THAT MAISON MARGIELA FASHION SHOW EXPLAINED (why it made us feel something again)

[Music] hello everybody my name is luk m and this is hotle mode and today on hotl mode we are getting into that maon marel Ure show that I needed to talk about it just took me about 4 months to get to we are fully marel out we got running stitches we got tabies listen I'm even about to spray the replica bubble bath on me we're getting it done I'm wearing Marella actually this sweater is Marella we love it we're going to be breaking down this collection that I think kind of changed fashion so without further Ado let's get into it let's be real that maon marello artisanal collection was the most impactful fashion show of the past 5 years at the very least I know there are a lot of other shows over time that have a deep meaning like that kogel Chanel tribute show or viral moments like the Caper and Bella Hadid spray paint show but this last Oak cure season was really strong and it's the strongest it's been in years between Peter mulier creating a stand out collection based on garments made out of one yarn of 3D knitting Robert one's gory blood embellished soaked bride or Rahul mire's embroidered Circle Styles we already had a lot to feed off of for that whole collection season I was feeling good I was feeling strong I said o listen the content is contenting I am content with the content we the fashion vampires already got our fill of good and great designs that would keep us nourished at least until we emerge from our coffins during the next okur shows but the then something happened that red of the season in an unbelievable and timeline altering way John galano put forth a marelo orano collection in show format which hadn't been done since the spring 2020 show a whole 2 months before the beginning of covid-19 and it was the definition of a mic drop it was a fashion with a you show and we have to discuss it I also do want to talk about gallano as a designer I think he is one of the greats I wouldn't do a video like if I didn't his lexicon of work starting in the mid1 1980s to now is top tier and he has always been able to discover and remix eras cultures costumes and clothing in ways no other designer can and still keep a coherent glamour to this mish mash and yet when is anti-Semitic rant came to light in 2011 his whole world crumbled and I've never really addressed gallano on hunland mode because for the most part I've not done too much coverage on his work unless it was to reference a past collection or in this case our John gallano fall 1994 show review which was more so to highlight the contributions and power that the late great Andre Leon tally held and yet I also don't want to start this review without making my thoughts on his past actions and words clear I vehemently oppose anti-Semitism I think any form of discrimination is the definition of brain rot like you just can't be smart and so I just want to make that very much so clear I also do have empathy for those who are in the throws of addiction and can understand that people may not be themselves due to the addiction but that they are still liable and responsible for their actions so listen I think if you want to get a fuller rounder picture of John galano and the incident I would probably watch the upcoming documentary high and low Jung goano one movie I'm pretty positive that's going to be a much deeper dive into the John gallano Scandal but also his work in general and things like that so that is where I would definitely direct you towards but we're going to be getting into this full collection now so let's get into it marel announced that the overall theme of this collection is the ritual of dressing and how it is a form of emotion and how it helps reflect the inner character we want to portray to the world it is also a marel artisanal collection or artisanal collection but I like the way that John gallano says Artisan because I think it's a fun reference to the fact that art is sometimes anal you never know now in the world of margel that on the label of Marella labels if you did not know of course the Marell label has the label and it has a bunch of numbers artisanal is zero and is in my opinion the most pure form of Marella where the idea of clothing is experimented with and new techniques are developed in order to showcase the craft both unconventional and not to the world which kind of sits really well in the world of O cure even though it's not technically o cure the opening look of the show is this male model who's shirtless wearing only a pair of black wool trousers a page boy cap and a white corset now the model is Leon Dam who has been made famous because of his iconic walks for previous marel shows and is also amused of galanos the movement of this show is very powerful it's alive and Theatrical and really refuses to play into the skullking straightforward emotionless walks we are so used to in fashion shows nowadays and this intriguing walk alongside all the other intriguing Walks from this show specifically is thanks to the movement director whose name is Pat bogus lowski so when Leon runs underneath the P Alexandro the thir bridge tunnel you feel like he's running from something or someone cuz like he was really sprinting and when he stops he takes his really deep G gasping breath like you can feel it that's why I'm moving like this you feel like you're watching somebody that maybe like in fear of their lives or in desperation cuz like why else are you running like that yet once he catches his breath his STS and his walk suggest not Terror or alarm but strength Glamour and kind of a ferocity and do both of these attitudes of fear and glamour have to do with his clothing choices I believe so gallano this season was very inspired by the Hungarian French photographer brasai brasai moved from his Transylvania but now Romanian town of braso to Paris in 1924 and he gave up wanting to be a painter because he was in awe of Paris and in 1931 began to go It Alone documenting what was happening in the city now many of his most famous photographs captured what happened at night in the streets and the underbelly of Paris giving many of the photographs this really hazy dim and seedy setting or subject but brassai documenting of this side of Paris also brought it to light as some of his work portrayed realistic portrayals of sex workers or lgbtq Gatherings and I think the use of lgbtq gatherings is a good segue back into this first look a man in the 1920s and 1930s seen wearing a corset would be well not looked upon kindly even in a city as Progressive as Paris was and