Galliano, 32, is less about where fashion has been than where it should be going. Yes, his spring ‘95 collection is structured, too. Yes, he draws from the past– in his ease, the early ’50s. But Galliano’s clothes–especially his jackets with peplum waists and sculpted bosoms–embody an intelligent sophistication that goes beyond copying the past or following the herd. “It’s kind of a Disney World view of Dior,” says Richard Martin, curator of the Costume Institute at the Metropolitan Museum of Art. “It’s better, bigger than the real thing.”
Not bad for a guy who used to send models down the runway with birds’ nests in their hair. In the mid-’80s, when Galliano started out in London, he often confused beauty with the bizarre. Despite his innovations- he was among the first to turn out bias-cut gowns–he often trivialized his work. In 1990, Galliano opened a maison in Paris and acquired boosters in places like Women’s Wear Daily and Vogue. And though he didn’t abandon his wit, he concentrated on his wisdom. “I decided to stop listening and do things my way,” he says.
Galliano’s impact will take time to measure. He’s now mentioned in the same breath as Vivienne Westwood and Valentino and as a possible successor to Hubert de Givenchy. And his sales have tripled in the last year, though they’re still under $10 million. Still, with prices ranging from $800 for a camisole to $4,000 for an evening dress, few women can afford him. His real influence is likely to come as other designers-in other price brackets-emu-late his clothes. The designer shrugs. “I’m just a dressmaker.” Yeah, right. The way he’s going, Galliano sunglasses can’t be far off.
