Maison Margiela Haute Couture Spring/Summer 2015
Leaving the opulent and historical Parisian venues behind, John Galliano showed the latest Maison Margiela show in a bare and sterile environment - creating a literal clean slate. White walls, fluorescent lighting and cold, black tiles made up the unimaginative scenery of the runway show. What was about to come was not modest by any means, but this blank canvas allowed Galliano to create his own narrative as he began his tenure at the mysterious maison.
Despite the environment of the show, one cannot doubt John’s ability to fill an empty room with overflowing imagination. The inspiration for the show was as if the pieces of a chessboard fell down Wonderland’s rabbit hole, coming to life as an impeccable wardrobe. There was a black number, with streams of fabric flying off, sliding down the runway like an ominous rook. Pawns, knights and bishops alike were present in two-toned stockings, armored gloves, and monk-like robes, not to mention the eclipse of two lavish queens in opposing colors: red and white. In terms of fashion leaders and the editorial elite, it seemed as if the entire royal court was present, filling up 100 chairs in the exclusive venue.
The brand will continue on as ‘Maison Margiela,’ dropping ‘Martin’ for the sake of starting a new chapter. Unlike Saint Laurent and YSL, according to photographer Nick Knight, Galliano and Mr. Martin Margiela himself met up for dinner to discuss prospects of the brand while getting Martin’s complete blessing. Some say Martin was actively involved in choosing Galliano for the lead role of the brand. An anonymous man and his once secretive label are now in the hands of one of the most well-known designers of his time, John Galliano.
For a house that was faceless for so many years, it was quite the statement to have 3-D visages growing off the garments. These abstract faces detailed on the clothing looked like the fruit-faced subjects of artist Giuseppe Arcimboldo. While honoring the code of Margiela, Galliano created these looks with raw materials and artisanal-approved treasures such as seashells, mirrors, beads, toy cars and pearls. Other glorious details included: hands showing through clear pockets, bright red latex leggings and a cloud of tulle chasing an adorable petticoat. Silhouettes of clenched waistlines and well-tailored jackets alluded to his history at Dior while contradicting ballet-inspired shoes sounded like galloping hooves on the runway.
A Galliano show would not be complete without his inane flare irony. Tiger stripes, leopard print and embellished hot pants paraded on the catwalk to the tune of “Hey, Big Spender.” It’s obvious that sex appeal was something Galliano actively chose not to leave behind. That being said, the show was a wonderful blend of creative juices, each aesthetic distinct in its flavor. You can see Galliano’s influence on Margiela and vice versa. Twenty-four looks in two bold colors, black and red, made their harmonious statements, adorned with eclectic details from two entirely different principles.
After the show seemed finished the runway was reversed and the models came back for the finale in toiles, and as the show notes stated, “marching in honest testimony of the process, the trials and errors, the time and emotion behind each cut, each line, each vision.” These tribulations, which shadowed a complete look, were sent down the runway in their destroyed and architectural conception. Whipstitched toiles, muslins marked in pen and trimmings of wasted fabrics all made up these final disheveled looks. The original prototypes showed the painstakingly intricate process of experimentation by which various methods were tried, and faulty ones eliminated, in order to find the desired final result.
A wonderful show it was, rejects and all.
It seems as if the harshest critics were not among the exclusive list of 100 names invited. Seeing as his peers and friends make up the superlatives of the fashion community and front row (well, the only row) of his debut: Manolo, Knight, Moss, Elbaz and Wintour, it is obvious that Galliano is a well-missed name in runway reviews and magazine editorials alike.
Photos via Style.com and NY Times. Written by Taylor Aube.
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