During a preview in the John Gallianos light-flooded Studio chez Maison Margiela designer waxed lyrical about his muse of the season: Madame le pigeon. Galliano has spun always a compelling narrative, and this season he was inspired by 1940s open street photography (by Weegee, Diane Arbus, et al), often elaborately dressed, doctored and ready-made women, surreal, whose shine on camera takes an unconscious eccentric tribe quality. Galliano his visitors read his own poetically written story that tracked its faltering memory of back to happier days flickered the painful arc of faded beauty. For Galliano, this means the concept of the “unconscious glamour.
“So his dotty Muse scratched the pigeons could be feed and only get up day-dreaming (in”faded Technicolor”her”questionable and wanton past”) on a park bench (for example just in Hyde Park, Tuileries, or Central Park), and discover that the impression of the fresh paint of his imprint on the back of her oversized man had left coat.” Or they stick dance would dress in a long gone lover a 50 years old jacket or wrap his pants in an improvised bodice, like Grey Gardens’ Little Edie Bouvier. (In timely fashion Galliano, gets his clothes “Anonymous sex” and he slipped in some beautiful, androgynous-looking guys in his cast.) In the meantime, the broken fragments would be configured by the exuberant compact mirrors that form a chain Garland from huge flowers or the Rococo flourishes a dangerous-looking shoe heel height.
Even if there was nothing there, like in a cobalt blue bib-front dress, it was the reverse, that governs the appearance of. On a different outfit added a golden sheaf of wheat slipped in a bow on the neck draped a subtle poetic emphasis. If all this rear guard action was the psychological core of the collection – closest, maybe where we could own head onto my Galliano – he was also artfully in his development of artisanal of the traditional commitment to the reappropriation. The shoes had mounted deadly spores of pizza cutter. Dresses were made from aesthetically pleasing potato sacks. What other designer John Steinbeck could put on a catwalk Couture? The distressed Tapestry and the rock sampler squares rammed the point home. And was washed, leather or plain brown wrapping paper under a dense layered mosaic of broken mirror? Again, what other designers even force could be the question as a question?
Galliano spring 2000 “Clochard” couture collection for Dior, in which he paid homage to the homeless, he on his morning runs along the Seine River, creating a sensation, admired but the stylistic innovations that came from this controversial collection are now part of the vocabulary of fashion and seem happy with Martin Margielas reassignment marry clothing own innovations used or seemingly mundane items give an exciting new fashion life. This new life is in the hands of the Galliano everything in detail: a little cocktail dress can be literally old fashioned from an antique potato sack, but the picturesque lettering is picked out in the hand expensive embroidery. He was a Geisha taste of kimono and Obi sashes, which subordinated the has their way into many (also in Pat directed phantastischen Yves Klein Blue Kabuki makeup) looks, and brought two Japanese craft “Master” which he first on a trip to the country years ago met. The kimono painter brought his exquisite touch to an ensemble, and they spent the master of shibori technique thirties looking metallic cloth, which it links with textural Rondelle spotted.
The final appearance was vintage Galliano: a demented bride wrapped around a crumpled blanket. But perhaps strongest statements were the looks that for the real world seemed folded his whim and invention in clothing, intended, as the charming 1950s deconstructed dance the designer frocks and the suavely tailored pieces that seemed to move the House with style in the future.
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