John Galliano's come-back

January 15, 2015

It was Monday, when the menswear collections were in full swing in London.

it was #MargielaMonday

The #MargielaMonday happened in a white showroom with a double line of gilded chairs, only two photographers admitted, no real housewives of Calabazas on sight. Anticipation, expectations, and wonders were inhabiting the close enclave of Galliano's best supporters such as Kate Moss, Alber Elbaz, Anna Wintour and Renzo Rosso, of course. The Italian fashion tycoon and visionaire, believed in the designer's genius, talent, capabilities, knowledge, strength and took a stand by giving the designer carte blanche and a second chance after being disgraced for anti-semitic comments three years ago.

What went down the caltwalk was suspence, a witchy misterious fairy tale, meticulous attention to detail, exquisite selection of fabrics, but overall a story of ghosts, the past, the present and the future of a man who learned from his troubles and whose talent cannot be tamed.

he had our eyes attentive like the ones of hawks and without hesitation we could spot Dior infused with Galliano through the roots of Margiela.

Everything and its contrary has been said, reality is, it is what it is.

Some said it in a discreet and veiled way others more convoluted, the general consensus pointed at acceptance.

The collection was studied, well thought, developed, presented, prepared. the same way we are not used to expect a shy and reserved Martin Margiela interpreted by who used to be the king of extravagance and talent expressed without limits, we are not used to a zen Galliano who peeks from backstage for a fraction of a minute in a while lab coat (btw, I adored and admired the move).

Speculations on the ulterior motives behind this first second coming out are only as good as comparing Galliano to cousin Rose in Downton Abbey (she had already unofficially met the society before coming out and left an impression with the Prince's entourage) and fuel wrong energies.

Facts are, he is the indiscussed genius who fathered the famous collection Les Incroyables, who resuscitated Dior with his extravagant style far from understated, who made a chain of mistakes and paid his dues, the fashion world has missed him and God knows how much we are in need of talent, creativity and sensibility in a world of normcore and fast fashion chains.

What's a designer to do if not dig into his past, pillars of knowledge, experience and translate them into what his current mood dictates? Hence that sense of déjà vu that some claim to be the flair of the collection, which I must say, didn't lack of detail. research, tribute to the eponymous father.

Conclusion? [Edna Mode in action here]

Cautious entry back into the arena, I look forward to seeing Galliano's strength unleashed in the next one.

The Parisian school of couture

February 10, 2013

The city of lights and its pompous being never downplays when it comes to hosting Couture week. Even under a snow blanket, grey skies, clouds and forbidden temperatures to any sensible human being, Paris has the knack for fashion that surpasses itself every season. Choosing the collections to feature is not easy task for anyone as in awe of fashion as we all are, but surprisingly there’s a fil rouge that runs through all of them: a world of whimsical gardens and forests.
It makes it all more magical.

For Chanel Haute Couture Karl delivered a forest of oak trees with invisible birds chirping at the Grand Palais. The collection is chic, haute, romantic and lavish with cascades of sequins, chiffon and mock embroideries. A magical fairy tale of models strutting with feathers on their eyelashes and two big trends: pointy shoulders and open toe thigh-high boots that serve as pants under skirts, tailored suits and long dresses.

Valentino. Haute Couture has to be magical, and the designer duo imagined this garden, like a waltz, where grace and exquisiteness prevail over the gardener’s hard work. French gardens are well manicured, English gardens have the rough look as if left to mother nature, alas not less curated, this collection is a sum of hundreds of hours of charming lightness: ethereal and rich. Layers of organza, rolled crepe, tulle, butterflies and flowers embroidered and hand painted, crystals and topaz beads and guipure, a delicate and lace-like couture fabric. To contrast the scenery, LA understated natural looks.

Dior Haute Couture and two words: oh Raf! The waterfall of flowers of last Couture collection was paired by its ‘very idea of spring’ when nature explodes ruthlessly impeccably reinterpreted from the Dior’s dream of the garden he would retreat to. Flowers were elaborated through the most sophisticated fabrications and embroideries by les petit mains. Pinched waist, the Bar jacket, the tulip shape dramatically accentuated were some of the brands staples that Raf reconnected to. Pants and pockets on skirts are his effort to bring reality into couture, to connect a world full of colors like the spring and his architectural and conceptual soul.

Ulyana Sergeenko. The Russian designer went west, on a trip down memory lane, featuring a giant illustrated fairy tales book for her second namesake couture collection. The models strutted on a yellow brick raggedy runway as pioneer women, donning Sergeenko’s signature nipped waist flowy skirts topped with aprons and chiffon off the shoulder blouses. Despite the overall theatrical mood, which didn’t save her from some criticism of being a newbie, the collection was feminine and showed usage of couture fabrics and equivalent techniques that granted her the Olympus next to the titans.