Merging the Elite with the Emerging- John Galliano (Journey Book 4)

INTRODUCTION

The FW23 collection of Maison Margiela completely opened my eyes to a different form of fashion communication. Ultimately, it made me see semiotics from a different perspective, permitting me to understand that not everything needs to be in your face and noticeable to signal it’s there or part of the narrative.

I think that’s the beauty in storytelling within imagery.

You need to unearth the messages, dissect the photo, the garments, the poses- what is the hidden meaning? As I have travelled through FMC, I have learned how to view fashion from a deeper and more experimental lens and appreciate it, not just for its face value. The proceeding book will focus in on one of fashion’s most notorious storytellers, a phoenix many would say: John Galliano. Its purpose is to explore the British Designer and his background- an area which has been tumultuous to say the least, to analyse his main themes and methods of communication, as well as looking at his current and previous Creative Direction leaderships, discerning if he (or his brands) could be the final missing piece to my FMP jigsaw puzzle…

JOHN GALLIANO: BRAND INTERROGATION JOHN GALLIANO: BRAND INTERROGATION

To admit I haven’t studied John Galliano before this module is shocking, I’m disappointed in myself too! Nonetheless, since delving into his context, I have been enthralled by his work and appreciate the drive it has given me as a creative to encompass storytelling, history, and literature in fashion communication.

Titled as one of fashion’s most controversial and creative talents (BOF, 2022), John Galliano is a master of challenging conventions and steering far away from the status quo both in fashion, and in his personal life! His work embodies a singular style which engages ancient eras, theatrical drama, and immaculate narratives; wholly technical and an incredibly gifted talent, to say the least.

When looking at Galliano’s collections I was mesmerised by the attention to detail and eccentricity. I didn’t perceive his models as “models” as they fully immersed themselves within performance and created an uncanny experience which I’ve failed to see done as immaculately in another house or designer before.

As I am continuing to progress my storytelling approaches throughout this journey, I thoroughly enjoyed dissecting his imagery to reap the semiotics and influences involved in its creation.

Galliano attended Central Saint Martins during the late 1980’s, a period which saw him originate his technicality for romanticism and historical costume and embrace his signature, flamboyant charisma; elements of which he disguised in younger life but have been instilled in him by his mother since birth.

Often made to wear smart, bold outfits, even for the simplest of occasions, Galliano discovered a passion for creative styling, yet was frequently bullied for adopting such frivolity and innocence in his dress sense.

I can perceive distinguishable relatabilities in Galliano and Charles Jeffrey already, in that they were both mocked for being themselves and sought to fashion education as an avenue to profile this. They share a similar passion for fashion illustration and create fantastical narratives which fuse history with the contemporary. I can discern a strong element of influence from John Galliano in Charles Jeffrey’s work, and I want to explore this further through investigating Galliano on a deeper level.

Figure 16 (Glass, John Galliano Les Incroyables, London, 1984)

Figure 15 (TheMet, 2018)

Figure 17 (Mugrabi, JOHN GALLIANO Les Incroyables, 1984 2019)

LES INCROYABLES

It was important for me to revert back to John Galliano’s roots and to where his fashion voyage once beganafter all, we all start somewhere! I intend to delineate his original thinking and observe how this has expanded and adapted to a consumer today. Les Incroyables was a pinnacle stage in the early years of John Galliano’s career- it was his first Central Saint Martin’s graduate collection, which gained masses of appreciation by global fashion names and was presented within the windows of Browns Fashion instantaneously.

The title ‘Les Incroyables’ referred to the youth movement of the French Revolution whereby society was segregated into groups depending on class- something which remains prominent today and underpins the theory behind the underclass sociology.

This youth group cited themselves as the Incroyables (men) and the Merveilleueses (women), arising in the 1790’s as a subculture, to create a political statement and mockery of the wealthy through exaggerated silhouettes and unconventional styling. This period in the French Revolution appreciated simple dressing, in which this generation defied societal conventions and embedded their love for fashion to evoke a rebellious act.

John Galliano proposed a historical pastiche expressing the sentiment of his own, the New Romantics (The Met, 2018). Comparing Galliano’s designs to that of the Les Incroyables, there are many similarities, from loose jackets, inside out gowns, high neck blouses, and turban headwear. Yet, I can greatly delineate where he has interposed his 80’s background too, through white dramatical makeup, oversized bows, and pinstripe additions.

