on the big screen this week | high and low: john galliano
The enfant terrible of fashion John Galliano is once again in the spotlight, firstly due to his latest collection for Maison Margiela, which was met with widespread critical acclaim, and secondly due to a gripping documentary charting his meteoric rise and his even more dramatic downfall. High and Low: John Galliano is a must watch for fashion fans, but it tells a tale that is fascinating even if you don’t know a beret from a bergère, namely one that explores themes of atonement, addiction, grief, betrayal and cancel culture.
For those new to this story, Galliano rose to stardom in the 1990s as Creative Director for Dior, but from the get-go, the Gibraltar-born and London-raised lad was destined to go down in fashion’s hall of fame. His 1984 graduate collection at Saint Martin’s made waves and, only three years later, he was crowned British Designer of the Year – a title he would hold four times. Less than a decade later, he became the first British designer to head a French haute couture house (Givenchy). Galliano’s work at Dior (as well as on his eponymous label) would make him one of the most lauded and influential fashion designers of all time, but in 2011, his fame turned to infamy and disgrace. He was caught on camera, inebriated and viscous, hurling racist and antisemitic slurs at complete strangers (behaviour he would go on to be prosecuted for), thus ending his career at Dior.
It seems the fashion world is fast to forgive. The same year, Galliano designed Kate Moss’s wedding dress, in 2014 was appointed Creative Director of Maison Margiela, and the documentary is populated with many of his supporters from Anna Wintour and Edward Enninful to Penelope Cruz and Charlize Theron. However, this is anything but a film glorifying Galliano and glossing over his murky past. High and Low opens with footage from one of these racist outbursts, informing the viewer that there will be no skirting around the subject. Next, we cut to a close up of Galliano, in one of several in-depth interviews conducted for the documentary. When asked if he will speak about how he got to ‘that’ place, he responds, “Yeah, I’m gonna tell you everything,” and he sounds like he means it.
Now ten years sober, the designer seems eager to open up, not only about that controversy, but also regarding childhood traumas, the toll his career took on him (parallels are made with Alexander McQueen), alcohol and prescription drug abuse and how the loss of close friend and colleague Steven Robinson further triggered his spiral into self-destruction. Leaning in and staring unflinchingly into the camera lens, he appears candid and genuine, but his memory of the racist outbursts is somewhat blurred. He concedes when he is corrected in thinking there was only one.
It’s also worth noting that Galliano had no editorial control over this production, and not all the commentators are 100 percent complimentary about him. We hear how he would descend into drinking and depression after each runway success; how he began to say unkind things; how he once occupied an elevator at The Ritz for four hours, naked and growling at guests, claiming he was a lion. We hear from Philippe Virgitti, one of the victims of Galliano’s verbal attacks, about the ongoing effect it’s had on his life. But we also hear how Galliano taught a young Kate Moss to walk, how Naomi Campbell wanted to be part of his ‘magic’, and how a boy from humble beginnings became the ‘King of Fashion’ (and helped to turn high fashion into a multi-billion-dollar global industry), all through sheer talent, passion and hard work.
High and Low neither condones nor condemns, and this can be attributed to a director who is an outsider to the fashion industry and neither adulates Galliano, nor suffers from the disappointment of a disillusioned fan. Academy Award Winner Kevin Macdonald has not only made gripping documentaries, but acclaimed feature films such as The Mauritanian, The Last King of Scotland and Touching the Void, and you can tell. Just shy of two hours, the run time might seem a long watch for some cinema audiences, but it’s pacey and the editing is tight with not a single second wasted. Of course, it’s a visual feast with all the footage from the catwalk and backstage, and the cast of characters is compelling, but it’s also funny, poignant and leaves you questioning whether it’s okay to feel totally conflicting things about the same subject.
“I was interested in making a documentary about what happens when you do something utterly unacceptable; how do you find forgiveness and redemption? Should you be forgiven?” says Macdonald. “I intended this film to be thought-provoking and nuanced… it’s been fascinating to see the differences in opinion from those who have watched.” Well, there’s only one way to form your own opinion… Go and see it.
