^^ I have the same thoughts about Galliano at Margiela! I actually don't mind him at the house even if it's different (times change & no one can really replace martin) but i do put all the blame on renzo for diluting the project... & it still hasn't even turned profit!
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John Galliano - Designer
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I agree with you, somehow Margiela was mostly easy and wearable, and it was rarely forced or tortured, as opposed to Galliano’s work there. And I’m fairly sure that the company was turning a profit when OTB took over. The collection today seems both less special and less easy , which can’t be good for sales
I don't think it was making super lucrative profits...
It was naive for OTB to expect Margiela to be a moneymaker. The essence of the brand is difficult to market towards a large enough group of consumers to turn to large profits. Hence why MM6 was made, which has more branding and a clearer appeal and target. So now we're in this confusing moment where they're trying to turn it into a classic brand/house, which simply doesn't gel with the essence and history.
Margiela used to be a conceptual brand with really sexy wearable clothes. Now its an experimental brand with strained and forced clothes. Tragic situation really.
It was naive for OTB to expect Margiela to be a moneymaker. The essence of the brand is difficult to market towards a large enough group of consumers to turn to large profits. Hence why MM6 was made, which has more branding and a clearer appeal and target. So now we're in this confusing moment where they're trying to turn it into a classic brand/house, which simply doesn't gel with the essence and history.
Margiela used to be a conceptual brand with really sexy wearable clothes. Now its an experimental brand with strained and forced clothes. Tragic situation really.
tatouejeremie
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i doubt he ever saw margiela as a potential money maker, it was more of a status thing for renzo rosso to buy. he got a tattoo of the four stitches on his upper back when he bought the company.
marni was supposed to be the money maker, he wanted to turn it into a lifestyle brand, the prada of otb. now that isn't working out they're refocussing on margiela as at least there is some growth going on there. it's just a mess all around.
didn't he just buy some LA denim brand? that seems to be a move that makes more sense because he at least sort of used to understand that part of the fashion business 20 years ago.
marni was supposed to be the money maker, he wanted to turn it into a lifestyle brand, the prada of otb. now that isn't working out they're refocussing on margiela as at least there is some growth going on there. it's just a mess all around.
didn't he just buy some LA denim brand? that seems to be a move that makes more sense because he at least sort of used to understand that part of the fashion business 20 years ago.
CholoChic
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When he was in Dior Several years ago the discussion about Galliano is the same: if his pieces are or are not wereable, if his crazy ideas works or doesnt work in the real world, if the spirit of the house is lost with john...
It is like nobody understood the crazy pieces show in catwalk and those precious wereable pieces which are in stores and you never will see in catwalk.
But really everyone copies to John, everyone is waiting his magnific ideas to copy them and make it comercial inmediatly.
If Martin told Galliano "make it of your own", he is making a great Job, maybe you need see inside clothes to see the fusion and the poetry in it.
I adore Galliano work it has always something special that rise my soul and he is selling and growing like that time in a Dior Haute Couture you saw a model dressed and walking like a horse and it looked like a Galliano joke and now it is a great best seller of the house: the saddle bag.
It is like nobody understood the crazy pieces show in catwalk and those precious wereable pieces which are in stores and you never will see in catwalk.
But really everyone copies to John, everyone is waiting his magnific ideas to copy them and make it comercial inmediatly.
If Martin told Galliano "make it of your own", he is making a great Job, maybe you need see inside clothes to see the fusion and the poetry in it.
I adore Galliano work it has always something special that rise my soul and he is selling and growing like that time in a Dior Haute Couture you saw a model dressed and walking like a horse and it looked like a Galliano joke and now it is a great best seller of the house: the saddle bag.
Nymphaea
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John Galliano Extends His Contract at Maison Margiela
After five years as creative director of Maison Margiela, John Galliano has extended his contract. The news was announced this morning in a release from Renzo Rosso’s Only The Brave, the conglomerate that owns Maison Margiela. “I am super excited for this new chapter and grateful to Renzo for his belief in me and the vision for Maison Margiela,” said Galliano. The exact length of his extension is unclear, but it is expected to be at least several years.
Galliano joined Maison Margiela in 2014, taking over the brand’s menswear, womenswear, and accessories and creating its Artisanal couture collection. Under his tenure, revenues have doubled, according to the brand, with accessories making up 60% of the label’s total profits. “Five years ago I believed that John was the only person who could take this house in his hands, and I am even more convinced of this today,” said Rosso in a statement. “John’s undisputed talent is only matched by his understanding of today’s generations, their way of thinking, their struggles, their dreams. And he is doing exactly what this Maison always did at its best: disrupt, innovate, and inspire.”
