john galliano: is it possible to separate art from the artist?

Is it possible to separate art from the artist? It’s an age-old debate with no clear-cut answer.

Take the fashion industry, for instance; some of its most influential figures have been beyond gifted in their chosen craft, whilst simultaneously being controversial characters. Gabrielle (Coco) Chanel had heavy ties to the Nazis during the Second World War; Karl Lagerfeld was famously fat-phobic; and as for John Galliano, well, it’s fair to say he’s been caught in a controversy or two. 

Yet, like Lagerfeld in 2023, it was recently announced that the upcoming Met Gala is set to revolve around Galliano. There are few honours quite as significant for a fashion designer as being chosen as the central theme of the gala (considered the biggest night in fashion), and its correlating exhibition. In fact, the accolade is so rare that, until now, only two designers have been honoured in such a manner during their lifetime: Yves Saint Laurent and Rei Kawakubo.  

John Galliano Fall/Winter 1997 Ready-to-Wear

It has to be acknowledged that Galliano is nothing short of a creative genius; from his graduate collection at Central Saint Martins to legendary work at Christian Dior and beyond, he is truly one in a million. As with all generational talents, his path to greatness was far from simple, and it remains a tale as old as time. A young designer with artistic flair but lacking in financial backing, he struggled season upon season to put his work out on the runway.  

His career-defining moment came in the form of his Fall/Winter 1994 show. At the time, his finances had all but dried up, and he was living on the floor of a friend’s flat. It was a make-or-break moment in his career, and where others would concede, he prevailed; though not without the help of the industry’s most powerful. His work had caught the eye of none other than Anna Wintour and André Leon Talley, who, at the time, held the reins of the industry in their hands. The biggest names in modelling (Kate Moss, Naomi Campbell, Christy Turlington and Linda  Evangelista) walked free of charge, whilst São Schlumberger provided her 17th-century mansion as a venue, leaving Galliano with the task of pulling together a collection, and that he most certainly did. Later described by Wintour as her favourite show to date, using nothing but cheap black fabric, he put together 18 looks that would resurrect his career.  

Linda Evangelista for John Galliano Fall 1994 Ready-to-Wear Collection a.k.a. 'The Black Show'

A year on from what was dubbed ‘the black show’, his break finally arrived; he would be offered the position as creative director at the House of Givenchy, cementing him as the first British designer to run a French Couture House. Though this period would remain brief, it acted as more of a stepping stone, if you will. Bernard Arnault (the owner of LVMH, under which Givenchy falls) had bigger things in mind for Galliano, and in October 1996, he was appointed as the creative director of Christian Dior.  

It’s difficult to find the phrasing to describe Galliano’s time at the house of Dior; it was nothing less than a partnership forged in heaven. He was on top of the world. Until he wasn’t. It’s no secret that  the fashion industry is largely fuelled by excessive amounts of booze and copious levels of cocaine,  

and whilst substance abuse undeniably affects a person, does it justify publicly stating, “I love  Hitler”? No, it doesn’t.  

To make matters even more dire, this was not a singular, off-hand comment from the disgraced designer. It was one of three instances, and the remark praising one of the most despicable men the world has ever seen wasn’t even the reason he was placed on trial. That came from two separate occasions at the La Perle in Paris, during which he was recorded committing hate crimes towards  Jewish individuals, consequently leading to his conviction in court and suspension from Dior.  

This is where the story should end. Galliano was in exile from the industry and in retreat from public life. Evidently, that is not what would happen. Following a brief period of rehabilitation, which involved close work with Rabbi Barry Marcus of the Central Synagogue in London, he returned to the industry. Not a decade later, not even half that; only two years after being found guilty of racism and antisemitism, he took up a brief residency at Oscar de la Renta in 2013. The very next year, he would then embark on a ten-year tenure at Maison Margiela.  

I am not here to debate whether or not Galliano was a formidable talent. He was, in every sense of the word. His work at Dior was magical, as were his designs at Margiela, with his Spring 2024  Artisanal collection acting as his beautiful swan song at the Belgian-born brand. I would prefer to question, perhaps not even his character, but the nature of how the industry swept his indiscretions under the rug and continued to paint him in an entirely different light from what he portrayed himself.  

A quote that has stayed with me was Robin Givhan of The Washington Post explaining that she was not surprised that the industry forgave Galliano so quickly. Why? “Because he is a white man”. It’s a simple notion, but difficult to argue with. The world has a tendency to be more lenient on successful white men, and seemingly, fashion is no different. It goes beyond that, though. People can change, absolutely, and in the absence of their addictions, they can be practically reborn. It would have been one thing to allow Galliano to slowly and quietly resume his work in the studio; in all fairness, that was what he did at Margiela, with his previous flamboyance remaining a thing of the past.  

It is quite something else to honour him with the Met Gala, practically pulling wool over the eyes of the public and almost convincing them that nothing happened at all. Particularly when his controversies don’t end with his antisemitic remarks.  

It was just earlier this year that Galliano once again came under fire as it was announced that he would be taking up the reins at Zara. The fast fashion giant has been clawing its way into the upper echelons of the industry for quite some time, this year partnering with Bad Bunny and dressing him for both his Super Bowl halftime show and the Met Gala. Though, at risk of sounding crude, you can put lipstick on a pig, but it’s still a pig.  

The fast fashion model has been detrimental to both the face of the industry and the planet as a whole. These companies, Zara included, churn out thousands of pieces on a weekly basis, producing  10% of global carbon emissions. Environmental impact aside, they are ethically questionable and have a known habit of ripping off independent designers. All things considered, these brands are a stain on the industry, and Galliano opting to work with one of the most notorious of the bunch is a choice worth questioning.  

So why is it that, despite everything, the Costume Institute have chosen to celebrate John Galliano?  I would speculate it largely came down to one woman, Anna Wintour, previously discussed as the driving force behind Galliano’s career and co-chair of the Met Gala since 1995. It was she who placed him on the map. He was practically her young prodigy, and furthering his career shines her in a positive light. This is by no means a critique of Wintour; she remains the most influential person in fashion, and as a strong woman, has been a true inspiration to many, but in this instance,  it’s more than fair to question her actions.  

We cannot jump to any conclusions as of yet either. The exhibition is set to reference his controversies, and even this far in advance, one would imagine there may be some mild protests on the night itself. Though, given all that’s been discussed, I will maintain that John Galliano is, at minimum, a dubious choice for the Met Gala.