Maison Margiela Artisanal Haute Couture S/S 2024 Paris

[tourbillions]

fashion shows have been so stale and boring that i forgot even make up trends can come from it

 

[Lola701]

everyone in the industry and on twitter is going batshit over this collection, which surprises me a little. but good for john, honestly; he deserves all the validation and praise, even if i'm not a fan of this show. i hope it leads to some negotiations

Which negociations? You know he won’t probably leave Margiela for another brand unless the Arnault sells him back his brand and if he eventually decides to do something with it, right?

 

[gallianostan]

Which negociations?

negotiations to leave margiela and join another house, which i think is overdue at this point.

 

[Lola701]

negotiations to leave margiela and join another house, which i think is overdue at this point.

It won’t happen.
Maybe if Schiaparelli was still struggling but they have found their savior.
Renzo Rosso has created a perfect environment for him to express himself and create a commercial machine that works for him. On top of that, his desperate seek of approval from Anna has paid off.

Plus, I really don’t think there are a lot of independent brands that can afford Galliano today. And when I say afford, it’s more than a salary.

His genius has never diminished in Paris (the backlash was harder for him in the US or UK) but he is not in those types of conversations.

 

[gallianostan]

Maybe if Schiaparelli was still struggling but they have found their savior.

hardly. daniel roseberry may make headlines for his stupid dresses but from everything that i've heard schiaparelli is losing money fast.

 

[LadyJunon]

I f*cking hate this account, but this was just too funny not to share here:

 

[Mr-Dale]

hardly. daniel roseberry may make headlines for his stupid dresses but from everything that i've heard schiaparelli is losing money fast.

Where have you heard this? Most reports I’ve seen have been quite positive. You might think his stuff is stupid, but objectively, the brand and business building has been going quite well. Same here at MMM. Like Lola said, Rosso has built an environment that seems to work creatively and commercially in a way that serves all those involved to the best of their interests, including John’s.

Anyone who expects John to go to another house has not been paying attention. Here, he can enjoy relative anonimity, because this is a brand where the designer doesn’t take any bows at the end of the show or rely on a public figure. As a European working at an American fashion brand myself, I’ve noticed how a lot of Americans have a harder time moving on from what got him cancelled at the time than Europeans do. A move to any brand that requires him to be an active poster boy will not go down well in that crucial market. Additionally, he can work at a creative pace that matches his own leisure, as opposed to being thrown into the workload inducing calendar of other hig brands that drove him to his breaking point at LVMH. Dior especially is the last place he should go. Why would he choose to go back to that? Why would anyone even wish that for him?

Margiela is his last stop as a CD in fashion and that’s just fine. I mean, look at the material.

PS, anyone asking for more former Dior/Galliano muses among the cast, Olga Sherer wore that amazing plisséd trench/dress piece halfway through the show.

 

[gallianostan]

Where have you heard this? Most reports I’ve seen have been quite positive. You might think his stuff is stupid, but objectively, the brand and business building has been going quite well.

it's not. recent public filings have reported operating losses - they're literally losing money [www.businessoffashion.com/articles/luxury/schiaparelli-ready-to-wear-expansion]. the image revamp might have worked but the business is floundering.

 

[Lola701]

hardly. daniel roseberry may make headlines for his stupid dresses but from everything that i've heard schiaparelli is losing money fast.

Schiaparelli is an extremely small operation that has been literally on life support since De La Valle bought it mostly because it was a Couture only operation. It was for the most part a vanity project funded through Tod’s money.
The simple fact that they are now starting to expand, thanks to Roseberry’s success is the perfect answer to the supposed failure you wants to attribute to Roseberry.

So the road to profitability or even to break-even is not there yet but they will get there. In less than 3 years, they have went from 0 store to 3/4 retail presence worldwide. The problem in their case is that they can’t expand too fast because it might hurt the desirability of the brand in key markets and they can’t have their own standing retail spaces without at least breaking-even.

Roseberry is there for the long run. Schiaparelli now is part of the fashion conversation and there’s a potential as his vision is the one that has pushed the brand to what it is now…

Regarding Galliano, he will stay at Margiela. One thing that the buzz of this collection will do is create an anticipation for the RTW. And if he manages to keep the momentum, the machine might restart stronger again at Margiela. And he will probably renew his contract with more money. The brand is doing well and they are not advertisers.

And matter of fact, Daniel Roseberry will probably also renew his contract with more money.
What’s happening with Schiaparelli is not different from what happened with Balmain almost 20 years ago when Christophe Decarnin took over.

 

[Pastry]

the closest we'll ever get to a john galliano solo project redux. it's a beautiful margiela-ized john galliano presentation rather than a galliano-ized margiela show.

even galliano's signature cringe factor is there in the production of the show. i.e yassified posing, adele on the soundtrack. i almost expected him to come out at the end of the show with wind and smoke machines and a matching outfit. 😂
anyway, well-done!!

i find it very interesting that the gibson girl s-bend ( the OG BBL ) silhouette is making an appearance; hair and everything. i wonder if this will be the dominant post-wartime silhouette. kind of like the bar suit in 1947.

here i was thinking the bbl is on its way out; on the street, it's still a lot of loose, garçonne-type shapes. i guess not. very curious to see the shape of things in the next 5 years..

 

[lookatme]

I’m loving the conversation here. Reminds me of the best of what TFS can be.

I am absolutely loving Galliano at Margiela - especially the last 2-3 years, in particular.

