John Galliano has designed for not only his own label, but powerhouses such as Dior, Givenchy and Maison Margiela.
Galliano left Maison Margiela in December 2024 after a highly successful 10-year tenure as creative director.
Last month it was announced he would be joining the Spanish brand Zara.
Initiated by Zara’s chair, Marta Ortega Pérez, this deal aims to elevate Zara’s market position, blending high-fashion theatricality with accessible retail.
He is not coming as creative director. Nor to relaunch a line.
He is coming in as “creative partner.”
Galliano will deconstruct and reconstruct Zara’s past collections to create new, higher-end seasonal pieces, marking a major shift in luxury-meets-fast-fashion collaboration.
His plan includes curating and re-designing pieces from Zara’sarchive, rather than starting from scratch.
The first drop scheduled for September 2026.
Thoughts on this???
I love Zara. And I love Galliano. But will I love them together? Only time will tell.
Fashion in 1991 sat between the flashy, colorful 80s and the early 90s restraint.
As the world faced a global depression, loud fashion felt tacky.
Clean cuts and neutral palletes were on the rise.
Cue the early 90s minimalist fashion.
However, Runway shows took fashion on a detour.
The Margiela Spring ‘91 show was instrumental in bringing grunge to the forefront.
The show was held in an abandoned parking garage in Paris.
It featured models in deconstructed 1950s ball gowns.
Dark eyeliner and chunky Doc Martin boots was ‘The Look’.
This first wave of Grunge fashion brought baggy clothing, well worn jeans and your dad’s old flannel shirt.
Satin and lace were juxtaposed with leather biker jackets, tartan plaids and combat boots.
Vivienne Westwood, often called the “mother of punk,” introduced her influential punk aesthetic in the mid ‘70s.
Martin Margiela followed her lead over a decade later and launched his signature anti fashion grunge aesthetic.
The deconstructed garments, raw hems, recycled fabrics, and distressed finishes, set the stage for a rebellious approach to fashion in the early 1990s.
Accessories were huge.
Tattoo chokers and chokers with pendants were common accessories.
Crucifix necklaces, hoop earrings, rings and round John Lennon sunglasses were also on trend.
Celebrities helped push grunge into the closets of men and women alike.
I think we all have a Nirvana band tshirt in the back of our closets, right??
If you know me, you know the reason I wanted to write about fashion was because of Andre Leon Talley.
We both grew up in the South and neither of us ever fit the body image fashion portrays. We both had two strikes against us.
But he never gave up on his dream and neither did I.
His writing style was such that I felt like he was speaking to me rather than me reading a bunch of words. And that’s how I choose to write as well.
I finally got to see his collection of clothing and accessories at SCAD Atlanta.
Talley did not attend the Savannah College of Art and Design(SCAD) as a student.
However, he was a long-time friend, mentor, trustee, and collaborator with the institution for over a decade.
He curated major exhibitions, mentored students, and was honored with a namesake gallery at the SCAD Museum of Art.
Here is the famed “Sleeping Bag” coat designed by Norma Kamali.
His incredible accessories.
The Yves Saint Laurent turban.
This unique necklace with Diane von Furstenberg zodiac key charms attached really inspires me to duplicate this look!
His Louis Vuitton Monogram Steamer bag was featured.
As well as his Vivienne Westwood straw hat.
I can’t believe I was this close to his Hermès Haut à Courroies bag.
I remember wanting this Dior bag so bad because he carried it.
So much glorious texture.
This man never wore a boring outfit in his life.
The Dapper Dan pieces really made me emotional. Knowing how Talley played a significant role in validating Dapper Dan’s influence on fashion and helping bring his work to the mainstream luxury.
Some of my top picks from the exhibit have to be the Chado Ralph Rocco silk screened pieces.
Photographs dotted the walls with memorable moments with fashion powerhouses.
You know I loved this leopard piece!
They say when people die, their spirits sometimes remain with their prized possessions. His spirit was in each room I entered. I will treasure this experience forever.
