Words by Natasha Djanogly
Galliano might be known for his genius designs and his quirky character, but it’s his fashion shows that have propelled him to an icon-worthy status. Theatrical does not even begin to describe the unbelievably striking, extravagant, and provocative nature of each of his shows. Galliano might be in his sixties, but his runways have been making statements since even his early years at CSM (Central Saint Martins).
Despite being a penniless student, his CSM Les Incroyables graduate show was hardly minimalist. Pops of royal reds and feisty walks captured the sentiments of rebellion and somewhat romantic allure that characterized the French Revolution. Like an exquisitely designed time machine, the show’s spectators were wholly immersed in a frozen moment of 18th-century France.
It wasn’t just the brilliance of Galliano’s storytelling that captured attention; the pieces themselves were captivating in terms of simply their form. Structural layers, cockades, stripes, hanging watches, and white lips were placed in such a way that they meticulously framed and welded the structural layers and fluid drapes.
The success of this single show set the stage for Galliano’s rise, earning acclaim that launched him into the fashion world.
With just this one show behind him (in which Browns Department Store bought entirely the next day), Galliano gained enough acclaim to launch his own brand: John Galliano.
However, the Les Incroyables show wasn’t just a statement but a soft preview of what was coming. From becoming Creative Director at Dior in 1996 to his current position at Maison Margiela, Galliano dominates the fashion industry, and naturally, as his influence stretches, so does his budget. Consequently, over the years, his shows have gotten ever more opulent while always upholding their technical brilliance.
From princesses and the circus to the Maasai tribe and Ancient Egypt, Galliano’s shows and collections are inspired by everything and everyone. However, unlike other designers, his references are extreme. Thinking back to his 2004 Ancient Egypt-inspired collection, it wasn’t just a couple of slightly mummy-reminiscent dresses — each model was festooned in endless hieroglyphics, breastplates, Egyptian G-d masks, dramatic silhouettes, Nefertiti crowns, and false Egyptian beards.
Earlier this year, his Maison Margiela Artisanal SS24 show went instantly viral across social media. With Pat McGrath makeup, Lucky Love’s opening dance, Adele blasting in the background, smoke machines, and extreme silhouettes jolting in the space, it was a true performance that metamorphosed between a dance recital, a light show, a piece of performance art, a concert, a drama, a theatre piece, and a classic fashion show.
Each becoming a character of Paris’s underbelly, models slunk down the runway-turned-moody-Parisian-street, and people were awestruck by the Louboutin-collab Tabis, minimalist corsets, distorted umbrellas, voluminous gowns, and avant-garde hats. Smooth and perfect porcelain doll faces and light billowy tulle fabric of certain dresses juxtaposed with other jagged and weighty coat-ensembles evoked simultaneously a mesmeric sense of coherence and chaos. Notably, the non-tokenistic presence and ethereal celebration of diverse bodies also delighted viewers, the choice adapting to society’s more inclusive view on body image. In what is extremely rare for such a cutthroat industry, critics showered the show with praise.
In response to its monumental success, Maison Margiela composed a documentary, installations, and an exhibition inspired by the Artisanal show. NIGHTHAWK, a beguiling horror movie-esque documentary behind the show’s vision and exquisite design, premiered at the last Paris Fashion Week.
Even more recently this October, in collaboration with manga artist Tite Kubo, the windows of Dover Street Market Ginza were transformed into a microcosm of the show with meticulous designs submerged in melancholy yet alluring installation. Moreover, an exhibition designed by Galliano opened up this November at Maison Margiela’s boutique in Ebisu, Japan. Via a Galliano-voiced audio guide, visitors are escorted through a detailed and immersive exposition of the collection’s garments.
Nonetheless, despite all this success, the fact that Galliano takes so much from different cultures has unsurprisingly provoked debates surrounding cultural appreciation and appropriation. The question of whether he is celebrating different cultures or turning them into a spectacle has been simultaneously a detriment and boost to his popularity.
On one hand, Galliano has gained critics and risked being ‘cancelled,’ yet on the other, it has amplified his cultural relevance. His 2000 Haute Homeless collection, for instance, sparked a huge commotion. However, whether positive or negative, the controversy not only put his name in the spotlight but also brought attention to the homelessness crisis.
Critics argue that some of his references, such as those to Ancient Egypt, risk reducing rich cultural histories to mere aesthetics. However, supporters highlight his artistic intent and deep research, viewing his work as a tribute rather than appropriation. Galliano’s ability to spark conversation ensures his work remains culturally relevant, even when contentious.
Being so relevant, groundbreaking, and provocative, Galliano’s shows take up such a vast cultural space that it’s unsurprising he sits at the top with Chanel and Gucci in fashion. Like these iconic designers, his name extends beyond fashion circles, with everyday people in awe of his designs or debating his controversies.
Not only has he been crowned Designer of the Year four times, but he was named the fifth most influential person in British Culture in a 2004 BBC poll. When it comes to Galliano’s shows, it seems like he has done it all, but the world is changing so fast that the inspiration for new collections is infinite. It can only be expected that Galliano’s popularity will continue to catapult every time he puts on a show — which, luckily for him, is a specialty.
