John Galliano had unveiled us his second ready-to-wear collection for Maison Martin Margiela. Galliano proposed us chic and luxuriuos looks because recycling and deconstruction can still be done so authentically,so perfect ans also be commercial, especially when it will be done by the genie as John Galliano is.
Let us speak about the show and about „new“ Galliano : also if he didn’t come out physically, this show was a kind of coming out. It was a re-emergence of an enigma. Spring/Summer 2016 brings us one step closer to the Galliano we knew in the early days – going full throttle, full of ideas and enjoying the joie de vivre of it all. In short, this show was near incredible. The first exits poured out onto the catwalk. Previous collections at Maison Margiela have seen Galliano engage with a bag lady kind of intellect Today’s version of events evoked down and out heiress. In the first part the ornate crystal jewellery was bricolaged onto the tops of ears and pinned in swathes across knee-lenth coats and slightly padded and roomy 1950s-style gowns. Paris shoes leaned back in an arched Versaille style, whilst fishnet tights were pulled over the entire shoe, and added to the unhinged styling.
There were also men on the womenswear runway , which is a new thing for the re-launched house. This is proof that the label wants to symbiotically promote dual narratives. Furthermore, due to some of the men wearing dresses, it was a signifier of the house . The mood of the designer’s avant-garde show was captured perfectly by its diverse, gender-fluid cast. While girls like Paula Galecka,Ysaunny Brito and Sora Choi, reflected a youthful, almost innocent ideal of beauty, models Maarten Convens, Vincent Beier, Carl Hjelm Sandqvist, and Théo Bianconi presented a captivating androgyny.
The final part of the show looked East for inspiration as traditional Geisha garb was transformed by Galliano into something stiffer and more structured than the original silk Kimonos. Where purses replaced obi bows, and kitten heels with pronounced posteriors were worn instead of traditional geta sandals. The result was oddly lovely and completely apart from anything else currently happening in fashion.
As ever Galliano’s hand could be seen in all. Making treasured pieces, each of which appear individual, has been his marker long before Margiela but it is one that’s flourishing as he continues to re-establish himself and the house