When Galliano arrived as creative director, his first task was rebranding. Not only did he swiftly clip the brand’s name to Maison Margiela—leaving out “Martin,” the name of the brand’s illusive founder—but he also worked to reestablish himself as one of fashion’s great couturiers, coming back from a rehabilitation period that followed his dismissal from Christian Dior for racist and anti-Semitic remarks. Galliano’s return to the runways was an all-red couture collection shown in London that put his craftsmanship and flair for deconstruction on display. What followed since has been a blurring of gender lines, appraisal of historicism, and focus on remodeling tropes of fashion from the staid British trench to the strict nuns habit. Expect all this and more from Galliano at Margiela in the future.
vogue
After five years as creative director of Maison Margiela, John Galliano has extended his contract. The news was announced this morning in a release from Renzo Rosso’s Only The Brave, the conglomerate that owns Maison Margiela. “I am super excited for this new chapter and grateful to Renzo for his belief in me and the vision for Maison Margiela,” said Galliano. The exact length of his extension is unclear, but it is expected to be at least several years.
Galliano joined Maison Margiela in 2014, taking over the brand’s menswear, womenswear, and accessories and creating its Artisanal couture collection. Under his tenure, revenues have doubled, according to the brand, with accessories making up 60% of the label’s total profits. “Five years ago I believed that John was the only person who could take this house in his hands, and I am even more convinced of this today,” said Rosso in a statement. “John’s undisputed talent is only matched by his understanding of today’s generations, their way of thinking, their struggles, their dreams. And he is doing exactly what this Maison always did at its best: disrupt, innovate, and inspire.”
When Galliano arrived as creative director, his first task was rebranding. Not only did he swiftly clip the brand’s name to Maison Margiela—leaving out “Martin,” the name of the brand’s illusive founder—but he also worked to reestablish himself as one of fashion’s great couturiers, coming back from a rehabilitation period that followed his dismissal from Christian Dior for racist and anti-Semitic remarks. Galliano’s return to the runways was an all-red couture collection shown in London that put his craftsmanship and flair for deconstruction on display. What followed since has been a blurring of gender lines, appraisal of historicism, and focus on remodeling tropes of fashion from the staid British trench to the strict nuns habit. Expect all this and more from Galliano at Margiela in the future.
vogue
Lola701
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Good for John. As underwhelmed as Iam about his vision for the house, he is a talent I would rather have him at Margiela than unemployed.
Yes but Galliano at Dior was a different time and let’s be honest, he really went nuts in 2003/2004. His clothes for most of the part were wearable and available in the stores but then, the madness started.
His FW04 Dior collection might be my favorite RTW collection from him at Dior but it was ridiculous! They sold a lot of Dior Rasta and Gamble bags, accessories and T-shirt buy creative for publicity was getting out of control.
Galliano understood the spirit of Dior...That’s why his earliest collections were so right and why he was able to move on from that and do a modern version of excess and glamour.
With Margiela it’s different: the spirit is not there but the technique is completely there. His clothes makes sense in the shops not necessarly on the show...
Yes but Galliano at Dior was a different time and let’s be honest, he really went nuts in 2003/2004. His clothes for most of the part were wearable and available in the stores but then, the madness started.
His FW04 Dior collection might be my favorite RTW collection from him at Dior but it was ridiculous! They sold a lot of Dior Rasta and Gamble bags, accessories and T-shirt buy creative for publicity was getting out of control.
Galliano understood the spirit of Dior...That’s why his earliest collections were so right and why he was able to move on from that and do a modern version of excess and glamour.
With Margiela it’s different: the spirit is not there but the technique is completely there. His clothes makes sense in the shops not necessarly on the show...
Nymphaea
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John Galliano’s Plans for the Future? “I Will Fight Till the End for the Freedom to Create.”
“I will fight till the end for the freedom to create and the creative process,” John Galliano boldly declared during today’s Vogue Global Conversations. The legendary designer, currently at the helm of Maison Margiela, was calling in on Zoom from Paris, and speaking with his friend Anna Wintour, the editor in chief of Vogue and artistic director and global content advisor of Condé Nast.