High and Low: John Galliano is in cinemas in UK, USA and Ireland from 8th March.
3/4-length cashmere coat. Marinella
tailored trousers. Cellar Door
cardboard hat with newspaper cutouts. Stylist’s Own
3/4-length cashmere coat. Marinella
tailored trousers. Cellar Door
cardboard hat with newspaper cutouts. Stylist’s Own
Credits
No unflattering angles here in this Schön! editorial photographed by Guglielmo Benassi with art direction and fashion by Giulia Santoro who styles Luca Miceli in looks by Marinella, Cellar Door, Polo Ralph Lauren and others.
cardboard hat with newspaper cutouts. Stylist’s Own
opposite
3/4-length cashmere coat. Marinella
cardboard hat with newspaper cutouts. Stylist’s Own
cardboard hat with newspaper cutouts. Stylist’s Own
opposite
3/4-length cashmere coat. Marinella
cardboard hat with newspaper cutouts. Stylist’s Own
Credits
ribbed crew-neck tank top. United Colors of Benetton
parachute trousers. Stüssy
lace-up boots. Timberland
ribbed crew-neck tank top. United Colors of Benetton
parachute trousers. Stüssy
lace-up boots. Timberland
Credits
polo shirt. Aelfric Eden
denim shorts. BDG
rubber boots. MSCHF
polo shirt. Aelfric Eden
denim shorts. BDG
rubber boots. MSCHF
Credits
classic long-sleeve shirt. Dolce & Gabbana
pinstripe wool suit. The World’s Best Cloth by Carnet
leather derby shoes. Paraboot
silk tie. Claudia
opposite
classic long-sleeve shirt. Dolce & Gabbana
pinstripe wool suit. The World’s Best Cloth by Carnet
leather derby shoes. Paraboot
silk tie. Claudia
classic long-sleeve shirt. Dolce & Gabbana
pinstripe wool suit. The World’s Best Cloth by Carnet
leather derby shoes. Paraboot
silk tie. Claudia
opposite
classic long-sleeve shirt. Dolce & Gabbana
pinstripe wool suit. The World’s Best Cloth by Carnet
leather derby shoes. Paraboot
silk tie. Claudia
Credits
striped woven cotton sweater. Marks & Spencer
short striped cotton + boxers. Intimissimi
jeans. BDG
metallic studded belt. Stylist’s Own
striped woven cotton sweater. Marks & Spencer
short striped cotton + boxers. Intimissimi
jeans. BDG
metallic studded belt. Stylist’s Own
Credits
long-sleeve cotton t-shirt. Stylist’s Own
technical fabric cargo shorts. South2 West8
sneakers + socks. New Balance
opposite
long-sleeve cotton t-shirt. Stylist’s Own
long-sleeve cotton t-shirt. Stylist’s Own
technical fabric cargo shorts. South2 West8
sneakers + socks. New Balance
opposite
long-sleeve cotton t-shirt. Stylist’s Own
Credits
crew-neck embroidered cotton t-shirt. Polo Ralph Lauren
socks. New Balance
crew-neck embroidered cotton t-shirt. Polo Ralph Lauren
socks. New Balance
Since 2002, fashion industry heavyweights have flocked to the ITS Contest founded by Barbara Franchin to discuss who and what will shape the future of fashion. Both Schön! and the ITS Contest share a philosophy of supporting and spotlighting new talent, and we joined the party in Trieste, Italy, to celebrate the ten finalists. Each year brings a fresh lineup of ten emerging young designers keenly attuned to the zeitgeist of their era. This year was no exception, and among those present was a jury of professionals specially invited to determine which designers’ offerings had legs in today’s fashion climate.
Which creatives inspired intrigue? What challenges do they face in today’s industry? How can we support aspiring designers to succeed? These questions hummed throughout the weekend-long event, and we turned to jurors Luca Rizzi, Mark C. O’Flaherty, Serge Carreira, and Tom Eerebout for more insight. As experts in their respective fields, each professional brought their own distinct perspectives to the table.