is which is why queer people would meet in bars and clubs that allowed them to be themselves brei documenting these places and showcasing early same-sex couples dancing and being together while also showcasing people crossdressing is something that definitely happened but the brilliant thing about brey's work is it never vilifies its subjects rather it just documents them showcasing how even if you don't belong to that world that you could find something in that that you can relate to I have a feeling that Leon's look with the page boy cap the shirtlessness and the high-waisted trousers is based on an image by brasai of a couple dancing together with one in full dress and the other wearing a similar outfit to Leon or a different brasai image where one man stands shirtless but with pants on while his partner wears a jacket with no pants on now gallano has been inspired by brasai before like in his fall 1988 collection and in his fall 2007 collection so this isn't exactly new but the use of male models in this context is I haven't found any images by brasai of men wearing corsetry but there are a V amount of images of women wearing them by brasai but stays which are stiff undergarments which shape the waist that are now pretty synonymous with corsets were advertised for men in the 1890s and there is even a stay for a man from the early 1900s that I've found so it wasn't necessarily unheard of for men to wear them at least underneath their clothing gano's models though needed to train their waist in order to actually shape them to that level of cinchy and I also wonder if the famous Mr Pearl wasn't somewhat of an influence here as well and Mr Pearl the famous corset maker also trained his own waist down to an unbelievable size but this idea of a man wearing corsetry and being in the underbelly of Paris might have been why he began to run and when he felt safe began to as we say give it to the girls in my opinion it is a fantastic depiction of The Duality of being queer the fear of being othered and how that can harm you and also the ability to have great courage and strength that can be demonstrated to the outer world almost like armor and to relate it back to the overall theme of the show well this idea of Reckoning with how you want to portray yourself in the ritual of dressing is both an amazing feeling and can put you in danger the model that followed wore a beautiful black gown in muslin with black shant Tilly lace which creates that almost reptilian Motif across her body as we can see her dress is fully sheer and exposes a big part of her body which when we look at Bai once again we can see his influence an image titled l ntic brel by brasai from 1931 shows the inside of a brothel with a man in full suit dancing with a woman who was wearing a completely sheer slip dress that exposes everything including the crack of her bottom but brasai isn't the only bit of nudity that probably influenced this look as Martin Marella's debut collection for his own brand saw models cover their exposed torsos as they walked out during his first show marel is said to have treated the model's nudity as its own color which he continued to explore throughout his career and he utilized either masks or interesting hair and makeup to further create an atmosphere and an aura for that first show and many subsequently I think we should also discuss the silk satin Centra as it's called by the marshel team which is featured in most of the looks of the show the history of stays and corsets goes back to the 1400s and they have had many different iterations throughout the centuries but this idea of a cinched waste has always been a focal point of each of those iterations Gana further emphasize the stinged waste by adding pris to each of the models thighs in skin tone matching silicone which helped to give all the models this very exaggerated hourglass figure it doesn't seem very 1920s or 1930s but it definitely reads a bit like the Bell Epoch or from the 1880s to the 1910s when women constantly wore corsets and stays which nip the waist but also emphasized the bust as well and I also thought it was rather interesting with the response to the show which was it's too much gallano but many seem to forget that margel from his first show was also into shock awe and a little bit of theater this idea of creating a full look was a margel ISM and often included all kinds of things like wigs made of fur or painting or appliqueing the model's bodies and I think this is a great time to bring up the Dame herself Pat McGrath because as much as the walks the clothing and the models were important to the show the internet went Buck Wild for more than a week trying to figure out how this glossy doll-like makeup was done and I personally watched a whole lot of skin in videos from the models post show as well now I won't get too technical because I can't I know my limits but Pat and her team did create full makeup looks underneath to start and then applied with airbrush guns layers of that glass skin to give it that perfect Sheen and Shine the fact that the models looked wet which is kind of a theme throughout the whole show might also have to do with brasa's method of photographing Paris at night but also in the rain because it would allow his lighting to work properly and get that whole Misty effect that's not really something he chose to do it's something that he kind of had to figure out how to do as somebody learning photography especially at the time during Paris and the way that the light would come out of lamp poost and stuff and we will also discuss in a bit the influence of dolls on the collection but it seems that McGrath's goal like other contributing Artisans was to create a porcelain like reflection effect on the models to give them doll-like qualities and Sheen and when coupled with the hairstyles done by the hair stylist Duffy with discs of frizzy hair it only further enhance the full rainy weather effect and to be completely honest I'm not doing a lot of men's were looks it's just there's a lot to get through but a lot of the men's were looks later in the collection actually have beating that is inspired by the rain and meant to look like raindrops sort of cascading off of different coats and jackets and shirts and things so there is a full rain effect now next up we have to talk about the fact that mine B and John galano do have a very strong collection now for those who don't know meline VI was a designer who began her brand in 1912 and transformed the IDE aidea of clothing making as she worked so heavily with the fabric and the body that she