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The design head­quar­ters of the house, which used to be a re­li­gious acad­emy in the 19th cen­tury and a tech­ni­cal school be­fore Margiela made it his own, served as the perfect mi­lieu for Gal­liano’s col­lec­tion that was wholly in­spired from, ‘the idea of new glamour’.

In a pre­view be­fore the main pre­sen­ta­tion, the de­signer ex­plained how he wanted to re­con­noi­ter the mod­ern speed of glamour and talked of his woman say­ing, “She puts on a red lip, she grabs a hum­ble coat in haste and is out.”

The col­lec­tion picked up the chaste el­e­ments of con­ven­tional glamour such as sharp red nails, high heels, a de­fi­ant dé­col­leté, feath­ers and se­quins – and re­ally turned these up over their heads. De­con­struct­ing ba­sics and do­ing what both Margiela and Gal­liano have in com­mon, the lat­ter pre­sented rein­vented ver­sions of ‘grab and go’ pieces, ex­ploit­ing the trench coat and us­ing each of its de­tails like the belted waist­line, card­board beige colour and of course its manly vibe giv­ing them his own twists.

Keep­ing up with his dis­tortive ways, he ribbed the trench’s gabar­dine to mir­ror cor­ru­gated card­board; used translu­cent or­ganza dec­o­rated with large pail­lettes to make frilly coat dresses; slashed out sleeves, cut out bustiers on moulded linocut dresses and used em­broi­dery to cre­ate op­ti­cal il­lu­sions around the bo­soms. Cun­ningly pea­cock­ing be­tween non­cha­lant mish­mash and fas­tid­i­ous com­po­si­tion – he put crys­tal threads on tulle bodices, su­per­im­posed lay­ers of fab­rics to­gether and not to for­get the tri­fling ex­ag­ger­a­tions on tat­tered sil­hou­ettes to weave it all to­gether.

In­ter­min­gling these with Scan­di­na­vian in­tar­sia sweaters in heavy ca­ble knits and metal­lic cow­boy boots all through the col­lec­tions, he kept up the co­he­sive ad hoc ap­peal of the Fall/Win­ter 2017 cou­ture col­lec­tion.

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