Bill Gaytten’s second solo show for John Galliano solidified how things are going to proceed from here on out. By sticking to a stripped down-yet-loyal continuation of the namesake’s work, Gaytten can keep the label breathing — if not with Galliano’s original gusto. That is most likely his proposed agenda.
The fall Galliano girl was an English thoroughbred, clad in a rich ensemble of equestrian-inspired gear with a lush libertine spirit. The designer said he had been looking at the drawings of Aubrey Beardsley, the late 19th century English dandy and subversive Art Nouveau sensation who palled around with Oscar Wilde.
Gaytten reinterpreted the classic riding coat with a traditional eye, showing trim jackets and coatdresses done in accordion pleats in front and caped backs lined in jewel-toned silks. That was the main message for day, to which he added lavish blouses with poet collars. A sheer caped style in a chandelier print felt like a light, new take on the subject.
The show concluded in typical fashion with a parade of filmy bias-cut gowns, smoky and sheer, offering a teasingly tawdry glimpse of girls’ knickers and thigh-high stockings. The dresses carried on the autumnal palette — cinnamon and mustard with a burst of red at the end — and the romantic ruffled necklines that Gaytten introduced early in the show.