Mentorship
For a young designer, sourcing a mentor can be like rifling for a needle in a haystack. Fortunately, there are many mentorship programmes out there for designers who are dedicated to their craft. Events like the ITS Contest are crucial for giving young designers the visibility and support they need to succeed. “In today’s saturated media landscape, it’s important to have events that elevate new designers,” said fashion photographer and writer Mark C. O’Flaherty. “The ITS Contest provides a platform that ensures their work is taken seriously by both the industry and the wider world.”
Supporting young creatives comes second nature to juror Serge Carreira. As the Director of Emerging Brands Initiative at Fédération de la Haute Couture et de la Mode, Carreira specialises in building support programs for emerging designers. “Each designer is unique,” he says. “What makes the difference in their success is not how they break the rules, but how they play with them. There’s no single recipe for success—it’s more like a cocktail, a mix of various elements.”
The rewards for helping emerging creatives has proven to be a two-way street. For Carreira, the process is an insightful opportunity to see how designers constantly discover new ways to approach business. “What’s interesting is being involved in these processes without replacing the designer’s role—it’s about being alongside them to support them in reaching their goals.”
For fellow juror Luca Rizzi, the Tutoring & Consulting director for Pitti Immagine, the disastrous impact of COVID has made aiding designers early in their careers all the more crucial. “The industry has shifted significantly since COVID,” he says. “Independent brands are struggling the most, and our role is to help them find stability in this new environment.” As the leading force behind Pitti Immagine’s division aimed at helping and guiding talented designers in their professional pathway, Rizzi’s eye is attuned to discovering international fashion and design which aligns with sustainable and conscious living.
“At Pitti, we help designers find their right path,” Rizzi explained. “We work with both young and established designers to avoid mistakes in marketing and communication, ensuring they stay true to their creative vision.” A key part of his work is ensuring that young talent is mentored efficiently and protected from exploitative contracts. Rizzi’s initiative is part of Pitti Uomo, one of the most important fashion events for men’s fashion, and features collections from designers who are dedicated to sustainability, innovation, and creative craftsmanship. Most importantly, it offers them a space to showcase their collections in a high-profile, industry-leading context.
Sustainability
“Sustainability is a significant challenge, but many designers are taking meaningful steps, like using offcuts and natural dyes, to reduce their environmental impact,” says O’Flaherty. Sustainability continues to be a major theme in the fashion world and, unsurprisingly, was present throughout the collections belonging to each of the ten ITS contestants.
Yifan Yu’s ‘zoomorphia’ collection, for instance, responded to the growing movement against fur in the fashion industry. Meanwhile, Zhuen Cai’s collection, Chinese Garden Journey, highlighted humanity’s connection to nature and sustainability through his innovative use of fabric, including persimmon plant dyes. Finalist Qianhan Liu also used 90% repurposed leather in her lineup and Mijoda Dajomi’s collection was a fashion-based exploration of rainwater collection.
“Sustainability is no longer a buzzword—it’s a necessity,” says Rizzi. But upholding ethical eco-practices can be a tall and expensive order for emerging creatives with tight budgets. Acknowledging this, Rizzi believes that we need “systemic change” to help young designers “to make sustainability the standard in fashion, not a niche.”
Another factor limiting the growth of evolving brands is obtaining a sustainable stream of income. While this can be helped by the backing of a retailer the retail landscape is typically hard for designers to navigate. “Thanks to the digital boom and the struggles of traditional retailers, many brands cannot simply shift from wholesale to direct-to-consumer models overnight due to pricing and audience considerations,” says Carreira. “The retail market has become more closed off. For a while, programs like those from Matches, Net-a-Porter, and Essence were fantastic in promoting young designers, but as the digital bubble burst, these programs are now focusing more on security. It’s no longer about getting the ideas; it’s about how to bring those ideas to the customer.”