became almost a sculptor of textiles rather than a fashion designer now when VNA was only 11 she was forced to leave school and began working as a seamstress under a dress maker outside of Paris and when she was 18 she then went to work for the English branch of the URI and then became the head of the tailoring atellier for a different designer but when she returned to Paris she began to work under the famed House of kosur where she really learned how to make clothing for women rather than what she called costumes like the male designers such as worth and red f she then was offered a job at duay another famed house where she was tased with creating her own designs within the brand which is where she developed and experimented with her famous techniques like pin tucking rolled hems and of course the bias cut now VNA is credited with the invention of the bias cut and she is the inventor of the use of the bias cut as the main technique of a garment but while she was working for all of these other brands VNA discovered that the bias cut technique was more commonly used for collars and clothing lining but vna's love of experimentation saw her take the use of this cutting the fabric diagonally technique and apply it to the body and have it mold to the body and form around it which gives us these liquidy sexy and sensual silky Creations we've come to know and love now for John galliano's fall 1988 collection he sent a bias cut dress down the runway after seeing a VNA dress but at that point he didn't even know how to construct it so he let somebody else do it and from there he began to master the technique and by the mid 1990s it was a signature of his and still is but it seems that this collection by gallana was looking to highlight some of the Lesser known styles by VNA like her sheer draped chiffon dresses as there were quite a lot of them although one in black seems to be where the inspiration for the first few possibly come from while many might be offut by the idea of nudity in clothing they aren't much different from the naysayers of vna's really early work when she was working for duay way back when in the 1910s and 1920s and the thing is the glies used to be like uh it's like negl we don't really want to sell that to our clients and then VI was like no no I'll just start my own brand bye another interesting tidbit is that for his spring 2003 collection Martin marel himself created a black sheer bodice dress out of old petticoats and I think we can see that vna's works still hold weight even for him to bring back Bai and the Parisian underbelly his constant documentation of of sex workers and their nudity also might be another influence here to help me with the choice of sheer now to bring back brasai and the Parisian underbelly his constant documentation of sex workers and their nudity also seem to be another influence here to me with the choice of sheer yet exposed Fabrics then we saw a horsehair petty coat which is placed on the outside of this gold bias cut dress again bias cut gallano signature and incorporates the transformation of the Garment usually used to create volume underneath a skirt which is the pett coat you know what I mean you put those underneath a big ball gown and it creates that big princess like silhouette I'm pretty positive that this is inspired by vna's Carnival dresses from 1938 who also use petticoats on the outer layers as well as her honeycomb dress wear a similar silhouette appears now we can also see that there are lame dresses from the 1930s that can be found by VNA as well which again plays into this gold dress underneath now the lame dress underneath is made from vintage lame curtains and the idea of upcycling Fabrics or vintage textiles to create something new and modern is a classic margel ISM which he felt gave New Life to these original textiles and pieces and the fact that the dress is made up of old curtains is another reason that I can say to people that say oh this isn't Marella it's just gallano that they might need to rethink that idea from Gallo's 1984 graduate collection from CSM titled let en cbla gallano created coats and waste coats out of vintage curtains he found at the nodding Hill Market which followed in the deconstructionist ways of Ray kawakubo and Yoji amamoto marel did not start his own brand until 1988 so gallano had years on him before he would begin his deconstructionist elements underneath his own label but the fact that marel in 1984 had started working for Jean Paul goer makes me believe that gallano and marel came up at the same time within fashion and both found importance and excelled in the idea of deconstructionism even if theirs wasn't exactly the same I also think we should note that marel did reference the p asked quite a lot like in his spring 1996 collection where he printed photographs of vintage garments onto lightweight jerseys like a 1930 Shetland wool jacket or a 1950s fur coat to give the appearance of those materials while still having the composition and qualities of Jersey and this idea of transformation again it just kind of keeps working throughout these designers work gallano did this collection called The leic Game and he had clothing that was worn inside out or upside down and he also did these things where he had cork like wine cork buttons to close jackets and the thing is Marella's famous sort of cork necklace is a thing so again we need to like understand that these two designers definitely had similar ideas and sometimes one did it first and sometimes the other did it first but they got a lot of similarities now next up we have this beautiful cardigan and skirt style but the thing is there is a VNA skirt from 1925 that features these beautiful swirls rather than moons like the marshel version but even down to the horizontal Fringe strings between the two shapes these STS are very similar and the the marela show happened the evening of the first full moon of 2024 now the way that the model is holding her arms here is again another reference back to mello's first show it's something that you know the models came out kind of holding their bodies like this and I think it's a really interesting stance to keep repeating throughout the show there's also this cardigan as we can see up top that is made out of boiled wool which is what gives it that peeling like texture which nods to the idea of garments falling out of this pristine state which references the Wolves of the Fall 1996 marel collection and also references the fact that marel kind of loves this idea of clothing going through the process of Aging I don't know how much