Haute Couture was redefined or perhaps reattached to its roots through this ebon theatrical presentation
John Galliano’s label of being a designer, is an understatement, given his history of artistically elevated memorable collections that have always stunned the average onlooker at runway shows. He once battled unspoken “demons” that may or may not have contributed to his departure from Dior back in 2011, after which he maintained a low key.
Since joining Maison Margiela as Creative Director in 2015, he has indeed exhibited creative top-drawer collections, subliminally and otherwise entwined with the Galliano signature. However, there was always a mellow character to the shows, as if the designer was practicing a meek restraint.
On January 25th, under the Pont Alexandre III, or the “underbelly of Paris”, John Galliano resurfaced in his full and complete form, through a show that was a SHOW; an ebon reflection of a French painting that transformed the venue into a symbolic moment from the iconic fashion history of Paris.
The scene – a Parisian dawn from the dirty 30s
The designer conjured a moody dive bar inspired by Hungarian-French artist Brassaï’s voyeuristic photographs of Paris at night; the stage could not have been set more beautifully, favored even by the Gods of azure, with a sudden rain shower and an accompanying light mist. With strategic long exposures, light bulbs, and a natural full moon, the place had a ghostly glow amplified by the sparkle of the wet pavement. Small cafes arranged along the shadows of the bridge and a bar inside the chamber with a heap of dirty dishes perfectly captured the essence of the dirty 30s.
As the models or muses, slowly strutted down the runway, frizzy-haired and porcelain-faced, bodies modified with prostheses and heavy corsetry – the unparalleled magic of dame Pat McGrath’s makeup artistry, through a ramshackle saloon, accurately set jumbles of chairs, and casually but purposefully strewn and weathered floorboards, it was as if one of Brassaï’s bleak nighttime photographs came to life.
The collection – a blend of new and old techniques in garment construction
The collection did more than impress; they were not mere ensembles, but visual and emotional experiences that awed the audience with its simplicity more than anything else. The creative presentation was what amplified the dramatic quality of the artistic show.
There were beautifully crafted delicate black sheer corset dresses with elegant draping and embroidery reminiscent of the 30s. Then there were exaggerated suits in wool, chiffon dresses that oh-so-perfectly exuded the brilliance of the moonlight and noticeably drab looks with military stripes in coats and trousers in menswear.
The marionette-doll impression with deeply cinched-waist corsets and dense godets stole the experience; both in womenswear and menswear. The portrayal not only reminded us about the extreme pressure that women and their bodies went through in the past but also of the striking body-augmenting culture of today, where women habitually put themselves through surgery and digital imagery to change the way they look, leading to “trends” in body shape.
It was John Galliano’s show – of course, the message was layered and multi-fold.
The models were literal real-life versions of the quintessential ebon character synonymous with Brassaï portraiture. They exuded prodigious pathos in many ways; a man shivering from the cold rain under a broken umbrella, a woman wearing a large cardboard trench coat, another man struggling to stand out of apparent hunger, and more. The story was laid out loud.
Some of the creatively disheveled suit ensembles were further elevated with nips and tucks at the right places, revealing the maximal nature of what dressing up meant in a yesteryear Parisian culture. The delicate sheer siren gowns accessorized with merkins and auburn pompadour hair, drew special focus to the extreme hourglass figures of women.
Galliano strategically used ultra-fine fabrics mimicking flesh itself, along with shape-enhancing fittings to create romantic yet melancholic figures expressing volumes with their walk, look, and being.
Reportedly, Galliano used 15 different techniques, including “emotional cutting”, some of which he invented solely for this collection, to create the gorgeous line-up. If that doesn’t spell passion, we don’t know what does.
Every outfit in the collection was no less than a magical figment of imagination transcending all limits, not to mention an exceptional display of artisanal craft. With this showstopper of a show, John Galliano has once again, proved how he will forever remain a cut above the rest.
As the curtains came down on what would become an iconic performance, finding places in history books that budding student designers would pore over to take notes from, revealing an ocean of emotions and multi-faceted interpretations in fashion, the audience cheered and thundered in hopes of the colossal greatness that is Galliano to appear from behind, but he didn’t.
Well, only Galliano can present drama, without presenting drama. Here’s to celebrating the designer and his masterpieces through Maison Margiela.
Bhagya Lakshmi
I’m a fashion designer, content creator, writer, and a strong advocate of body positivity. I love animals, books, rose gold jewellery, putting together minimal OOTDs, and purpose-driven writing.
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