John Galliano loomed large over the world of fashion throughout the 1990s and early aughts. As the creative director of Givenchy and Dior, Galliano was widely admired for his bold, barrier-pu…
loomed large over the world of fashion throughout the 1990s and early aughts. As the creative director of Givenchy and Dior, Galliano was widely admired for his bold, barrier-pushing style and his sensual, elegant designs. But Galliano’s career imploded afterof him in 2010 and 2011 speaking admiringly of Adolf Hitler and launching into an antisemitic and racist diatribe, shocking the patrons of a Parisian cafe.
We use clips in the film of “The Red Shoes,” which is about living for art. For those dancers, life and art are one and the same. There’s also often this conflict between commerce and art. That’s a preoccupation for a lot of filmmakers like me, certainly. John was crushed by the expectations of the business, but he also was an artist who wanted to take on more and more and assume greater and greater control.
How sincere were his efforts to understand what was behind his comments? How hard did he try to make amends to all the people that he offended and hurt with his remarks? That’s a difference of memory between the two of them, which is itself interesting. John says he said sorry to him. He apologized to him. He looked him in the eye. And Philippe, who was the victim of this outburst, denies that John ever properly apologized. You only have to look at Philippe to see that this incident really damaged him and he’s still living with the consequences, which is tragic.
All this leads to a larger question about whether it is possible to separate the art from the artists? How should we handle problematic geniuses and their work?
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