Thousands of viewers tuned in for the conversation between two of fashion’s most influential thinkers. What is most exciting about hearing Galliano speak is that even with decades of fashion history written in his name, he refuses to rest on his laurels. More than ever, the designer is passionate about shaping fashion’s future and participating in new dialogues with millennial and Gen-Z customers and fans. How’s he doing that? By dreaming up new ways of communicating virtually. “Isn’t it the time to propose a new way of presenting collections and how we sell them?” he asked.
“I love producing a show,” the designer continued, “[but] I just had to get over that, and accept reality and look forward.” Currently, he is designing the Maison Margiela Artisanal collection with members of his team over Zoom—he noted one of his designers is currently as far away as Australia—and using these new technologies to inspire a new methodology for showcasing fashion. “What I will embrace is how I record this story, this collection, and work with all the technology that is at hand. Through that I can show the authenticity of the garment, that I’m a dressmaker.”
So will a virtual Margiela show be 3D, CGI, AR, or something we’ve never even seen before? “It is an adventure; I’ve never done it before!” the designer demurred, suggesting that he hopes to combine the physical and digital. “You know, I like doing smaller shows, much more intimate, where everyone gets a front-row [seat], and then maybe have some cyber invitees who sit there...a writer, an actor, a poet, something new.”
Two things Maison Margiela’s presentations won’t be lacking is passion and artistry. “What [this time has] inspired me to do is maybe show some of the process work. So many of our Y and Z Generations don’t get to see that. [For Artisanal, in July] I’ll be showing the essence, Le Parfum, the top of the pyramid. That’s what I’m showing, that’s what I want people to understand. Come September, the influence and how that’s inspired the ready-to-wear lines, the co-ed, the accessories—I’m seeing it as a long-term idea, and let’s see how that goes. I’m super excited, really.”
Designing for a real-life or digital audience won’t change the manner in which Galliano works. “The creative process will be the creative process. I’m lucky, or sensitive enough, to tune into those things,” he said. He’s been staying plugged in with his younger colleagues over the internet, joining Zoom parties and taking note of what everyone is weaning. “Have you seen the Zoom parties? I saw Steven Klein’s the other day, it was major!” he exclaimed. “[Younger people are] still going to throw on a red lip, they’re still going to want to be seductive—even if it is online. Honestly, I think what people wear will be inspired by how the de-confinement kicks in. I’m keeping my eyes and ears open, for sure.”
As Wintour noted, technology isn’t the only realm in which Galliano has been pushing fashion’s potential forward. He has also been a leader in both sustainable practices and the destruction of antiquated gender norms. “We just felt that we wanted to speak the grammar of today, and recycling and upcycling gave us Recicla,” he said, referencing the new collection of upcycled garments shown as a part of the fall 2020 Maison Margiela runway show. The upcycling doesn’t end there. A collection of accessories made of high-end leather scraps was produced and sold in a sort of made-to-measure capacity, with different regions of the world receiving one-of-a-kind products. “I love the idea that something like that has actually made our merchandisers, marketing, [and] the commercial team creative as well,” he said.
Regarding the continued blurring of gender lines, Galliano spoke passionately about how he hopes this pause in the fashion system can break down the barriers between genders. “If showrooms, boy’s and girl’s, could merge, it would cut down a lot of travel, a lot of waste—and it’s a much more exciting way of buying collections too,” he began. “Beyond that, you can start to create newer shapes [by working across genders]. You can chill out the cut of the dress. Also, it’s inspired me to take what’s synonymous with a very feminine way of cutting, the bias-cut dresses—you know, my dresses—but taking that idea and proposing that in the boy genre of clothes: a suit, a caban, a trench. Trying to cut that on a bias, it just makes it so gorgeous, it gives it this illustrated line; there’s this louche look. It’s comfortable, it’s as easy as wearing a string vest, but this liquid mercurial satin—boys and girls can buy into that too.”
As the conversation came to a close, Galliano reflected on what keeps him motivated during this strange time: “Passion. I’m a dressmaker. I’m driven by the craft and the dedication of my team and the freedom to create. It’s really important for me. I think you can be anything in this world, and if you can be anything, can we just try being kinder to each other and kinder to our planet?”
vogue
“I will fight till the end for the freedom to create and the creative process,” John Galliano boldly declared during today’s Vogue Global Conversations. The legendary designer, currently at the helm of Maison Margiela, was calling in on Zoom from Paris, and speaking with his friend Anna Wintour, the editor in chief of Vogue and artistic director and global content advisor of Condé Nast.