I admire how Galliano utilised cheap materials and furnishing fabrics to culminate a collection which highly translates this era, especially since the Incroyables/Merveilleueses were impoverished in money so would have employed a similar, DIY method to achieve these looks. I have acknowledged from this, that creativity comes from having a vision, and that vision is attainable even if you don’t have the top supplies.

His graduate collection has a wild and unkept look about it through deconstructed styling and voluminous hair, which I personally love as it creates questioning, making one look through the copious number of layers to search for its story.

I feel this show gave a massive insight for what to expect next from John Galliano. It had his salient imagination, hints of romanticism and obvious historical components- these are elements I am intrigued to venture into more when conducting further research and analysis into him and his brands.

THE MAKING OF THE BLITZ KID

You’d think after such success, life would be made for you. Unfortunately, it isn’t as simple in fashion, and more often than not, you have to succumb to the difficult times before seeing the light- or the big bucks shall we say! John Galliano experienced just that.

After the hype of his graduate collection, Galliano scraped together the funds to create smaller collections, with the same visionary concepts and strong dedication he crafted within university; however, he failed to receive the financial backing necessary for his brand to continue.

After moving to Paris, Galliano sourced help from Anna Wintour and Andre Leon Talley who savoured his label by finding a location at Sao Schlumberger’s Hotel Particulier for his AW94 show. With models including Naomi Campbell, Linda Evangelista, and Kate Moss, walking the runway for free and inhabiting the backing of numerous creatives, John Galliano pulled off a career-making collection, “a fashion moment” (Talley, n.d) many would recall, which unified all his well acknowledged themes of theatre, history, and storytelling.

Following on from his last season, John Galliano continued his story of

Princess Lucretia and combined Japonisme and Chinoiserie to arrange a spectacular mise-en-scene of faded grandeur and aching romanticism (Ahmed, 2016) within a poeticlooking salon presentation. I adore how Galliano has intertwined the arts and fashion here, especially from a diverse culture, thus welcoming an oriental twist. For me fashion should be wholly inclusive, and by including such themes, it shows a great appreciation for a variant of cultures and their beauty.

The AW94 collection heightened my understanding of how influential historical periods are, and how they bring such fantastical elements to the depth of a narrative.

I feel I resonate with this on a whole other level as research and history were some of my favourite areas in school. I have always enjoyed learning and seeing how designers source their inspiration, makes me want to do the same within my concept, and look towards more historical features which correlate with my FMP themes.

JOHN GALLIANO-SPRING 2001

The 70’s Punk scene is an era I have relayed in my research as wanting to carry forward within my FMP concept. Researching into John Galliano’s previous collections, I discovered the Spring 2001 runway which signified nods to the deconstructive and DIY styling of the rebellious youth group. I felt it was beneficial for me to explore this further to comprehend how Galliano perceived and has translated their subculture in his own storytelling methodologies. I love how Charles Jeffrey takes significant elements of the punks DNA and additions his own contemporary spin to it, therefore seeking how John Galliano evokes their anarchy will be interesting too!

I have devised a mood board which you can observe to the left culminating many of the looks from the Spring 2001 collection, including the synonymous newspaper dress. I LOVED the renditioned denim co-ord which featured alongside this, with patchwork sewing and cartoony graffiti! The Punks were notorious for their vandalism of clothing, tearing it apart and defacing it with slogans and abuse and I see this as a perfect acknowledgement of their anarchy, yet with a pop cultured spin. I love how the edges of the clothing are frayed- to me, they look like unfinished cuts, something you’ll receive from a haberdashery for example, then wrapped round the body and pinned effortlessly.

They reveal a story. A story of a culture who didn’t have the luxury to purchase new clothes and resourced to making their own to join a voice which reverberated theirs.

The giant zips, fishnet tights and scribbles upon garments accentuated the 70’s era, whilst having a typical Galliano nod of flamboyancy through oversized headdresses and frilled 3D tulle sculptures. An additional sex appeal is distinguishable where Dior’s beauty queens in bathing suits were replaced by their punk cousins (Vogue, 2000) who still flaunted the tiny mid-riffs yet in grungy, provocative style. I appreciate how Galliano’s essence is always noticeable within every collection he produces; it isn’t subjected to the one overriding theme- this is an aspect I would love to take forward if I was to delineate him as a collaborator. I am seeking great fondness for narratives which envelop multiple styles to create a story, I think this is a powerful and difficult skill to master flawlessly but would love to attempt it myself.