this has to do with anything but I did find a dress by marela from the spring 2003 collection which has a bra that is placed at the exact same spot on the hips that I also thought hm could be could be a sign but this is one of the Great Looks I love it I thought it was beautiful now these sheer black dresses with some sort of opaque slip underneath isn't really common from VNA cuz it's something that we saw from this example from 1939 but there is a different version that does have silver embellishments across set that create a wavy Motif throughout which was also done by VNA back in 1927 now we should also note that Martin Mella himself loved to entrap Fabrics underneath different sheer Styles I mean his fall 1999 collection had these blanket coats with sheer outer shells that you could see the sort of stuffing underneath that showcase what was going on underneath these big blankets also there are just a lot of marel looks that most definitely have sort of sheer panels over top of other garments it's something that he was doing really really early on in his career so again there is a lot of Marella here it's just more glamour evening gallana now another rather highlight of this margel artisanal collection was the use of plus-size models who during the whole okour season were virtually non-existent except for Simone R's collection for jeul goti okur now here we have the model Colette conzo who wore this black peeling cardigan with the marel signature pose of the crossed arms hugging herself the cardigan was tucked into a silky beige underbust corset which means that the corset doesn't actually cover the bus and attached to that corset was a beige tool skirt that in an inverted v-shape like this it was full of black layers of tool that created this sort of flowing effect now the corset is something gallano has explored of course but marshel himself also acknowledged the corset in his own way he did deconstruct vintage 1950s ball gowns in his spring 1991 collection and he did it because the ball gown's bodices were too tight for his models to wear due to their built-in corsets so he slit them vertically down the fronts and backs create a range of tops turning evening wear into day wear and while not necessarily a corset one of maral's most iconic designs is the Stockman jacket or waist coat based on the o cure mannequins that used linen and the printed semi cure text to convey a central piece of the O cure process now I think that the use of the 24 metal hook closures references the Advent of the hook closure corset in the 1800s which allowed women to put their own corsets on by themselves for the first time rather than needing someone to help them lace them up marel could have put a zipper or buttons on those Stockman jackets when he first showed them yet he chose this form of closure and something about that nods to the history of corsets in my mind now idea that marel was referencing the corset definitely comes in because I B this book called visions of the body fashion or invisible corsets which is a catalog from 1999 about fashion exhibit about corsets and guess what's in there the marel Stockman jacket so if this whole book is about corsets why would that be in there marel in that same collection though added knit tops Cardigans and sheer fabric over the Stockman jackets which are all things gallano in this collection pairs with his underbust corset now the last bit I want to discuss about this look in particular is the tool waves appli to the skirt which looks similar to a kosur dress named Le or Le or the trap in English from 1935 and remember VNA did work for katur but in this case she had already started her own brand by the time that this dress was made reference on reference on reference another cardigan skirt combo is what we'll discuss next as this time a pilled gray cardigan is paired with a bugle bead embellished skirt in black and silver that like the other embellished black and silver dress are based on a Moonlight r and now I know people are going to be like that's not even maral like what who would never do sequin like that it's not cool it's not minimal it's not sh but for the spring 1996 collection when marelo was inspired by vintage Garin he would take a photo of a sequined dress and other vintage garments and he would print those pictures onto different pieces of Jersey as we mentioned earlier but he actually took a picture of a sequin garment and printed it on a jersey skirt on the runway it was paired with a sheer printed shirt but it was also sent out solo by itself with the model covering her chest with only her arms just like the model pose of this show and like the first Marella show that Marella ever did the new version of the skirt is quoted by the brand as being quote part over printed which is rather interesting as overprinting is a design technique where you print one color over another so like that look from 1996 this one is definitely printed on but galano and Marella's love of em m is there it's just done in the original more traditional sense then a velvet green bias cut dress with what gallano has dubbed his fabric sequins appeared on the body of model Jill Court Levy who is one of the most prominent plus-sized models currently working now I think this dress is a testament to the beauty of a curvy body and while I don't think women should have to have an hourglass shape to be deemed beautiful can't help but notice how Magnificent the bias cut clings to court Levy here and how the technique when mastered is impressive now referring back to the bias cut I think we should mention that one version of the marela Stockman jackets did have a bias cut drape along one side of the bus and I think it's per to know that margel when studying in antp took a draping class by hon pess who worked with Uber dongi as a pattern cutter and began to learn about the techniques there I'm not sure if Martin margel himself ever noted his Recreation of VI's technique but gallano here weaves all three designers together once again also let's discuss the fabric sequins which are essentially holes cut out of this green velvet but not completely so they do expose the body underneath but remain attached to the dress and flap just like Pet's would now obviously we have mentioned that Marella's use of sequins is a thing but this idea of fabric being cut and exposing what was underneath is also a signature his fall 1990 collection saw felt dresses that were slashed to look like packing paper with vertical slashes which clung to the model's body they stretched and moved when the model did and the fabric sequin