Yesterday, John Galliano finally returned the fashion world after years of industry-imposed exile. Galliano’s comeback collection, a couture “Artisanal” show for Maison Martin Margiela, was critically celebrated as a successful melding of Margiela’s anonymity-cloaked proclivity for deconstruction and Galliano’s unrestrained exuberance for all things frilly and frothy.
I’ve already discussed some initial thoughts on Margiela’s design philosophy — but I wanted to share my analysis on the brand’s new direction.
Yes, this collection was hailed by critics — but many ordinary shoppers will be left scratching their heads, wondering, “What was he thinking?”
Well, you never have to look far for Galliano’s inspiration. Like Buffalo Bill in Silence of the Lambs, Galliano covets what he sees everyday. Do you remember his 2000 couture collection for Dior? It was inspired by the homeless people he passed during his daily jog by the Seine. (It should be no surprise that he was even more politically incorrect once he had a few drinks in him.)
That lack of tact was still alive and well. Galliano sent down a bastardized version of a Native American headdress down the catwalk — a controversial move. (Just ask Khloe Kardashian.)
But if I had to pinpoint the collection’s true essence, I’d bypass the controversy and look toward Broadway. There are so many theatrics at work in this collection, I can practically smell the popcorn.
There were the punctuations of tiger stripes, plucked straight from the Big Apple Circus. And the two-tone harlequin tights lifted from the Masquerade scene in Phantom of the Opera. And the numerous red coats that would perfect for any of Marina Abramović’s performances.
These clothes are also festooned with as many trinkets as a Christmas tree. The ephemera pinned to the collection ranged from toy cars and safety pins to mirror shards and seashells.
While the ornamentation is a little literal for my taste, the technical mastery required to conjure a visage from painted mollusks is impressive. Galliano has proven that he can turn tiny taxis into buttons without missing a stitch.
That said, there were still moments when Galliano’s vision seemed contrived. Margiela’s calling card — “unfinished” elements — were on full display, including exposed seams and hems dangling with frayed threads.
But then there was the confusing juxtaposition of Galliano’s 90s exuberance that seemed bizarre in this context — like the crystal fringe provocatively positioned above the models’ pubic bones.
I spotted an inadvertent “homage” to another designer as well — one black coat scattered with golden embroidery reminded me instantly of unmistakeable Alexander McQueen’s Resort 2012 collection. (And honestly, most of this could have been lifted from Lady Gaga’s Bad Romance video, which is littered with McQueen.)
But the transparent pockets? That’s all Margiela.
Among the show’s highlights? Its accessories. In my recent memory, I can’t recall a single blockbuster “it accessory” from past Margiela collections. But this show was rife with details I predict will be all over fashion’s editorials this year, including the two-tone lace-up shoes, the shredded tights and the red latex tights. I only wish Galliano had thrown in a handbag.
The one accessory I hope dies a swift death? The insanely creepy horror movie mask sent out as the show’s finale. Part Babadook, part Jason Voorhies, this mask could induce a mental meltdown in the most even-keeled of fashionistas.
I’m sure Kanye West will be wearing it at the VMAs.
All Photos Are From Style.com