John Galliano maintained his infusion of historical components in the Spring 2001 collection too, with an odd, almost religious, edition mingled amongst streetwear and Greek origins. Personally, I found this incredibly bizarre, but it accustomed me to Galliano’s wild ways of thinking! Despite its eccentricity, it augmented the storytelling and shock factor, creating the conversation as it was intended.

DIOR FALL 2006

John Galliano has produced countless collections for his own brand, Givenchy, Christian Dior, and Maison Margiela, so it would be incredibly difficult to look through them all on this occasion! Nonetheless, I wanted to continue my findings for observing runways inspired by the grungy and disorderly behaviour of the punks to perceive how he has narrated them to a luxury consumer.

I felt my previous discovery of merging multiple historical references was reciprocated massively in my recent unearthing of the Dior 2006 Couture show he produced. Combining the infamous names of Siouxsie Sioux, Joan of Arc, Botticelli and 40’s actress Arletty, this collection exemplified how Galliano can mingle disparate faces yet find a fundamental line which strings them all together. The collection embodied a greater nod to medieval history, whilst still incorporating a bizarre troupe of goth punk in outsize black and red folded 3D shapes (Mower, 2006).

In my opinion, I think it showcased punk through a greater luxury and contemporary lens through glam rock, compared to the previous collection I analysed. Garments were concealed with gold chain mail, glass diadems, voluptuous hems, and metallic materials, creating a parallel universe of a myriad of cultures. It was fascinating to see punk advertised in such a way and not focusing in on its generic state, this is a notion I am considering taking forward as it pushes the garments to a more suited luxury market.

Currently, it is taking me some time to understand Galliano’s concepts and why he puts two and two together. However, I can greatly understand as to why he is titled one of fashion’s greatest designers because of how effortlessly he pulls off such collections! I admire his out of box thinking and Avant Garde styling, and by delving into this runway further, it has permitted me the opportunity to readdress how I can narrate punk to my designated consumer.

MARTIN MARGIELA VS JOHN GALLIANO ANALYSIS

Since John Galliano is currently Creative Director at Maison Margiela, I think it is most reasonable to briefly explore the origins of the Parisian house and its first founder, Martin Margiela. From this I want to analyse the differences between Margiela and Galliano, examining what the house primarily stood for when established in 1988, and what Galliano has complimented since, whilst deciding if I want to take either of them forwards to my FMP too.

Categorised as one of the most influential and iconoclastic designers (SHOWstudio, n.d) Martin Margiela disrupted the fashion industry with his rebellious disposition and playfulness towards Avant-Garde designs.

Choosing to avoid the limelight through not attending interviews or posing for photographs, Margiela aspired for all focus to be prominently on his garments and their story.

From my standpoint, I feel this is antithesis to the former Galliano who would conclude his catwalks by flaunting in period costume and nonsensical outfits. Nevertheless, I think their disparity

in publicity doesn’t define their equal innovativeness and imaginative minds for creating the unconventional and challenging traditions in fashion.

Deconstruction was a massive theme for Martin Margiela, alongside oversized shapes, and repurposing materials; he treated clothes like a surgeon: carefully dissecting in order to reassemble in unexpected ways (Jelen, 2021) and John Galliano is infamous for fabricating the unimaginable from an array of materials and cuts, so I see the designers as fairly similar in this instance.

Martin Margiela’s shows often bubbled with an underlying wit, which I believe was prevalent throughout Galliano’s collections for Dior and his own brand. I feel both designers approach fashion from a conceptual perspective, neglecting public opinion and solely prioritising its story and composition.

To the right, I have selected an image from Martin Margiela’s reign, an image from Maison Margiela’s Fall 2014 catwalk, which had no Creative Director at helm, proceeded by a final image of its Spring 2015 catwalk with John Galliano at helm.

Personally, I think the difference between the collections are easily recognisable. John Galliano has brought an irrefutable liveliness back into the Maison, injecting it with the Avant-Garde, unapologetic disruption Martin Margiela evoked, whilst giving it his own spin of flamboyancy and historical elements too.