seemed to be a take on this mixed with cutout whole stockings there was also the time that he cut fabric out of jees and then applied these sort of fabric sequins to the denim later and then also when we paired this whole thing with Marella's use of iridescent Petes from the fall 2000 collection it seems to be a culmination of all of these Marella techniques from gallana now the first skirt suit that emerges from the show was made of white foam and that helps to create this really bulky silhouette but of course has a tight fitting corset underneath and like almost all the women's looks from The Collection silicone prosis helps to build up the hip and thigh area to have a wider proportion over the top of the foam is this black lace which is coated to give that light reflective glossy effect and a matching disc-like hat as well as handknit stockings that are purposefully patined to look as if they've been ripped at the knee only further envelops this full essence of the look now gallano has said in the past about his marala artisano collections that for is the way that fashion evolves and while these oversized Styles might not be taken on by the everyday person they certainly change our perspective of the way the body can look and still be considered appealing I think it's also important to note that Marella's own spring 2000 collection took a look at oversized proportions by expanding clothing to very oversized volumes as well that collection was a real shift for the margel brand and when we look at it not only were the clothes big but the model's bodies were decorated whether it was painting their arms black were covering their throats and legs in sequins and there was just a little bit of theater to it this is something that many are saying gallano is overcompensating for when it comes to his Marella shows but it was a thing by Marella something that I also read is that the model Christina dink wore a red top over an oversized white slip dress with lace and the Shadows that cover her legs or at least what look like Shadows that cover her legs are actually painted on in Black Marella did play with slips and negl often cycling them into other pieces like tops and so I wonder if that is where gallana was looking when it came to the black floral lace Motif we see here as well now I know I haven't talked about the menwar really and to be honest with you I really won't be expanding much on it just because like this video will truly never end but I just have to say that this look this beautiful little look with the exposed seams and the black trousers underneath need would die in would be buried in and now back to our regularly scheduled programming another foam skirt suit emerges and this time we do see the black glossy lace skirt but the jacket that the model wears is in white foam with a rather tight bodice but oversized and bountiful sleeves and it's miraculous especially when we see the black stocking like material that is tattered and torn and webbed over the jacket again and again and almost becomes a form of draping of its own see I think of it almost like the fake spiderwebs we Americans put over our homes and foliage to celebrate Halloween and while this might be a stretch there is a VNA spider dress from 1927 which when looking at the theme of this collection being partially about the creatures of the night and how they dress a spiderweb isn't too far out I also think this idea of the stockings whether webbed across the jacket matching hat or the tattered and torn layered stockings on her legs returns back to this idea of reverse swatching by gallano which came about in his fall 2018 artisano collection for maala the Marella team coined the term reverse swatching or the moving backwards placement of something on one's skin for the collection to explain the way that they would drape fabrics and garments like stockings belts and Linings as the main feature of a garment rather than something to be hidden just like VNA and margela had done before gallana Marella's exposure of seams darts and seam allowances became something he proudly exposed and it also gave those not in fashion a little more understanding of what the technical aspects of their garments looked like and so I wonder if gallano webbing these stockings over the foam of the jacket is once again again revisiting that reverse swatching as Foams are very rarely seen as a Chic material to expose I don't think foam ever really feels good I don't like to touch it so when foam is exposed underneath something it's usually seen then as defunct as broken as no longer complete when stockings rip and tear they are seen as disposable seen as something you should throw away which Marella did play on when he cut circular holes in model stockings for his spring 2006 collection not only does gallano inject his sense of proportion but he does weave multiple margel isms as well as some VNA isms into this look too all while creating this hauntingly individual and unique look continuing on our skirt suit Journey we see this gray Tweed skirt suit which once again has these exaggerated proportions thanks to the Unseen corset and prosis but this time it's not only the undergarments that shape the wo but rather a new technique developed by the margel team too it's called R it's where Tweed Fabrics made up of wool are combined with glue and fine wool crepe and then boiled and when they are boiled they shrink which is natural in most Fabrics but these elements help to shrink the style into a specific shape now we can see that on the jacket that creates this very interesting texture at the lapels but also around the waist which looks ruffled or wave like which the marel team wanted to have create a coet like shape or effect like a heart very into the coet core I guess over at Marella now the use of the gray and the fit of the skirt and jacket in that wasp waist way reminds me a lot of chrisan Dior and how gallano played on dior's lexicon during his tenure at the brand as well as at his own brand we should also look at what sits underneath the jacket which looks like a piece of porcelain crudely tied with string around the model's neck now listen the porcelain shocker is actually leather which not only brilliantly ties in Marella's own love of trump Loy effects but also Taps into the creative Community aspect of how margela put together many of his shows this porcelain piece was made by Robert Mercier who I think will go down as one of the greatest textile Craftsmen of the 21st century as we've come to know and love his avangard leather works leges and day is Bal M dress or the