What was the debut of John Galliano in Maison Margiela
Yesterday, January 12, The most anticipated season was shown, to which fans counted the days, sharing photos under the #MargielaMonday hashtag. Galliano presented his first couture collection for the Maison (Martin) Margiela house. So Galliano returned to the fashion industry after nearly four years of rehab caused by the dismissal from the house of Dior, where John worked for nearly 15 years, and the reason for the removal was anti-Semitic statements in the Paris bar "La Perle" in 2011.
On the eve of the show, we wondered what to expect. The similarity of the early Galliano and the early Margiela was clearly demonstrated by Style.com: here and seams out, and rethought new look, the concept of underwear as outerwear, veil, animal print, slogans on clothes and provocative bondage. The main points of intersection of Galliano and Maison Martin Margiela’s house were deconstruction, plus theatricality of ideas. We saw these points in the debut of Galliano in the French house of Maison (Martin) Margiela.
It is noteworthy that the first collection of Galliano became a couture, that is, requiring scrupulous and careful manual work. The fashion designer prepared it quickly, namely in four months, and also presented it two weeks earlier than the start of the High Fashion Week in Paris. What is important, the show was moved from Paris to London, native to Galliano. Thus, he completely coincided with the schedule of men's fashion week. Only a hundred guests were invited to the show, and on the invitations it was "Maison Margiela", without "Martin". As Vanessa Friedman writes: "A new leader is a new name."
The collection consisted of 24 images and was filed under the concept of the Martin Margiela "Artisanal" collection, when Margiela created fashionable objects from the items found. He opened the show with a beige suede jacket, decorated with toy machines and scars, continued - coats turned into ball gowns, then there were things with masks made of shells that resemble heads from Easter Island, and paintings by Giuseppe Archimboldo, then - ragged dresses. There was a block of wearable and minimalistic things: red dresses on the floor and tuxedos of exaggerated volumes. There were strange moments like leopard bodysuit and transparent dresses made of red tulle, pop costumes reminiscent of Russian people, but in fact - Galliano's early works in Dior. Galliano clearly was nostalgic for Dior: the brilliant make-up of the models also resembled the early makeup for Dior shows in the early 2000s. Closed the show red dress with the most complicated application of gold and diamonds in a pair with a mask, which to some extent became a continuation of the masks created by the home for the Kanye West tour "Yeezus" in 2013.
Reviews on social networks were controversial, but it is obvious that yesterday's show was a historical moment, and things from the collection have already diverged among collectors. We have gathered together 8 comments of the main fashion critics in the world about the Galliano show.
Yes, great writers and artists repeat their themes. Galliano is no exception. He showed nothing new, but we were all glad that he had not lost his abilities. Today on the podium we saw the ghosts of his past, familiar to us, but completely different. It was a deja vu. Only John can so skillfully combine taste with high-tech performance. His images are sexy and fragile at the same time. Galliano is a genius, but he must move forward without referring to a great time in Dior. After all, what was once beautiful, eventually becomes old-fashioned.
Inconsistency and incompatibility have always been Margel’s tools, because they prompted the birth of new ways to look at familiar things. Galliano proved that he had found a new home for himself. It is noteworthy that there was no familiar ending with the grotesque appearance of Galliano. At this time, John for a moment cautiously appeared from the wings in a white lab coat atelier Margiela. The collection has not minimized his talent. Galliano is back. Everyone cried at the end of the show. Excitement was replaced by a sense of relief.
Galliano's debut was not a revelation. He did not become the moment when the designer makes a certain revolution: he finds a new form, silhouette, mood, and makes a woman think. He did not redraw the story, starting with a clean slate. Rather, it was raging before the jump. Well, you understand. Galliano sat for a long time on the bench.
In each outfit, Galliano showed a process of trial, error, and experiment. Things represented a work in progress and demonstrated the process of its creation. The main thing, Galliano, as always, showed us that no one had ever seen before. That's all he is.
Margiela left when Renzo Rosso bought Maison Martin Margiela and when he realized that he had nothing more to say. Perhaps Galliano also has nothing to say. However, what he showed in London is a powerful mixture of beauty, light provocation and technical skills that he has learned over the years. Today, in an era of recession in fashion and boring normality, the return of John Galliano should rejoice anyone who loves extraordinary.
Deconstructive costumes and dresses, decorated with a veil and hung with all sorts of trifles - all within the framework of the archives of the house of Margela. Most of all I liked the block, consisting of dresses in the floor and overseas tuxedos, which only at first glance seem simple. Very elegant and well executed. Whether the buyer is ready for this, we have to find out. Another thing, this show was the moment of full rehabilitation of Galliano.
Left: Maison Martin Margiela Fall-Winter Collection - 2008-2009; Right: Dior Haute Couture Spring-Summer Collection - 2009
In the Galliano collection there was also a love for the historical costume: take at least shoes that resemble vintage Italian chopines on the platform, or crowns. There was also his usual work with the silhouettes of the 18th century: Pierrot collar, breeches. There were tights with holes, ribbons from pointe shoes, a single glove made of mesh. He showed a love for tattered beauty by creating something shabby and pretty.
Galliano's return was the culmination of boiling expectations from the fashion industry. To meet the expectations of Renzo Rosso, head of the Only the Brave group, he needs to be shown how to make the Margiela brand relevant and to be understandable to a new generation of audiences who no longer remember his first inspirational work. The show was applauded, but there was no standing ovation. So it should be. After all, it was a good performance, but not a masterpiece.
In February, Galliano will present the second collection for the house as part of the prêt-à-porter fashion week.
PHOTO: Getty Images / Fotobank (3), 1, 2, 3 via Instagramm