The collection was more Galliano than Margiela with invocations of deconstruction — he now calls it “draped-in-haste” — a point of significant fusion.
Galliano fused far-flung references, some obvious (Japanese, Chinese, Yves Klein, his own archive), others arcane and highly personal. And he sourced from around the globe — Chinese mud silk lining, Aran knits, Madagascan raffia, a French tapestry, his beloved British tweeds. He worked them all with incredible technique. There were signature flights of fancy in a green coat with a giant flying buttress collar, the bride in swirls of taffeta and thick pillow rolls of what looked like dry cleaner’s plastic, and in the graphic face paint on some of the models.