After years out of the spotlight due to what has perhaps been one of the biggest scandals in the fashion industry to date, John Galliano has made a reentry into the fashion world with his first couture collection as the new creative director at Maison Martin Margiela, which has caused some mixed reactions. While much of the fashion world (including Anna Wintour, the queen of fashion herself) has publicly welcomed Galliano back with open arms, many are not quite so quick to allow his new position to overshadow his past mistakes.
Few scandals in the fashion industry are as widely known as John Galliano’s fall from the helm of Dior in 2011. After videos surfaced online of the designer drunkenly making anti-Semitic remarks, he was swiftly removed from his position as the creative head of Dior and of his own namesake company. Galliano subsequently stayed out of the limelight for several years, but in 2013, was invited by Oscar de la Renta to temporarily assist with his F/W 2013 collection. In October of last year, however, Galliano’s return to fashion was made seemingly permanent when it was announced he would take the reins as creative director at Margiela.
However, Galliano’s appointment at Margiela is significant for more than one reason—it is also the first time the label has had a creative director since Martin Margiela, the house’s notoriously private founder, left in 2009. Margiela was known for his eccentric and cutting-edge designs during the 1980s, which often disregarded many of the ‘rules’ set by the fashion world.
Right away, Galliano has gone about making the brand his own—starting with the name itself, which he has officially changed to just Maison Margiela, doing away with the former inclusion of "Martin" in the brand name. Galliano has always been known for his flamboyant and intricate couture designs, and his first couture collection for Margiela was definitely no exception.
In the spirit of moving on from the past, however, fashion critics are noting that there was a new edge to Galliano’s new work at Margiela—after all, themes of decay and masks with pearls and gems protruding three-dimensionally are definitely not something we would have seen amongst the collections of beautiful, ladylike couture he created for Dior. Critics also noted the relatively stripped down (for Galliano) ensemble he wore to take his bows—the same plain lab coat all Margiela employees don. Galliano himself, at least, seems to be embracing the new beginnings.
The biggest question many in the fashion world seem to be divided over is whether or not this extravagant new collection is enough of a new beginning for him to be forgiven for his past mistakes. While many believe Galliano has done his time and paid his dues, so to speak, in order to earn forgiveness, many are not so sure, and are quick to point out that no amount of creative talent can overcome what were some pretty horrific statements. To what extent is Galliano being forgiven out of the generosity of the fashion industry, rather than simply because it needs his extraordinary talent?
Ultimately, I was personally wowed by the collection and may or may not have clicked through the entire thing four times in a row. The question is, was Galliano’s talent enough to merit a second chance? Has he really changed for the better? As he begins to return to the public eye, only time will tell.