Looking at the most recent Maison Margiela collections, I feel John Galliano has been the perfect fit and just what Martin Margiela would have hoped for from his departure. Galliano has respected Martin Margiela’s privacy in that he no longer concludes his finales with a walkout and maintains to cover models faces throughout seasons- something I noticed to be familiar through Martin Margiela’s work.

MARTIN MARGIELA 1995

MAISON MARGIELA FALL 2014

JOHN GALLIANO FOR MAISON MARGIELA SPRING 2017

WHY IS JOHN GALLIANO COINED CONTROVERSIAL AND HOW HAS THIS TITLE IMPACTED HIS CAREER SIGNIFICANTLY?

Learning of John Galliano’s background was a fascinating one and my passion for researching saw new heights when acclimating myself to the highs and lows of his journey.

After such immense success with his graduate collection, creation of his own brand, devoted support, and garnering of praise from the industry’s biggest names, alongside the acquisition of numerous British Fashion Designer of the Year awards; the fashion domain was blind sighted into thinking John Galliano’s career was one of the most desirable. Nonetheless, behind closed doors, the pressures of providing collection after collection for his reign at Dior, whilst ensuring each one ameliorated the previous, led the eponymous designer to seek comfort in drugs and alcohol.

In an exclusive interview with Vanity Fair, Galliano stated “alcohol was like a crutch outside of Dior, but with more collections, the crash happened more often, and then I was a slave to it.” His addiction pushed him to act out of character and in 2011, his domination of the fashion industry was taken away by a culmination of accusations. Galliano was slammed for hurling antisemitic insults and anti-Asian threats at a couple and a video footage was leaked of him containing a mix of inexcusable antisemitism, childish bile, and outrageous obscenity (Sischy, 2013). As a result of his behaviour, his title at Dior was instantly removed, he was fined for his actions, and he withdrew himself from the limelight for the foreseeable. In 2013, Galliano tentatively returned to fashion by working privately for the house of Oscar de la Renta, before landing Creative Director for Maison Margiela in 2014 where he made his appearance back into fashion properly.

Personally, I agree in saying his actions were intolerable and Dior had every right to remove his name from their position. As a designer who claimed to be inclusive and appreciative of everyone, no matter what they looked like- as demonstrated in his own labels 2006 collection featuring radical casting choices which are a realistic image of beauty (SHOWstudio, 2021), Galliano massively contradicted himself. His words, although will never be forgotten and have stained his title forever, should not tarnish his future. John Galliano is known to push the boundaries of fashion by creating conversation through his narratives and garment compositions, I feel the label ‘controversial’ should now only be assimilated with this version of himself. I would love to see him back in helm of his own label and transpire the true John Galliano, the fashion industry was acclimated to before his fall.

WHY ARE THE SUBJECTS OF GENDER AND SEXUALITY SENTIMENTAL TO JOHN GALLIANO AND HOW HAVE THEY INFLUENCED HIS WORK?

Alike Charles Jeffrey, John Galliano was raised in a working-class environment, hiding his identity away from the rest of the world, especially his father. As mentioned, his upbringing involved a lot of bullying because of his fashion choices, and I firmly believe this is why he encounters such fluidity and gender bending defiance in his designs today- so he can provide for the child he wanted to be.

I also think this is why Charles Jeffrey sources much approval and significant influence within Galliano’s work as they have a considerably similar background and share the same passion for community as well as elements like music, history, storytelling, and immeasurable creativity. The 80’s was an era Galliano felt at home and free in the scene of the New Romantics – “while at the clubs Galliano, like his contemporaries, would dress up to make a statement and this exhibitionist streak remained a typical characteristic of the designer” (Neel, 2011). The 80’s was a period of challenging conventions, like the punks, but in a brighter light.

Galliano translated this time of non-conformist approach into the trajectory of Maison Margiela where the website now holds an ‘all gender’ category for women and men respectively, presented as one collection (Lim, 2021). Such collections like the SS19 Menswear also displayed the blurring of lines between gender as he dressed male models in skinny latex pants, tulle wrapped around the chest, delicate bustiers and corsets, feathers, and satin suits, with a nod towards Eastern influence. I

n an interview with Garage Magazine, John Galliano iterates “it’s a freedom of expression, of sorts, of one’s gender and sexuality. Its liberating and its light” (Galliano, 2019). Here, Galliano isn’t trying to make boys into girls and girls into boys, he solely wants to devise clothing which can allows the body to be free, to show a tenderness in dressing without a forceful sexuality streak.