Thousands of viewers tuned in for the conversation between two of fashion’s most influential thinkers. What is most exciting about hearing Galliano speak is that even with decades of fashion history written in his name, he refuses to rest on his laurels. More than ever, the designer is passionate about shaping fashion’s future and participating in new dialogues with millennial and Gen-Z customers and fans. How’s he doing that? By dreaming up new ways of communicating virtually. “Isn’t it the time to propose a new way of presenting collections and how we sell them?” he asked.
“I love producing a show,” the designer continued, “[but] I just had to get over that, and accept reality and look forward.” Currently, he is designing the Maison Margiela Artisanal collection with members of his team over Zoom—he noted one of his designers is currently as far away as Australia—and using these new technologies to inspire a new methodology for showcasing fashion. “What I will embrace is how I record this story, this collection, and work with all the technology that is at hand. Through that I can show the authenticity of the garment, that I’m a dressmaker.”
So will a virtual Margiela show be 3D, CGI, AR, or something we’ve never even seen before? “It is an adventure; I’ve never done it before!” the designer demurred, suggesting that he hopes to combine the physical and digital. “You know, I like doing smaller shows, much more intimate, where everyone gets a front-row [seat], and then maybe have some cyber invitees who sit there...a writer, an actor, a poet, something new.”
Two things Maison Margiela’s presentations won’t be lacking is passion and artistry. “What [this time has] inspired me to do is maybe show some of the process work. So many of our Y and Z Generations don’t get to see that. [For Artisanal, in July] I’ll be showing the essence, Le Parfum, the top of the pyramid. That’s what I’m showing, that’s what I want people to understand. Come September, the influence and how that’s inspired the ready-to-wear lines, the co-ed, the accessories—I’m seeing it as a long-term idea, and let’s see how that goes. I’m super excited, really.”
Designing for a real-life or digital audience won’t change the manner in which Galliano works. “The creative process will be the creative process. I’m lucky, or sensitive enough, to tune into those things,” he said. He’s been staying plugged in with his younger colleagues over the internet, joining Zoom parties and taking note of what everyone is weaning. “Have you seen the Zoom parties? I saw Steven Klein’s the other day, it was major!” he exclaimed. “[Younger people are] still going to throw on a red lip, they’re still going to want to be seductive—even if it is online. Honestly, I think what people wear will be inspired by how the de-confinement kicks in. I’m keeping my eyes and ears open, for sure.”
As Wintour noted, technology isn’t the only realm in which Galliano has been pushing fashion’s potential forward. He has also been a leader in both sustainable practices and the destruction of antiquated gender norms. “We just felt that we wanted to speak the grammar of today, and recycling and upcycling gave us Recicla,” he said, referencing the new collection of upcycled garments shown as a part of the fall 2020 Maison Margiela runway show. The upcycling doesn’t end there. A collection of accessories made of high-end leather scraps was produced and sold in a sort of made-to-measure capacity, with different regions of the world receiving one-of-a-kind products. “I love the idea that something like that has actually made our merchandisers, marketing, [and] the commercial team creative as well,” he said.
Regarding the continued blurring of gender lines, Galliano spoke passionately about how he hopes this pause in the fashion system can break down the barriers between genders. “If showrooms, boy’s and girl’s, could merge, it would cut down a lot of travel, a lot of waste—and it’s a much more exciting way of buying collections too,” he began. “Beyond that, you can start to create newer shapes [by working across genders]. You can chill out the cut of the dress. Also, it’s inspired me to take what’s synonymous with a very feminine way of cutting, the bias-cut dresses—you know, my dresses—but taking that idea and proposing that in the boy genre of clothes: a suit, a caban, a trench. Trying to cut that on a bias, it just makes it so gorgeous, it gives it this illustrated line; there’s this louche look. It’s comfortable, it’s as easy as wearing a string vest, but this liquid mercurial satin—boys and girls can buy into that too.”
As the conversation came to a close, Galliano reflected on what keeps him motivated during this strange time: “Passion. I’m a dressmaker. I’m driven by the craft and the dedication of my team and the freedom to create. It’s really important for me. I think you can be anything in this world, and if you can be anything, can we just try being kinder to each other and kinder to our planet?”
vogue
jeanclaude
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“I Will Fight Till the End for the Freedom to deconstruct trench-coats in every single collection.”
Fixed!
Fixed!
Benn98
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New Leader
- 24 Jul 2020
- BY MILES SOCHA
Gianfranco Gianangeli joins Maison Margiela as chief executive officer.
Gianfranco Gianangeli joins the Paris-based fashion house after stints at Givenchy, Prada and Bottega Veneta.
