John Galliano's return to the fashion world was always going to be a grand occasion, but yesterday's proceedings proved slightly less so than many expected.
In many ways this didn't feel like a Galliano event. Gone were the fireworks, the dramatic setting and theatrics for which he was so known and loved. Instead, an all-white backdrop with simple, industrial-style chairs lined the minimal catwalk.
His showing of a small couture collection in London yesterday afternoon marked his first collection for Maison Martin Margiela, his fashion exile following his infamous, drunken anti-Semitic tirade back in 2011 that led him to be sacked from Dior seemingly forgotten.
The truth of the matter is that Galliano's aesthetic couldn't be more different to the design signature of the house he now heads up. Maison Martin Margiela is known for its deconstructed, understated and fluid shapes; Galliano is, well, not that at all… Galliano is synonymous with glamour, drama and vibrancy. So how can you reconcile these two opposites?
Well, with a shocking bride, for starters. As couture tradition dictates, the finale piece known as 'the bride' embodies the spirit of a collection, often being the most dramatic of all looks.
Margiela's idea of remake-and-mend is clear to see, with the seemingly recycled materials like shell breastplates and 3D details adorning various looks. The play between luxe and tatters remains too, but with a decidedly more glamorous approach.
The crown and skeletal teeth (made of pearls, of course) topping off the bridal look - which also came in all white, although pictured here in red - may be distracting to some, but still undoubtedly extraordinary.
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