Has Emily Ratajkowski been doing her fashion homework?
In March 2004, John Galliano debuted an autumn/winter collection for Dior which looked as though it had been situated in an Elvis-does-Vegas time warp, introducing humongous Poiret-style fur-collared coats into the rockabilly canon of neon leopard spot. It wasn’t one of the designer’s most well-known offerings, but it would nonetheless read as pure Galliano: bewitched with all the cold-blooded attitude of an old-world fashion illustration brought to life.
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Some magazines at the time questioned whether the designer had lent too far into visual histrionics. “It was, as usual, taken to the absolute theatrical max—which produced only an exhausted sense of been there, done that,” wrote Vogue’s Sarah Mower in her evaluation of the collection. “Fashion, especially now, needs to be astonished by new approaches to creating beauty for modern times.” Fast forward two decades and Emily Ratajkowski seems to have done just that: aligning the bombast of a lime, leopard-print skirt with the aesthetics of 2024.
The model was yesterday afternoon photographed in a bias-cut skirt from that same collection with Puma Speedcats—a low-rise sneaker that will doubtless rival the omnipresence of the Adidas Samba—a padded Loewe handbag and a behemoth Alison Lou ring. And, in the tradition of yet another theatrical fashion mind—ie, Julia Fox—EmRata’s vest looked as though it had been scissored into a crop top. Not bad for someone that once mistook Galliano’s newspaper dress for a Jean Paul Gaultier design. (Listen, I’ve done worse…)
This article first appeared on British Vogue.
