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.