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.
Galliano’s theatrics this season saw him taking beautiful, slightly padded and roomy 1950s-style gowns and knee-length coats — which the models wore with pride — and revealing them to have a two-dimensional pattern painted into the back. When things got to the edge of overdone, the designer would rein it all back and send out a perfectly tailored two-button suit. Albeit one cut in Granny Smith green. Just to prove he could do standard fare, but only on his terms. The second half 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. But this season, the mood of the designer’s avant-garde show was captured perfectly by its diverse, gender-fluid cast. While girls likePaula 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. Selected by casting director Shaun Beyen, the standout lineup provided an appealing start to Paris Fashion Week’s power casting
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.