John Galliano continues to search for that elusive equilibrium between Margiela’s legacy of avant-minimalism and his own taste for maximal off-kilter opulence. For spring, that balance straddled East and West, male and female, and past and future — but in a Galliano-esque way.
In the show’s first half, his young models — some of them of the effete male persuasion — resembled beehived, begloved, bejeweled opera ladies. But by show’s end, they were decked out like sci-fi geishas, in their shiny, loose kimonos, some with koi beading, but with schoolgirl satchels or bright thick cords in place of obi sashes. Their exaggerated eye make-up gave them a distinct kabuki-meets-club-kid vibe.