino accessories designers Maria Grazia Chiuri and Pier Paolo Piccioli began their assault on a new look brand with their romantic, sculptural A/W 09 collection, but this season they’ve gone wild and thrown the rulebook to the wind.

Valentino’s elegant woman has put her prim little suit in storage and turned into a to a cyber partygirl with a new best mate, Alice Dellal.  Blush and nude shades are carried over from the Autumn/Winter ready-to-wear collection, but this time they’re set off with flashes of fluorescent pink and yellow and silver (with more than a nod to Pam Hogg’s panelled catsuits).

Underneath the neon and sparkle, there are whispers of classic Valentino, with beautiful draping, volume and embellishment, but the pair really stick the knife in with their interpretation of  the iconic ‘Valentino red dress’.  There are three red dresses in the collection, the most outrageous being a red leather mini dress with waves of leather ruffles.

The sheer visors and ‘exotic bird’ make-up seem to reference Avatar and the models certainly have an eco-warrior vibe.  This unashamed attempt to appeal to a younger, ‘new money’ crowd hasn’t gone unnoticed, and their new rock ‘n’ roll image has sent shockwaves through Valentino’s clique.

Valentino’s partner Giancarlo Giammetti labelled the collection a ‘ridiculous circus’ and told WWD that both he and Valentino “are always supportive of the designers of Valentino, even if we don’t approve of their effort to be cool at all costs.”

A polar opposite collection was John Galliano’s historical, equestrian collection that looked back to the work of Belle Epoque designer Charles Lamb, who was also the inspiration for Christian Dior’s New Look collection in 1947.

Galliano cracked the whip, as models were sent down the catwalk in Edwardian riding jackets with nipped-in waists and peplums, checked skirts with bustles and top hats with veils.  Next up was cocktail hour with the most beautiful jewel coloured, gathered chiffon skirts, embellished jackets, halter-neck bustier shirts and draped dresses in Duchesse satin.

For evening wear, it was all about the most incredible ball gowns and Galliano found inspiration with ‘The Gibson Girls’, the illustrated feminine ideals at the turn of the century.  There were delicately structured satin bodices with voluminous, sculptural skirts in exquisite fabrics and a colour palette including dusky pink, raspberry, petrol, mauve and ice blue.

You can tell that Galliano lives for creating couture and the colours, craftsmanship and historical references make his shows the most anticipated of all.  Suzy Menkes acknowledged the beauty and emotion of the collection, but suggested that “it would be a fine thing if Mr. Galliano could just once make the starting point of Dior couture not fashion’s sweet memories but a clean sheet of paper on which he writes 2010.”

It’s interesting that designers who have been at the helm of Valentino for just over two seasons should cut away from the house’s heritage so significantly, while Galliano, who has made Dior his own since his arrival in 1996, still references Christian Dior’s most prominent collections like an old friend.

With rejuvenated houses such as Balmain, Givenchy and Balenciaga excelling commercially but losing part of their original identity (plus the closure of Christian Lacroix), I would personally drape myself in raspberry tulle in support of Galliano’s nostalgia over a label who is in the painful midst of a personality crisis.

While Taschen’s Left Bank store is sleek and ordered, with books uniformly displayed, Assouline has a thrown together, boudoir atmosphere, with scented candles and stationery.

I love the seductive red and black walls and creaky old wooden floor and especially the cushioned reading den at the back of the store.  Even though we were the only ones in the store, no one came out to pounce on us, so we had free reign to grab, flick and click away.  A member of staff did pop her head round the door when I accidentally knocked over a candle, at which point we decided to scuttle away.

Assouline have the most amazing selection of notebooks and diaries – my personal favourite being a collection of pastel pink and blue, leather-bound journals featuring Marie-Antoinette’s crest in candy pink…sooo pretty!  Of course, Steven was more into the skull and cross-bones notebooks, which are also pretty cool.  Would it be really loathsome to have his ‘n’ notebooks, I wonder?

As you probably already know, Assouline are behind those slender white hardbacks featuring beautiful photography and the biography of iconic designers like Christian Dior, Marc Jacobs and Yohji Yamamoto.  Their fashion catalogue is really strong, but there are more unusual, specialised titles paying homage to the allure of geishas, bikinis, wasps (American women, not the insects) and…the cigarette.

I could have bought the whole store, but I thought this was one of the best finds, the American Fashion Cookbook, edited by the Council of Fashion Designers of America.

But don’t worry, there’s more than salad on the menu with gastro concoctions such as Isaac Mizrahi’s Truffle Spaghetti, Tory Burch’s Andalucian Gazpacho, Diane Von Furstenberg’s Saturday Night Chicken and a secret pot roast recipe courtesy of  Michael Kors’ Grandma Bea.

The cookbook is illustrated with fashion drawings as delectable as the recipes and the foreword is writen by none other than America’s own slightly shonky domestic goddess Martha Stewart.

Not only does the book offer an insight into American designers’ dinner party dishes, comfort food and indulgent desserts, it is an initiative from the fashion council to promote healthy eating, or where models are concerned, just eating in general.

But, the most covetable Assouline hardback is yet to come in the new year – Olivier Theyskens: The Other Side of the Picture.  Since finishing his spell as Creative Director at Nina Ricci, Theyskens has been quietly scribbling and editing away and the result is a view on his work so far, documented with beautiful images of his catwalk shows and backstage, captured by photographer Julien Claessens.

At a pricey £80, it’s one of those ‘work of art’ books that you just pray will be marked down in the Borders Foyles sale.  Those days could be a long time coming, so if you’re planning a Spring trip to Paris, you could just find a comfy spot in the corner sofas of Assouline (and be left with enough cash for a Marie-Antoinette notebook).

Assouline, 35 rue Bonaparte, 75006 Paris