In Margilian, John Galliano confirms that fashion story is Oz

John Galliano is always busy with fantasy, process, and performance. It is the opposite of the great and powerful sorcerer Oz, who encourages us not to pay any attention to the person behind the curtain. Realizing that the magic behind the curtain and the upper part of the curtain makes the magic even more powerful, he makes his tricks clear and enjoyable. The Witch of Oz By the way, there was no coincidence. Marjilla House They are loaded with presentation, transportation and transformation skills, and Galliano has done both over and over again.

It’s hard to explain the event. And all the subtle Hollywood smoke and mirrors are scattered in front of our eyes, and the brown-handed stage-spinning propaganda and crops can be his own show, with a powerful choreography dance. But there were models among them, as actors, speaking on pre-recorded lines and as silent screen heroes and heroes, to tell the story of Tennessee Williams-Ish’s long story about the couple’s star-studded fevers. Somewhere in the middle was matrix, and patricity and high school dance. Supermodel nurses like the Middle Ages were in turmoil. Vogue Editorial, swinging a cornfield with a wooden bundle of wheat, occasionally turning into a spaghetti western, and a Capot-Ian heroine showing her love for Charles James in a faded kimono. On the screens, a movie was created in real time, with jumps, wide panoramas, and close proximity to all of these low-file proposals – figuratively, if at all, because it could create magical fashion. With a humble needle and thread. Oh, and so to speak, some of the most creative, ingenious, and truly magical costumes around us have been around for centuries. It was a headache.

Throughout his career, Galliano has put his collections in narrative – the graduation set by Les Incroyables, inspired by the French Revolution Dands, “tearing the curtains of the nobles, and turning them into a waistcoat. Those stories only elicited more complex narrative websites, exploring Russian processes in the jungle, exploring the sexual secrets of Freudian families, and a collection of biographies of Empress Sisi or Marcia Kasati. Every part of history inspires a presentation of beauty, visual language is full of meaning – colors changed by the reality of the heroes living in candles or gas lamps, textile therapies influenced by the surrounding imaginary worlds, a mix of ages and inspirations – nothing is written in history .

Galliano is the greatest and most powerful Oz in the history of fashion, but as seen in this Marjilla presentation, the narrative is not so complete and never humbly presented to the audience. In general, those stories are Shenanigan, the backdrop of dreams behind the scenes, rather than their movements. It is a sign of genius that Galliano’s influence on them, rather than sending them to the masses, is not to be distracted by the fact that he is sending his clothes. Our eyes are focused on those clothes – as if they were thrown on a dusty highway (really intricate jacquard) sprinkled with sand from old 19th-century bedclothes or handkerchiefs, duchess satin skirts and sturdy nylon crane, and a couch nurse in hospital greenhouses. Their complexity and ingenuity make it impossible to describe in detail, but this collection was based in the United States, so Presley – Elvis and Priscilla – in the 1950s fit-and-flared dresses and Patel color tuxedo, each with hints of Ladure yellow shade. , The most unique symbol of lemon, lilac or rose, is, after all, a true love story.

I have, honestly, very little idea of ​​what was going on; The story was a Mobius Loop, a self-replicating, repetitive, realistic and dreamy image that jumps between reality and dream-like sequences as a beautiful and meaningless excuse. Galliano’s narrative love never included authenticity, geography, or history – remember a steam train filled with madras and horsemen and dragged Linda Evangelista on an impossible journey to America in the 16th century like Henry VIII? Marjilla’s journey was also challenging. And we have just returned from all these journeys, a new sense of hope and a love of fashion. Galliano’s delight in creation is contagious – it can’t be beaten well. And this Galliano has reached a level of creativity, again. As we left the theater, one spectator said: “I have never seen anything like it.” I say we will never see anything like this again – but Galliano will be here next season. He is in excellent shape, and the only competition seems to be himself.