Once upon a time there was Martin Margiela, and he had an aesthetic potential of such a scale that it would be enough for all his successors at the head of the name brand, and for students scattered around the leading fashion houses, such as Demna Gvasalia, who tirelessly quotes his teacher and confidently wears the laurels of the most influential designer of our time, and even to long-running museum retrospectives such as the Palais Galliera fashion museum expected at the fashion museum.
The only question is how to use this aesthetic capital. For example, John Galliano used it as his second chance. After several years in disgrace and the first careful attempts to fit his deconstruction to the stencil of Margiela, last January Galliano finally rightly snatched the longest applause of the season, collecting all the canons of Maison Margiela in one bottle.
It is impossible to hit the jackpot every time, so in February we again look at the endless holes we have already seen - of such size that only a "skeleton", or frame, in the form of strips of fabric at the places of the supposed seams and fasteners remains from the baggy voluminous coats-parachutes and bombers … Only without the bonus in the form of tulle portraits of the Canadian Benjamin Schein, hovering around the body in smoky clouds. The new collection is again a sketch of things turned inside out and disassembled into details, painted with markers. The collar of the coat here seems to float in the air, trench coats acquire a neckline, dresses pull trails of loose threads, bags find their place on the head, but silver hooves are clattering as loudly as ten years ago.