First of all, I want to thank Renzo Rosso. Thank you for being a PATRON. Those with extensive means have always and should continue to play an important role in society by patronizing the arts and supporting artists. It’s for the common good. Obviously, he is a businessman and will be making decisions accordingly. He’s not going to piss away money for nothing. But John is doing his part. The entire internet is blowing up with this show - and people who have no real connection to fashion ARE talking about Margiela out there. People are hungry for true beauty and creativity and invention. Believe me, I’ve heard it firsthand even today at my work - Margiela is on everyone’s lips.

The normalcy of the artist/patron relationship is something that has been lost in the last century, but it actually is so crucial. The world is an ugly place without gifted designers, architects, artists, etc. getting the support they need to produce for the public.

And I will also echo Lola’s comments on John’s commercial RTW work for the house. The clothes are really, really good. Honestly some of the best clothes on the market. And they also do have a very Margiela feeling. Certainly closer to the house’s original spirit than ANYTHING Matthieu Blazy did here.

Anyone can take a look at the website or the instagram and see how inventive, clever, special and flattering the commercial pieces are. Beautiful fabrications, true designer construction and finish and a lot desire factor baked in.

 

[Alquimista]

Yes, the posing was too couture salon, full acting gestures would be better.

I was looking at MM website cause I never saw the boutique clothes and it's quite interesting, it retains the runaway eccentricity but it looks better imo.

The BBL shape is beautifully executed but I don't like it. If there is a designer that can bring back the 20s drop waist, that designer is Galliano, but he choose the boring Belle Epoque/50s Dior esque silhouette.

 

[Deleted member 141523]

Make-up by Pat and I believe the hair is by Guido. That explains what I'm hooked by this so bad. This would have been a sick story for Vogue Unique.

 

[Deleted member 141523]

Hair by Duffy. Sorry. I'm surprised this was styled by Olivier Rizzo, which is behind of the Vanderperre years of Prada.
Full credits:

 

[Cocteau Stone]

Given some extra time, it has certainly grown on me but there's still things that just don't have me persuaded.

Visually, it is like Hans Bellmer's dolls raped absinthe ridden performers of the Moulin Rouge as they've tumbled out onto the streets with nowhere to go. Utterances of his "Homeless" collection from Dior are here, with the stringiness of Egon Schiele's figures dripping with the lascivious nastiness of Otto Dix and Francis Bacon. Ridden with so much wrong rightness.

It's all just too posey. The Freddy Mercury imposter for the live singer, the awkward unconvincing gestures of the models trying their best but really aren't into it (so much arm flailing, like airborne butterfly swimmers), Gwendoline closing and the lot of male models giving too much twinkie chimney sweeper getting Mad Hatter's disease. The references for the collection and allusions to Margiela are so layered and rich, but it really does feel too nostalgic to the point of it feeling rather maudlin.

It is great to have this in fashion again, it's just too tied up in the past and the models aren't entirely helping. I mean, they have Julia Nobis trying to be some decrepit house wife on the 50s prairie tumbling about, and I'm sick of Leon Dame.

 

[tourbillions]

i hope he doesnt water down the presentation too much for the rtw collection this coming season. the last one was already giving me slight old school galliano vibes i think he can turn it up a notch just a bit more for rtw.

i guess the in-store clothes are still too margiela than galliano thats why i have a hard time finding things i want for my own. As I was never a fan of margiela's rtw. Beautifully made but always looked too precious foor everyday use.

 

[xodaphne]

Given some extra time, it has certainly grown on me but there's still things that just don't have me persuaded.

Visually, it is like Hans Bellmer's dolls raped absinthe ridden performers of the Moulin Rouge as they've tumbled out onto the streets with nowhere to go. Utterances of his "Homeless" collection from Dior are here, with the stringiness of Egon Schiele's figures dripping with the lascivious nastiness of Otto Dix and Francis Bacon. Ridden with so much wrong rightness.

It's all just too posey. The Freddy Mercury imposter for the live singer, the awkward unconvincing gestures of the models trying their best but really aren't into it (so much arm flailing, like airborne butterfly swimmers), Gwendoline closing and the lot of male models giving too much twinkie chimney sweeper getting Mad Hatter's disease. The references for the collection and allusions to Margiela are so layered and rich, but it really does feel too nostalgic to the point of it feeling rather maudlin.

It is great to have this in fashion again, it's just too tied up in the past and the models aren't entirely helping. I mean, they have Julia Nobis trying to be some decrepit house wife on the 50s prairie tumbling about, and I'm sick of Leon Dame.

There are very few models today who could convincingly execute the kind of movement Galliano wanted for this show. I think the utter failure of the models is a major reason the show feels maudlin at times.

 

[gallianostan]

There are very few models today who could convincingly execute the kind of movement Galliano wanted for this show. I think the utter failure of the models is a major reason the show feels maudlin at times.

yeah the casting for this was colossally bad. and that includes gwendoline christie.

 

[FashioNarrating]

I get the collective excitement (people obviously love drama & nostalgia, not just in fashion) and I acknowledge and respect Galliano's work as any fashion aficionado, but I have to say that in all its crafts- and showmanship, this is yet again rather historical than contemporary. In that sense, it has even less to do with the house of Margiela than his previous output there - it is signature Galliano, which is great for his fans, but less so for those who expect some Margiela at Margiela.

 

[GoldenPetals]

I wonder what Margiela himself thinks of this collection.