scaparelli cone bra but this porcelain leather technique is truly astounding merer has said it took months of research to make and is not a process he is willing to share which kind of seems to be a bit of a theme for the contributing Artisans of this collections the same with Pat McGrath and Duffy and Robert as well listen rightfully so but as for why why it's even there in the first place well galona wanted to tap into the relationship of artists and their anatomic lay dolls and to clarify those are the wooden figures whose bodies you can move and pose now the modern wood lay dolls that we know are not really gendered but this example from the early 1600s shows how artist versions back then were more accurate to the body and also kind of creepy and the version we're looking at seems pretty beat up and could possibly be another inspiration for the ripped tights appeared with this look and another similar skirt suit listen quick tidbit wooden lay dolls have been recorded as being around since at least 1461 but in the 1680s mannequins were said to be small wooden anatomical figures and considered one of Marella's most famous pieces is based on the mannequin of the fashion industry and his fall 1994 collection did recreate clothing found on dolls and size them up to fit real people including a white bib likee top that seems almost like the porc and leather breastplate I don't know I feel like there's a little bit of a ref going on there but to go back to Robert Mercy's little porcelain moment it's so crazy that you look at that and you think oh it looks almost like it's been glazed in a Kil or something it feels almost like a piece of ceramic and the fact that it is leather is so wild to me and again I just love this idea of incorporating other Artisans into the work of margel because that is something that Marella himself did often times he did work with other designers and other creatives to create certain things that he himself couldn't always make I think that's what good designers do we then were treated to a cape with a nipped waist and exaggerated hips that flared out under the model's arms looked like it was made out of corrugated cardboard now the marel team has called this technique Cass setting which I thought really had to do with a cassette tape I Googled it and I found out that the picture that showed up was of cupcake liners those fluted ones you know they have the little ridges in them now the process of cting uses silk organza and kralin and those Fabrics are riged and grooved to make them look like Cor ated or fluted cardboard iners but this isn't the first time we've seen this from margel gallano debuted during the fall 2018 artisano collection but this season there was also the addition of motifs carved into the cassette cape and it was a nice tie into the slashed corrugated packing paperlike dress for Marella from the fall 1990 collection as well as a look from gano's 1985 collection titled liic games that we mentioned earlier where corduro and jacket Linings were turned into a crop Blazer and skirt and in the spirit of packing the handbag the model wears is rather amazing too not only is the bag held by gloves that are made to look like beaten up old lay dolls hands which are a feet unto themselves but the bag is a cassett version of the maon marel snatched handbag which debuted during the Spring 2019 collection but this cassette version also has pieces of packing tape coarsely stuck across it probably to hammer home the packing feeling now I will say people that work in fashion do deal with a lot of shipping it's how Brands send their product shipments it's how Brands send and receive samples for for photo shoots and celebrities and so much more and I think it's Galla's way of showcasing a behind the-scenes aspect of the modern fashion process but there's also marela Tha in here as well as for the spring 1993 collection Marella used clear tape as a belt that tightly wrapped around the model's waist and created an exaggerated silhouette corrugated cardboard was also doodle on by real school children for the invite to the Breakthrough margela spring 1990 collection 2 there's a lot going on here it's a hot girl look I would love a cassette a cape thank you now we then saw two dresses that were both sheer with two different colorful and artistically anatomical motifs running throughout them both of the models wear these sheer tool dresses but one is colored in this gorgeous palette of Pinks and mky greens and blues that can sometimes blur into black while the other is a mixture of orange and black that illuminate a torso Motif that then Fades to black as it enters the skirt region now the marshel team has called this a bwire colored tool which at first I couldn't quite grasp but the word budoir comes from the French to sulk or to pout and goes back to the 1700s referencing a woman's private dressing or bedroom now I assume that the bwire usage is to play into the sheerness of the dress that also create the color Strokes that depict certain elements of the sheer and nude body but I also wonder if there is an element of makeup history embedded there as colors like oranges pinks blues and purples were common place in the world of makeup at the time now again that might be a real stretch but I do wonder if there was some element of makeup influence coming through especially considering Pat McGrath's absolute showstopping makeup looks in the actual collection but the dress colors aren't the only elements of intrigue their draping are a technique that is called aquarel by the marel team which is draping based on the way that painters work in watercolors and with the constant alluding to painting and art I think the coloring of the tool also might be influenced a bit by that as well now the darker version does seem to have painted on breasts and nipples too which is rather interesting considering the look are sheer and so it's this idea of Marella's own Trump ly subtly sneaking in as well but you actually have like the real thing underneath there's also mentioned by the margel team of the early 20th century artists keys van dongan who was one of the faist who were artists that emphasize bright and vibrant colors in their work now I can see again that there is a hint of Van dongan palette in these pieces as well and now as for the knees and the hip details of the skirt they are rosettes and petals that are applicate onto the pieces and create this beautiful sense of handcraft the rosette version in particular stands out to me but we can also see that hats are present as well as hand embroidered masks which