It's been one week round round, yet on social media it doesn't tend to fade at all lush teeming with posts and stories that testify to the triumph of the Maison Margiela Artisanal fashion showwhich enchanted Paris, closing the days dedicated to the unveiling of the Haute Couture collections by the most prestigious brands.
The show – for once the term makes full sense – is staged under the Alexander III Bridge, in the smoky and magnetic light of the first full moon of the year. The real applause arrives immediately. The virtual ones follow shortly, equally thunderous: the consensus of the experts is unanimous, the emotion among those nostalgic for the fashion of the past, spread on every possible platform, is unstoppable. The poetry, palpable, hit the mark.
In the painful figures on the catwalk, disturbing dolls with porcelain skin, staggering spirits looking for the role to play in this dramatic noir which is filmed live, many have seen something of the brand's DNA and of its immense founding father, the mysterious Martin – the destructuring and recomposition of the garments, their being turned inside out to discover them completely, reinventing them – but, above all, a lot of the personal and unmistakable style of John Galliano, who has been designing it since 2014. Diligently. Staying in his place, behind the scenes.
But if up to now the brilliant British designer has tried, as much as possible, to give his vision of a brand that is still an understatement to define as iconic (and codified), now he takes a step forward, and brings – fundamentally – back to the catwalk himself. His world, his imagination, his dreams and nightmares, his aesthetics, his style, his vulnerability.
Many remember the bad, very bad news story of which he was the protagonist in 2011 and which cost him the dismissal from Dior and, therefore, the expulsion and farewell to his eponymous brand: excessive alcoholism, loss of control, unjustifiable and unrepeatable racist and anti-Semitic insults and a trial, in good synthesis. But this is history, about which it is useless to speculate. The facts speak.
It is perhaps worth reflecting on another question instead. In a world in which going from riches to rags is very easy (read the Chiara Ferragni entry) and in which falling into the abyss – when things go well – of oblivion is even more so… but in a world, too, which tends to forget, rehabilitatesometimes even forgiving, but still giving a second chance even to heroes who have stumbled into even bigger mistakes, Why isn't John Galliano given this chance? That is, because it is not really given to him, 100%. Without filters, veils, mediations?
Without wanting to forget the past, without wanting to erase the errors with a swipe of the sponge – for which, moreover, he paid what was to be paid -, but simply by archiving them once and for all, if the results are those – sensational – which we have all admired on the catwalk, and which we post and repost in a sort of ecstasy that couture has not known for too long, Wouldn't it be appropriate, and wouldn't it even be right, to recognize the artistic value of those who generated them? I don't know, maybe with a brand all its own? Her talent deserves it. And her audience – that of nostalgic old people like the writer, but also the younger one, who who knows if she really knows him – demands her. To the sound of likes.
Source: Vanity Fair
I’m Susan Karen, a professional writer and editor at World Stock Market. I specialize in Entertainment news, writing stories that keep readers informed on all the latest developments in the industry. With over five years of experience in creating engaging content and copywriting for various media outlets, I have grown to become an invaluable asset to any team.