As a generation seeking inclusivity and daringness from brands, Generation Alpha will approve of John Galliano’s bravery to deconstruct the playing field and awakening a real world where not everyone is defined to the one gender or sexuality orientation.

HOW AND WHY DOES JOHN GALLIANO SHOW FLAMBOYANCY IN HIS DESIGNS?

Whilst at Central Saint Martins, John Galliano became part of the explosion of the 80’s club scene. An era which saw a contradicting change to the 70’s punks but remained to make as powerful of statements and rebellious acts through fashion styling. The New Romantics celebrated all things frilly and fanciful, with ostentatious clothing and makeup (Henkes, 2019) showcasing a romanticism which is so highly accounted for in Galliano’s collections.

Relating back to gender, the New Romantics allowed John Galliano to envelop this challenging essence inside of him, driving him to seek the theatrical and glamour of the movement- aspects he has clearly conveyed into his own niche today. The New Romantics stood as his breeding ground to embrace the flamboyancy he had hidden as a child and pushed him to flourish the dandy look.

I have a strong appreciation and admiration for Galliano’s graduate collection, most significantly, as it introduced me to a deeper level of semiotics and communication in fashion, as well as allowing me to discern the initial flamboyancy of his work. The Incroyables were the original dandies of the 18th century and Galliano has translated this through additional extravagance of tulle, and fearlessness in upside down, inside out jackets and rainbow ribbons.

I believe this flamboyancy was most present in the Dior shows too, for example in his Fall 2003 collection, featuring an exuberant performance of fiery flamenco gypsies, stamping the runway in flounced skirts, corsetry, and wickedly mannish, form-swathing jackets (Mower, 2003). From this catwalk solely, you can see Galliano continuously relays back to his roots, this time it was flamenco and weaved the arts of dance into his collection, alongside supplementing his own feistiness and flamboyancy through frills, bold hues, and over exaggerated silhouettes.

HOW DOES JOHN GALLIANO INFUSE DRAMA AND THEATRE INTO HIS COLLECTIONS?

The New Romantics infused the theatrical costume dress and exaggerated makeup into Galliano’s style which ties the flamboyancy into dramatized notions, as did working as a dresser at Britain’s National Theater. Nevertheless, Galliano has carried this himself and his collections devote a robust passion for imagination and traverse the catwalk into a stage of palpable thrill.

I remember my preliminary research into John Galliano’s collections for Maison Margiela and I was intrigued by the hype over the Fall 2022 Artisanal performance, Cinema Inferno. Now, I may be the typical Gen Z, but fashion films need to have that experiential and wow-appeal for me to watch them completely. However, I sat and watched the full 34 minutes of Cinema Inferno in awe. I had never seen fashion produced in such a theatrical and away-from-the-catwalk approach. I adored how you were instantly gravitated into the storyline, whilst captivated by the voluminous tulles, subdued hues and Western American affluence of the character costuming involved. The synthesis of fashion, drama, storytelling, romanticism, and digitalisation was incredible, and I appreciate the technicality behind making the models metaphorical representatives of societal problems.

Alike Charles Jeffrey, there is an immense depth in John Galliano’s collections and this one, particularly, homed in on a darker narrative of violence and fear. I think it was executed astonishingly. It takes incredible acting and strong storytelling to have someone feel the emotions and apprehension of the characters, and I felt every feeling. I would love to take forward the notion of merging digital and physical mediums as Galliano has succeeded here, as well as evoke emotion from my imagery.

HOW HAS HISTORY INFLUENCED JOHN GALLIANO AND HIS STORYTELLING?

Deriving from an extremely literate family who are passionate about political issues and historical afflictions, I always felt an inner enthusiasm ingrained in me for learning too. I have discovered this massively in fashion, and I adored scoping into how Charles Jeffrey used past periods like the punks to present a storytelling of non-conformity and escapism. Researching into John Galliano has enlightened my passion evermore.

In almost every Galliano collection there is a narrative rooted in a culmination of eras- some of which you’d think would clash but are miraculously strung together to create an ambiguous scene translating the past into the contemporary. This was shown in his first graduate collection of Les Incroyables, where he took great inspiration from the 1789 aristocratic subculture and captured it into a modernised rendition of romance and rebellion in the late twentieth century (TheMet, 2018). Whilst at helm of the houses of Dior and Maison Margiela, John Galliano continued to integrate a vast number of past culture into his work which cultivated his narration to an audience.