create facial Trump Loy effects and relate back to Marella's debut collection which included masks on the model's faces and we because something he experimented on and off with in order to draw Focus to the clothing he presented rather than Which models were walking we can also see a merkin present and now I know you're looking for a handbag of some sort Merkin Burkin but now now many will probably find it quite crass I get it which to be honest coming from a male designer the idea of showcasing pubic hair underneath a sheer dress cuz that is what a merkin is the reaction seems pretty reasonable to me but galano is referencing a historical object called the Merkin that came about in the 15th century when the idea of full pubic Bush was highly desired and fashionable but also when lice and civilis caused many to have to shave their pelvic region for health and safety reasons and from there people would create pubic wigs with real human hair in order to create the illusion that they had such hair to spare listen the girls had extensions for the nether regions to each now as for why gallano chose to portray the Merkin well I think it might have to do with his mixing of different time ranges but I really can't be sure I just wanted to tell you that there is a merkin it exists and now you have to deal with that you're welcome we then saw a coat in a dark gray wool with of course a wasp waisted nip and white running stitches that went down the hole of the front the exposed Stitch is what is really rather lovely here and again it might seem a bit on the nose of marel deconstruction inside on the outside yada yada but it is a technique that marel himself did make for his own brand for the fall 1997 collection marel was still looking at the idea of the process of clothing making as something to be presented rather than hidden away so the white loose threads that would be a placeholder for darts and seams later were left instead of cutting them away like they historically always have been once again showcasing the process as the product but for those that know most marel garments actually have these four running stitches on them I mean this sweater this sweater you'll find them on almost every margel garment and in reality they have historically been meant to be cut away but they've also become now a status symbol of the marel wearer to say if you know you know so white stitches very much so a margel ISM we then saw a black dress covered in sheer circles that left just a sliver of fabric covering the body but made the Garment partially transparent of course there's a ni waist and the prosis underneath exaggerating the hips and the thighs the Gathering that gradually moves up the waist now the dress also has a bit of a fly away Cape towards the back and actually exposes the back as well underneath now the circles as previously mentioned is something seen in the spring 2006 collection when margel cut circular holes into stockings but also showed a blue and white polka dotted dress but Gano has taken the polka dot Motif one step further by inventing a technique called the roar shock dotting which has cut figures into clothing with the expectation the audience will see something all of the famous psycholog iCal test that uses ink blots as a medium to convey what the subject sees and what is coming to their mind when they see certain shapes and figures called the roar shock test now I believe that the looks polka dots are meant to Showcase moth holes but again it's up to each person to see what they see but is somebody that likes a deconstructed marel piece here and there the moth holes is what I'm kind again three blue and white striped dresses Then followed with beautiful figures in light and Airy cotton Poppin the use of this fabric will be perfect for spring and summer but what is even more perfect is the exacting and taxing execution of getting those stripes to line up on the bodice waist skirts and sleeves of those dresses to get the tight tight tight Stripes of those corsets or the bust area to fit perfectly and blend perfectly with the wider Stripes of the rest of the shirts and the dresses is amazing and it's a technical feat and almost like embroidery or hand painting something it's a skill that takes a lot of time and effort to really understand and then perfect I should also know not that the Spring 2007 Marella collection saw marel utilized Stripes which he remembered as hideous patterns from store windows in his childhood and recreated them in dresses now these gallano versions are much more dramatic in silhouette and one has a sheer pett coat with panels of gathering layered over top of the skirt to further differentiate itself but I think we should also notice that the 1930s did love a bit of striped we can see it across the fashion industry and while VNA might not have had as tight of Stripes she did do quite a bit of pin tucking in her work which gallana was done throughout all three of these dresses and we can see it Loosely done on the bust but also the skirts again weaving in all three of these designers now the finale look was worn by gwendel and Christie who is no longer a stranger to closing out theatrical fashion shows and so to see her in another blue and white striped C keeps this idea of the beautiful stripes and pin tucking we've been looking at but her look is also composed of a silicone bodice piece that is what I'm going to call seeping off of her onto the skirt which to be fair is something that marel also did as as we would see items like stockings stick out from underneath coats and dresses or there's a cardigan that looks like it's falling down underneath the model skirt from Fall 1998 The White Silk taida helps to add a fullness to the skirt which was a silhouette that we saw in previous looks and the white lub vuon collaboration heels with torn stockings both on Christie's legs and on the heels of the shoe added that webbing effect we had seen throughout the show I know I waited a little long to discuss the collaboration of Marella and shoe designer Christian Laton but I actually think it's one of the most subtle and yet most brilliant collaborations of two fashion brands of all time I get that sounds dramatic but the importance of a red sold shoe to both Brands is really so clear and the fact that it has been such a not discussed part of this whole show is atrocious so we all know Christian lb Vuitton and his red bottoms they're these gorgeous red lacquered color and they were saying about by you know cardi B and everybody bought them in the 2010s everybody loves them and they're actually based