Fast-growing Maison Margiela has named Gianfranco Gianangeli its new chief executive officer.
Gianangeli joins the Paris-based fashion house from his family-owned, namesake knitwear manufacturer in Perugia, Italy. Before that, he was global retail director at Givenchy and associate international director at Prada. He also worked for several years at Bottega Veneta in various merchandising positions and as that brand’s regional vice president in Japan.
He reports to Ubaldo Minelli, ceo of OTB, the Italian fashion group controlled by Renzo Rosso that encompasses Diesel, Maison Margiela, Marni, Viktor & Rolf and Amiri, plus Staff International and Brave Kid, which develop, produce and distribute brands under licence.
Gianangeli joins a fast- growing brand powered by the creative vision of John Galliano, who recently documented the making of his wet- look Margiela couture dresses and diced- and- spliced tailoring in a mesmerizing 50- minute film with Nick Knight.
The ceo post at Margiela has been vacant since Dec. 1, when Riccardo Bellini left to join Chloé. The longtime Diesel executive had been in the role for two and a half years, and had renewed Galliano’s contract amid strong business momentum.
Last year, the brand posted a 36 percent increase, reaching sales of 200 million euros, accelerating in both its retail and online channels. It is slated to open stores in Paris, New York, Shanghai and Osaka this year. Japan accounts for 32 percent of the brand’s revenues. There are now 32 directly operated and seven franchised stores for the label.
“Margiela is a unique, groundbreaking, revolutionary house that has changed the concept of fashion, and its collections have always been a point of reference for the whole creative world,” said Rosso, president of OTB. “John is bringing the house’s values to new highs, speaking to new generations in a relevant and inspiring way. Its commercial success is the natural consequence of this.”
Rosso left Galliano free of any commercial obligation to create Margiela’s Artisanal collections, returning couture to its function as a research and development department that can inspire other product lines, rather than service an elite clientele.
Sources describe Gianangeli as a well rounded executive with an entrepreneurial streak, and strong merchandising flair. He will be leading one of the key growth engines at OTB, alongside its core Diesel brand, which represents 60 percent of the group’s business. Diesel returned to growth last year, posting a 2.6 percent increase in sales.
According to sources, Gianangeli revitalized his family knitwear firm, securing production contracts for several marquee European luxury brands.
Rosso’s OTB swept in and bought a majority stake in Margiela in 2002, one of a series of acquisitions aimed at building a multibrand Italian group.
WWD
Nymphaea
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Really? I don't see it, but I could be wrong.
Benn98
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LOL! Probably because they're expanding into China. There must be a demand for the brand, of course.
tatouejeremie
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i don't buy those numbers for a second knowing how much rosso cooks up the numbers for some of his other brands
YohjiAddict
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Takes the cake for the most absurd fashion crossover this year...the sheer wastefulness of having someone spend hours unstitching polyester tulle ruffles! The final look is not bad but it doesn't seem reasonable to me.
The poor Margiela toille was living a perfect, climate-controlled existence in Paris just to then be flown over to Tokyo, be awoken by that Tomo hack, chopped apart, overwhelmed with some poorly sewn ruffles and further desecrated with neon paint!
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dior_couture1245
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When ideas like this are cooked up, produced and given the time of day...it's so obvious fashion is suffering. It's like a bored dog who starts to chew up everything in the house.
Lola701
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What John did is amazing. This is the talent of a genius. His sweater is everything the work of Tomo isn’t: inventive, wearable and desirable. He really elevated that tulle.
I feel really sad for the Margiela toile…For me it looked better than the embroidered Rihanna look. The ruffles were a lot but he ruined it with the painting…
I’m not really a fan fan of Galliano at Margiela but this kind of project is a reminder of why I loved him in the first place.
I feel really sad for the Margiela toile…For me it looked better than the embroidered Rihanna look. The ruffles were a lot but he ruined it with the painting…
I’m not really a fan fan of Galliano at Margiela but this kind of project is a reminder of why I loved him in the first place.
susseinmcswanny
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More interested in the SS22 RTW and shoes you can see on the sidelines in the Margiela atelier. Also I kinda got an elitist/charitable vibe from John as he was speaking to Tomo lmao. I mean Tomo still sucks tho
Lola701
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He probably saw the dress already lol.
‘This reminds me of Pierre Cardin going to a Jacquemus show (La bomba) and when asked about it on national television said: « he has ideas but he is quite limited technically ».
John probably saw the limits…After all, he did similar things at Dior lol
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