Storytelling
How exactly do young designers capture the attention of retailers and customers? For Belgian-based stylist and fashion consultant Tom Eerebout, judging the emerging talent was an opportunity to support new voices in fashion. “I love working with designers who have fun with their collections,” he shared. “Fashion is about storytelling, and the most exciting designers are those who take us into another world.” Also in agreement, Carreira expressed his excitement for designers who draw inspiration from their personal experiences. “They’re constantly refining their methods, making sustainability an integral part of their design process.”
“The best designers today are those who can translate their personal stories into collections that resonate with the broader fashion landscape,” believes O’Flaherty. One look at the nominated collections, and it’s easy to see the importance of designers who combine personal narratives with commercial creativity. For his ITS nominated collection, Patrick Taylor drew inspiration from his childhood photographs and experiences of skiing and sailing with his family. Other personal narratives exuded from collections by Naya El Ahdab, which traced her journey as a disabled woman, and Macy Grimshaw, whose work centered on her grandmother’s battle with Alzheimer’s disease.
For the jury, storytelling and social relevance seemed to be the reigning elements distinguishing one designer from another. The ITS mentorship program was highlighted by the selection of Maximilian Raynor from the UK, who was awarded the ITS Jury’s Rewarding Honors for his powerful use of historical and artistic references. “His work made me smile,” said Rizzi of Raynor’s design process. “He brings joy through his creations, which is something we need more of in fashion.”
Collaboration Over Competition
Once an intern for renowned fashion stylist, creative consultant, and fashion mentor Anna Trevelyan, Eerebout quickly became her first assistant before going on to collaborate with notable icons such as Lady Gaga, Kylie Minogue, Rita Ora, Banks, Austin Butler, and Sylvie Kreusch, while his editorial work has been featured in international publications such as Vogue, Interview, V, Numero, Harper’s Bazaar, and Elle.
“Anna Trevelyan was a major influence on me, as she was deeply involved in supporting young designers,” says the stylist. Judging for the ITS Contest provided him with the opportunity to continue his mentor’s ethos of helping others succeed. “ I’ve always felt it’s important to support new talent, and when I got the chance to work here, I felt like a kid in a candy store. The opportunity to dive into the archive and portfolios was incredible.”
Instead of a winner-takes-all format, this year’s ITS Contest adopted a more inclusive approach, offering support and recognition to all the selected designers. Barbara Franchin, founder of ITS Contest, explained: “Collaboration, rather than competition, is essential. Young designers need the support of the industry to thrive, and the challenges they face are best overcome when they’re united.”
With the theme of “Borderless,” the event exemplifies the global community’s desire to push past cultural and geographical boundaries to bring fresh ideas and artistic collaborations to the forefront. Senator Lucia Borgonzoni of Italy’s Ministry of Culture, who attended the event, lauded the initiative for its commitment to supporting young creatives, stating, “The ITS Contest provides a platform that celebrates diversity and innovation, key drivers in today’s rapidly evolving cultural and artistic dialogue.”
Eerebout echoed these sentiments, saying: “Events like this are so important because they bring people together and provide young designers with a platform to showcase their work. It’s not all about the big names like Gucci or Valentino. We need to make space for these young talents to shine.”
shirt. JW Anderson
shirt (worn as a skirt). Paul Smith
shoes. Roger Vivier
earrings. Givenchy Vintage @ Constantina Vintage
stockings. Chusette
shirt. JW Anderson
shirt (worn as a skirt). Paul Smith
shoes. Roger Vivier
earrings. Givenchy Vintage @ Constantina Vintage
stockings. Chusette
Credits
Spend one sweet afternoon with Mirabai in this Schön! editorial photographed by Vahab Bandari with fashion by Carlos Mangubat who dresses Mirabai in looks by JW Anderson, Gucci, Lanvin and others, with hair and make up by artist Rosie Fiucane.