The Dior Fall 2004 Couture show confirms this substantially, as Galliano saturated his collection in inspiration from Austro-Hungarian princess, Empress Sisi, along with facets of artist Egon Schiele and Edwardian dressing, to establish a royal-looking extravaganza, magnified by oversized satin silhouettes, long fur, and chunky silver diamante jewellery. I had never considered amalgamating historical references before, but I appreciate the technicality and imagination which goes into creating such visions.

This is something I’d love to attempt because it will merge my passion for history and researching, whilst completely pushing me out of my comfort zones to create something industry would likely appreciate.

HOW DID JOHN GALLIANO SUCCEED AT DIOR?

Galliano’s duration at Dior (from 1996-2011) was heavily besmirched due to his dismissal. However, looking through his collections, you cannot deny the incredible personality and eccentricity he gifted to the brand. As one of the first British designers to take over a French fashion house (Kloster, 2020) Galliano certainly made his mark instantly in the industry by consecutively establishing the unheard of.

I perceive a considerable difference between Galliano at Dior and Galliano at Maison Margiela. At Dior, I believe John Galliano embraced his naivety and flamboyant side far more prominently. The congregation of historical influences and clashing of makeup and garments showcased a modern pop culture, creating a runway of wearable art and performance on characters. Galliano maintained Dior’s values of excellence, innovation, and bold creativity (Arnault, n.d) and he enraptured the passion, founder Christian Dior so avidly infused into the brand for femininity and elegance in his imaginative, and unparalleled taste.

John Galliano augmented his own persona and recognisable stance too, through walking his own catwalk at the end of every show, dressing up in costumes from pirates, boxers to an astronaut, to take his bowsomething I’ve noticed he no longer does at Maison Margiela. I believe Dior has lost its fantastical element now and returned back to the house’s origins of conformity and practicality. There was substance in Galliano’s collections, something which instigated everyone to stop and stare and be engrossed in the drama and storytelling, I think that’s a magical trait. I love the idea of re-conceptualising the past, as well a

s the notion of models as characters- an element I found within Charles Jeffrey’s work too. As Generation Alpha are keen to explore the experiential and unique in brands, I feel by building on this ‘character’ composition, I could create something highly desirable for them, whilst still maintaining within the markets of Jeffrey, and perhaps Galliano.

HOW HAS JOHN GALLIANO RESURFACED MAISON MARGIELA?

Comparing his designs for Dior with his designs for Maison Margiela, I discerned a considerable difference in that they possess a lot more of a mature curation and higher note to romanticism and storytelling. Galliano still invokes his masterful historical references, but these have been subdued for looks which focus on uniform and the digital realm.

I find interesting, that Galliano replaced Martin Margiela, a man who avoided the limelight and didn’t intervene with the public eye- something of which John Galliano was centre of and loved provoking meticulously. However, since his departure from Dior and the publication of his rants, we have seen an obscure side to Galliano, who no longer participates in his own catwalk or interviews. Perhaps this is why he agreed to helm Margiela? This sense of privacy is reflected through the models too, who often wear materials like tulle, netting, or headwear to conceal the face. The bold makeup, synonymous with the New Romantics, which he brought to Dior has been eradicated for a primary focus on garments, how they move and how they communicate. I am infatuated by this idea; I feel it is a new form of communicating stories in motion and experience.

I see great similarities between Martin Margiela and John Galliano in that they both have a common love for French literature and 18th century costume. I believe Galliano has homed in on this as well as taking note of Margiela’s early foundations- “it was full emotion, and it was romantic. We’re not there to curate Martin’s work, that would be too much of a day job, let’s be brave and possibly shine a light on a new way to go.” I appreciate how Galliano still interprets the values of the houses he helms yet aspires to push them into a younger and ahead of the curve market so they can continue to prevail.

Galliano has always had a forward-thinking nature, and I believe this is what makes him so successful as a designer. I would like to take inspiration from this when producing my FMP.

WHY DO I CONSIDER JOHN GALLIANO AS THE ELITE AND HOW DOES HE CONTINUE TO SHOW ME THIS IMPRESSION?

Since studying John Galliano, I have learned irrefutable amounts of knowledge. His work has guided me to reconsider my FMP concept and hail a desire to incorporate an abundance of historical, cultural, and theatrical themes to establish my own form of communication.

