For SS24’s coed show, John Galliano went as traditional as both he, and Maison Margiela, could possibly go. If you were to define the 2020s at Margiela so far, you’d probably think of the Kawakubo-esque silhouettes and the peacock-like colourings. How could we forget SS20’s couture show that took place on a violently pink catwalk? Or the primary red, yellow and blue rubber tabis from SS22? Galliano exploded Margiela, he took the shrapnel and pieced it all back together again, turning it from its leaderless wilderness of the 2010s to heights not seen since Martin Margiela himself in the 90s.

What makes modern-day Margiela work so well is the fact that Galliano wasn’t afraid to make the cult brand his own. There are pieces in this collection that wouldn’t look out of place in one of his collections from the height of his Dior powers. But what is interesting to focus on this season is the fact that he seems to have taken the words “ready to wear” to heart. 

Margiela has always toed the line between couture and ready to wear. Many of the outfits look amazing, but just where and when would you wear them? It is refreshing, therefore, that SS24 was shockingly wearable. The first look out was a shirt, jacket, coat and trousers. The second look was a fairly traditional-looking overcoat. Of course, this being Margiela, the lining of sleeves vomited out the cuffs and it was styled with a pair of dainty schoolgirl stockings with little black bows, but gosh, you could see this being worn casually! 

Naturally, things did get more avant-garde towards the middle of the show. A series of deconstructed dresses that were all patches and frayed edges were accompanied by cardboard lampshade hats, the pieces of sellotape that held them together proudly on full display.

In a way that really sums up the whole collection, the best look was the final one. A black tent dress with the trademark four stitches at the front and white seam stitching around the neckline and hem. The sleeves were adored by large black bows and pockets allowed the wearer to fully hide their hands, allowing for the dress to really display its shape. On foot were a pair of ornate tabi stilettos. It was elegant and chic. Even Martin Margiela himself would be proud.