on the fact that Philip Deon the younger brother of King Lou the 14 once found his shoes covered in red after a walk and decided it was so beautiful he went home to cover the red of his shoes soles in the color too the trend caught on and even his brother Louis the 14th began wearing such red heeled shoes which in many portraits are visible and eventually became only something aristocratic people could wear that's called a sary law in case you wanted to know the girl said no no no quiet luxury but it's red and so then the idea of red sold shoes became a symbol of wealth and royalty even after the line of Louis the 14th was executed but in 1988 during Martin Marella's first show he produced the iconic Tabby a shoe that we've seen played on again and again not only from marelo but also from gallano it's based on the famous Japanese Tabby shoe which has a split in between the big toe and the rest of the toes it's very iconic we love to see it but during that first show Marella covered the bottom of his leather tabies in red paint so as the models walked they left on the white canvas Runway their Tabby footprints which would be used in later collections to make clothing but this use of the red paint that exposed the split toe would make the margela Tabby a signature of the brand and a hero product that still to this day is beloved and also equally despised but it was something that really was a lasting visual from that first margel show now in 1992 Christian Lou Vuitton decided to use nail polish to paint the bottom of one of his stilettos red out of the blue and became instantly enamored with the technique and then he decided all shoes would have red bottoms and from there the lubaton has become a household name so to see gwendell and Christie wear a pair of these red bottom tabies weave together the history of both of these brands in such a wonderful way alongside the history of royalty wealth and the line that sort of built and made sure to immortalize luxury fashion which is Louis the 14th the Sun King I'm not saying you have to like him you don't but what I will say is he did what he did which was make sure that France was a luxury fashion exporter for the next however many hundred years I also can't get over how much gwendel and Chris's makeup and Goldie Locks like hair really emulated this idea of a little porcelain doll that had come to life and the idea of the doll is so important to this collection overall but Chrissy closing the show out as a real life Recreation of this imaginary yet broken doll feeds this rather somber yet joyful feeling of the whole collection and that is the end of this little review to be honest I think this will go down as one of the greatest fashion shows of the 21st century and you're probably asking Luke why I believe this show reset the standard of what a fashion show should look like and at the same time legitimize the trend of viral fashion shows that have become seen as trashy or gimmicky but it legitimized it in the sense that you don't need to have a gimmick what you need to have is a wellth thought through collection that you took time and effort to build not only in terms of the narrative and the storytelling but also in the fact that you understand the garments that you are making and are able to build new techniques new Styles new ways of innovating on clothes on top of that utilizing different Artisans whether they're hair and makeup artists to really go for a characterization to really build their own storytelling and their visual impact as well as getting people like movement directors to make sure that your walks are not just models skulking down the runway and matters that they don't really care about and also making really cool artistic interpretations of different elements like porcelain Leathers or silicone jackets the thing is well yes I explained a lot of looks in this collection we could have all done without me making this video and still all enjoyed that experience I think that is what makes that show so good is you could go back and you could watch that show and you could listen to Adele singing the hometown song and you could watch those models walk and you might not know anything about brasai or VNA or margel or gallano and still feel something still feel touch still feel like there was a little bit of fantasy a little bit of Storytelling that you could build your own narrative around that to me is what makes that a show I love all the other designers that we talked about I think they're great I think they're wonderful and yet they don't do that they don't build a show set and a show stigma and a show Aura and atmosphere and weave in all of these historical techniques they don't do that and that's the problem a little bit now is we don't get that excitement it has a lot to do with money it has a lot to do with the fact that young interesting designers aren't given the ability to do those things but it also has a lot to do with the fact that a lot of young designers they don't want to fully go for it because they want to sell and they want to make money and I understand that too but if we're looking at why and it's the same thing with the big Brands as well a Dior a Chanel all those things having an okure show Al Chanel and having just a big button sitting above you wow how inspirational now that is why the show is so important is that for the first first time in a long time we've been looking at these viral gimmicky shows like the spray paint show or you know the girl that rips the tablecloth off of table and it's her dress but it's the first time that a designer who is a legitimate designer respected by just about everybody in fashion is putting together a show that really made us all feel chills even if we weren't sitting there I think that is the definition of a perfect fashion sh I hope you guys enjoyed I'm sorry this took a long time to make but I wanted to make sure that we really did and gave it the importance the justice and the historical understanding that we needed to so please let me know what you guys thought in the comments down below I'd love to hear your thoughts and opinions we'll see you guys on the next video and TC y l

Channel: HauteLeMode

Views: 159,649

Keywords: fashion, margiela, john galliano, martin margiela, maison margiela, tabis, louboutins, history, fashion history, galliano, alexander mcqueen, hautelemode, gwendoline christie, pat mcgrath, makeup, margiela makeup, margiela show, margiela fashion show, vogue, vogue margiela, pat mcgrath makeup

Id: 0JiS1WgQYs8

Length: 48min 40sec (2920 seconds)

Published: Sat Apr 20 2024