I title him as the ‘elite’ because he has influenced masses of designers, showing not only how fashion can be deconstructed and transpired into contemporary visions, but gender, storytelling, and past periods for example, too. There is a daringness, an inextinguishable ambition and untameable imagination (Bergin, 2017) and this is infectious. His work has driven me as a creative to want to understand and produce my own robust narratives.

Observing what he is doing currently, enforces the ‘elite’ label and ahead of the curve notions I familiarise him with. Joining forces with Nick Knight, John Galliano is offering a new perception to collections, a current preliminary focus on garments and the power they have in communicating narratives through motion, without the need for music, harsh makeup, or props. Today fashions arch romanticist is making clothes inspired not by historical nostalgia, but the digitised landscape of contemporary culture, with its challenges to traditional, established notions (Fury, 2018). I admire how John Galliano remains eponymous for his controversial stance to the industry and is ceaselessly scoping for different, never following the crowds. Perceiving garments in this impression is very poetic and emphasises both Martin Margiela’s and John Galliano’s romanticised features. I’d love to incorporate poetry or a metaphorical elements within my outcomes.

Galliano has worked alongside Nick Knight and SHOWstudio before, most recently devising S.W.A.L.K and S.W.A.L.K II which give the audience an exclusive insight into the BTS developments of his Atelier, incorporating a satirical viewing and digitalised manipulation of a documentary, finalising with the fashion film itself. Galliano details a desire for transparency and new beginnings for the Maison (Knight, 2020) and I believe this is important, especially amongst the new generation of youth who appreciate transparency in brands and innovative thinking. John Galliano’s ‘elite’ thinking is pursuing Maison Margiela into a playful and contemporary curve, and I feel I should learn from his thinking and productions, so my FMP remains cutting-edge.

HOW DOES JOHN GALLIANO COMMUNICATE STORIES SO MAGNIFICENTLY?

I have touched upon this question in a range of previous responses because this theme cannot be ignored, as John Galliano is one of the best fashion designers to articulate it!

Storytelling has always been embedded in the DNA of the fashion industry and is used as a medium to take us on a journey of escapism (Block, 2022). I agree with this statement wholly, but it ought to be recognised that storytelling is an element of which is continuously adaptable and needs to be adapted to accommodate a more demanding consumer.

Galliano has homed into this from day dot, constantly recreating the definitions of fashion through statement clothing with strong narratives, defying the limitations of garments and of the fashion rulebook. In an interview with Vanity Fair, John Galliano pronounced “I made up stories in my head, because it was a really nice place to be” and I feel this accentuates how he evokes this sense of escapism into his designs and imagery for others to resonate with as well. During his lowest times, creating stories was his only comfort and I think this is incredibly powerful and reasons as to why his collections are equally robust.

As aforementioned, collaborating with one of the most influential fashion photographers, Nick Knight, John Galliano is overcoming the boundaries of connecting with an audience and entering new heights of connecting emotionally in a digital and physical space. He is consistently thinking of new ways to market his stories, from garment and makeup to film and theatre, reaching a creative zenith every time. As Alexander Fury stated after reviewing the A/W Cinema Inferno collection for AnOther Man “his only competition, it seems, is himself” and I couldn’t resonate with this more.

HOW DOES JOHN GALLIANO ENFORCE SUSTAINABILITY THROUGH THE MAISON MARGIELA ARTISANAL LABEL?

Throughout my studies, I observed the term ‘artisanal’ appear numerous times before the start of a Maison Margiela collection and questioned what it stood for.

Beginning in 1988, Margiela’s Artisanal collections comprised of a mix of various garments Martin Margiela sourced from around the world, these were then deconstructed and formed into garments by hand in the atelier (Gordon, 2021). There is something special about this form of composition as it is uniquely handcrafted, thus meaning a lot of thought and imagination has been infused to consider its outcome. When looking at Margiela’s Artisanal pieces, you can discern where pieces have been deconstructed and attached to create an effortless garment which contains so much story. For me, this amplifies a personal connection and meaningfulness, as well as sustainability.

Generation Alpha value transparency in brands and engage in greater purchasing habits with companies who make eco-friendly decisions and create earnest relations with consumers. Although only a small sector of Maison Margiela’s brand comes under this conscious practice, it brings hope that it can extend into more than just the one in the future, and with John Galliano under its wing catering to a market of today, implementations may be made a lot sooner.