shirt. JW Anderson
shirt (worn as a skirt). Paul Smith
earring. Givenchy Vintage @ Constantina Vintage
opposite
trench coat + shirt. Burberry
jeans. Lanvin
shoes. Gucci
shirt. JW Anderson
shirt (worn as a skirt). Paul Smith
earring. Givenchy Vintage @ Constantina Vintage
opposite
trench coat + shirt. Burberry
jeans. Lanvin
shoes. Gucci
top. Simone Rocha
shirt (worn as skirt). Roberto Cavalli
shoes. Stylist’s Own
socks. Chusette
opposite
top. Simone Rocha
top. Simone Rocha
shirt (worn as skirt). Roberto Cavalli
shoes. Stylist’s Own
socks. Chusette
opposite
top. Simone Rocha
Credits
blazer. Comme des Garçons PLAY
trousers. Etro
tie (worn as belt). Dolce & Gabbana
opposite
blazer. Comme des Garçons PLAY
trousers. Etro
tie (worn as belt). Dolce & Gabbana
blazer. Comme des Garçons PLAY
trousers. Etro
tie (worn as belt). Dolce & Gabbana
opposite
blazer. Comme des Garçons PLAY
trousers. Etro
tie (worn as belt). Dolce & Gabbana
The enfant terrible of fashion John Galliano is once again in the spotlight, firstly due to his latest collection for Maison Margiela, which was met with widespread critical acclaim, and secondly due to a gripping documentary charting his meteoric rise and his even more dramatic downfall. High and Low: John Galliano is a must watch for fashion fans, but it tells a tale that is fascinating even if you don’t know a beret from a bergère, namely one that explores themes of atonement, addiction, grief, betrayal and cancel culture.
For those new to this story, Galliano rose to stardom in the 1990s as Creative Director for Dior, but from the get-go, the Gibraltar-born and London-raised lad was destined to go down in fashion’s hall of fame. His 1984 graduate collection at Saint Martin’s made waves and, only three years later, he was crowned British Designer of the Year – a title he would hold four times. Less than a decade later, he became the first British designer to head a French haute couture house (Givenchy). Galliano’s work at Dior (as well as on his eponymous label) would make him one of the most lauded and influential fashion designers of all time, but in 2011, his fame turned to infamy and disgrace. He was caught on camera, inebriated and viscous, hurling racist and antisemitic slurs at complete strangers (behaviour he would go on to be prosecuted for), thus ending his career at Dior.
It seems the fashion world is fast to forgive. The same year, Galliano designed Kate Moss’s wedding dress, in 2014 was appointed Creative Director of Maison Margiela, and the documentary is populated with many of his supporters from Anna Wintour and Edward Enninful to Penelope Cruz and Charlize Theron. However, this is anything but a film glorifying Galliano and glossing over his murky past. High and Low opens with footage from one of these racist outbursts, informing the viewer that there will be no skirting around the subject. Next, we cut to a close up of Galliano, in one of several in-depth interviews conducted for the documentary. When asked if he will speak about how he got to ‘that’ place, he responds, “Yeah, I’m gonna tell you everything,” and he sounds like he means it.
Now ten years sober, the designer seems eager to open up, not only about that controversy, but also regarding childhood traumas, the toll his career took on him (parallels are made with Alexander McQueen), alcohol and prescription drug abuse and how the loss of close friend and colleague Steven Robinson further triggered his spiral into self-destruction. Leaning in and staring unflinchingly into the camera lens, he appears candid and genuine, but his memory of the racist outbursts is somewhat blurred. He concedes when he is corrected in thinking there was only one.
High and Low neither condones nor condemns, and this can be attributed to a director who is an outsider to the fashion industry and neither adulates Galliano, nor suffers from the disappointment of a disillusioned fan. Academy Award Winner Kevin Macdonald has not only made gripping documentaries, but acclaimed feature films such as The Mauritanian, The Last King of Scotland and Touching the Void, and you can tell. Just shy of two hours, the run time might seem a long watch for some cinema audiences, but it’s pacey and the editing is tight with not a single second wasted. Of course, it’s a visual feast with all the footage from the catwalk and backstage, and the cast of characters is compelling, but it’s also funny, poignant and leaves you questioning whether it’s okay to feel totally conflicting things about the same subject.