Minimalism has never been my fashion style of choice. In fact, my approach to fashion is ‘More is More’.
At the moment, everyone is going wild over Caroline Bassett Kennedy and her 90s minimalist fashion.
With the recent series ‘Love Story’, fashionistas are clamoring for the clean lined look CBK was known for.
No one did minimalist fashion like Caroline Bessette-Kennedy.
Being a fashion publicist for Calvin Klein, she had an eye for fashion.
Her wardrobe was primarily Prada, Helmut Lang, Jil Sander and Yohji Yamamoto.
Most of her coats were Prada.
She was known to wear Manolo Blahnik shoes, before her polar opposite, the fictional Carrie Bradshaw, made them famous.
Prada for day, Manolo Blahnik for night. Practical boots, loafers, and sensible kitten heels from Prada were a huge part of her daytime looks, switching to Manolos when the occasion called for something more formal.
She is often associated with the plastic headband. She was frequently seen wearing a thick, tortoiseshell version from Greenwich Village apothecary C.O. Bigalow.
She always wore oval Aldo shades from Selima Optique.
The brand later named a pair, the Carolyn, in her honor.
CBK primarily carried a black or tan Hermès Birkin 40, a black Prada Spazzolato tote, or a black Prada nylon shoulder bag.
She also carried a black Kelly 25 and sometimes used a black-trim L.L. Bean tote bag.
While I will continue to lean toward my maximalist lifestyle, I can pause for a moment to admire her ‘Old Money’ sleek style.
I was fortunate to catch the Viktor & Rolf exhibit at The High Museum Of Art in Atlanta last weekend.
It was much larger than I expected.
For more than twenty years, Viktor & Rolf have challenged preconceptions of fashion and bridged the divide between fashion and art.
Room after room was filled with over the top couture.
Viktor & Rolf is a Dutch avant-garde luxury fashion house founded in 1993 by Viktor Horsting and Rolf Snoeren.
I associate the brand with bright, cheerful florals. However, a huge selection of white on white was shown.
Viktor & Rolf use white as a defining, sculptural, and conceptual tool, often transforming the color into art-focused, avant-garde couture. Key uses include the 2016 “Performance of Sculptures” collection with Picasso-inspired Cubist forms, the 2018 “Immaculate” 25th-anniversary collection, and reinterpreting the classic white shirt with exaggerated shapes and dramatic, structural ruffles
Viktor & Rolf also use text on clothing to blend high-fashion couture with social commentary, irony, and popular culture.
Their iconic 2019 “Fashion Statements” collection featured voluminous tulle gowns with bold, slogans like “No photos please,” “Sorry I’m late,” and “Give a damn.”
There was alot of comments overheard about the creepy doll room.
As a longtime doll collector, I got it. And I loved it.
Their use dolls is a recurring, deeply conceptual, and surreal motif that bridges fashion, art, and childhood fantasy.
They utilize dolls to miniaturize their archive, mock the fashion system, and explore themes of control and femininity, often replicating iconic garments in one-third scale.
This isn’t a new concept.
Antique dolls originated as “fashion babies” in the 14th trough the 18th centuries, serving as miniature, 3D mannequins to showcase the latest European trends to affluent clients.
These early dolls, often made of wood or wax, traveled between courts and cities, acting as influential tools for designers to display intricate fabrics, styles, and, later, as toys.
Viktor & Rolf bring that old world concept back with their collection.
Their use of florals blend intense femininity with edgy, rebellious, and avant-garde designs resulting in a Baroque, yet minimal feel.
For more than three decades, Dutch fashion artists Viktor Horsting and Rolf Snoeren have explored the connections between the worlds of haute couture and art.
Dimension and texture are predominate in their couture collection.
These bows had me in a choke hold.
Seeing the pieces in these photos in real life was such a remarkable experience.
Of course there was a nod to their popular fragrance, Flower Bomb.
I’m so thankful to High Museum Of Art for this once in a lifetime opportunity.
Living La Vida Diva 