THE 80’S

My research has led me to discern a vast resemblance within both Charles Jeffrey’s and John Galliano’s brand identities for the 80s. As a former club kid, Galliano influenced this era into his early Dior collections, whilst Jeffrey established his own club night to reciprocate the queer scene. As I did for the Punk 70’s, I want to meticulously scope into this period, homing in on the New Romantic scene especially, as this is referenced considerably in both of their brands visual presence. I believe this is an era I could potentially combine with the Punks to develop something new and authentic. I feel their contrast in styles, yet similarity in using fashion as a form of protest could be improvised into my FMP. I thoroughly enjoyed researching into the Club Kids in my previous book and felt it was a subject which pushed me out of my boundaries in research. With this newfound confidence, I aim to contextualise the 80’s society, learn of their culture and analyse it in more depth, coming to an understanding of how it has made such a significance as to contribute to so many designers’ narratives and to comprehend if I would like to take it forward in the next steps of my journey.

STYLE

The New Romantics was an era of experimentation where there was a dramatical shift in gender norms, radical sexual politics, and unconventional dressing through flamboyant and androgynous designs. The youth took great inspiration from pop icon David Bowie for his glam rock influence (Kenny, 2021) in which he confronted societal traditions way before his time. He was a beacon for blurring the boundaries between masculinity and femininity and leveraging individuals to be free in the comfort of their personal gender orientations.

New Romantic dressing was very theatrical, engaging period and fictional themes, amalgamated with eccentric glamour and romanticism. Garments often incorporated frills, hussar style jackets, leather trousers, and luxe fabrics from velvet, lace, and brocade. The Buccaneer pirate look, encouraged by Vivienne Westwood, was highly popular too, especially amongst pop star and influential figure Adam Ant.

The DIY mantra from the previous decade proceeded, where youth would design their styles from charity shop finds and costume and attend clubs hoping their outfit surpassed creative expectations.

HAIR AND MAKEUP

Alike the Punks, the New Romantics makeup was very daring. It was playful in colour, bold in vision, and enhanced the dandyism they evoked in fashion style. Looks included high arched pencil eyebrows, pale white painted faces with copious blush, and bold eyeshadow in a rainbow of hues. Jet black eyeliner and a strong lip finished the look with hairstyles which swept across the face and were fluffy on the temple. Steve Strange, Princess Julia and Boy George were notable icons of these styles, influencing the youth to be artistic in their expression and showing the limitless creative boundaries to being flamboyant and challenging fashion and style in times of adversity.

MUSIC

Many of The New Romantics influential looks were reinforced by the music industry, who redefined the nightlife style and embraced gender bending fashion in bands. Spandau Ballet, Duran Duran, and Adam and the Ants were some of these. Music enveloped the future, instead of fearing it and rejected the austerity and boisterous ‘noise’ the Punks inhabited. Through a selection of pop synth, discotheque music, I can discern a larger personality and self-expression which correlated with the extravagance of this subculture. This was echoed in the clubs of Blitz and Billy’s, where these nights held the breeding ground for social gathering and provided a central space for the youth to be free in party, booze, drugs, and dress.

SUMMARY

By trusting in my journey progression, I have found my missing piece. Researching into John Galliano has transformed my visions for my FMP irrefutably. I am enthralled by his storytelling capabilities, and I desire to emulate such creative narratives within my own work. Alongside Charles Jeffrey, I appreciate how he looks towards past historical references to emphasise stories, and this is something I am keen to grasp onto when establishing my own concept.

When taking him forward into my FMP, I want to consider his background of 80’s New Romanticism, as this is a strong link between himself and Charles Jeffrey. Alongside the 70’s Punk, this cohort inhabits the defiant personality I wish to portray in my end outcomes, and I believe I can amalgamate these eras, just like John Galliano does within his.

Both Galliano and Jeffrey produce a “beauty in the unexpected” which I so highly admire. I often put myself down because of the difference in my production outcomes, due to their dissimilarity to those around me. However, my extensive research into these designers have led me to appreciate what I produce and the uniqueness they possess, pushing me to go into my finalisation stages wanting to excel my creative margins and embark a strong storytelling.

UP NEXT: A LOST GENERATION (JOURNEY BOOK 5)