John Galliano is gay and 'gipsy' what do he thk Hler would have ma of that? | Daily Mail Onle

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This small display of 14 outfs, drawn om Natnal Mms Liverpool’s stume llectn, highlighted and celebrated the work of some of the bt-known fashn signers – all of whom were or are gay - cludg Christian Dr, Yv Sat Lrent, John Galliano, Karl Lagerfeld and Dolce and Gabbana. In the past, some of them were forced to hi their sexualy orr to protect their reers.

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JOHN GALLIANO IS GAY AND 'GIPSY' WHAT DO HE THK HLER WOULD HAVE MA OF THAT?

Bill Gaytten stepped as creative director, but the pany was h hard by the sndal. A man such as Galliano, who intifi himself as gipsy and gay, would have worn the pk triangle. Frog worship, a new box to tick We sperately need foster parents, but what driv Christians to go to urt to prove they n legally discrimate agast homosexuals?

My father died, and I had never said to him, ‘I’m gay. "He had suffered himself as a gay man". Galliano thks nothg of hangg a Sex Pistols poster or Ron Raffaelli’s portra of Jimi Hendrix to jostle 19th-century salon art, Brassaï and Penn photographs, and homoerotic Jean Cocte drawgs.

The gay Gibraltar-born signer, who was once herald as one of the most talented nam fashn, was fired 2011 by fashn hoe Dr after beg ught on mera makg anti-Semic remarks a Paris fe. Bill Gaytten, who has directed the cuttg of Galliano’s cloth for twenty years, and Robson, whom many now see as Galliano’s alter ego, were matchg stockgs wh sho, glov, jewelry, hair clips, and unrwear.

GAY FASHN SIGNER JOHN GALLIANO ATTEMPTS TO REBUILD REPUTATN

(At one pot the eveng, I watched as Gaytten and Robson adjted the waist and crotch of a drs worn by Natalia Vodianova, one of the world’s more allurg mols. They start wh a nversatn among Galliano, Robson, and Gaytten.

*BEAR-MAGAZINE.COM* JOHN GALLIANO GAY

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class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">Last July, three hours before the first mol—wearg a flamen skirt flecked wh purple polka dots and cut om more than a hundred and fifty metr of crole, anza, and geette crêpe—stepped onto the nway at the Christian Dr hte-uture show, held the Hippodrome d’Autil, John Galliano, the Hoe of Dr’s forty-two-year-old sign director, settled anxly to a ty, makhift drsg room directly behd the stage. Show days are tense for any fashn signer—a season’s worth of sal n ri on the rult—but Galliano had more on his md than clothg. He was keepg a secret om hundreds of his employe at Dr, om sr of fashn wrers who had jt arrived Paris, even om many of his clost iends: three days earlier, Galliano’s father had died, and, at exactly the moment that his prence the Dr atelier, on the Avenue Montaigne, was nsired sential, Galliano had flown to Gibraltar to bury him.</p><p class="paywall">Galliano is often scribed as a blatant exhibnist; he also happens to be shy. He didn’t want people to know about his father’s ath, bee he didn’t want them to be distracted om the preparatns for the show. Fewer than a dozen people knew where he had gone. He disappeared and returned to Paris two days later, on a jet lent to him by Bernard Arnlt, his boss, who is the chairman of L.V.M.H., France’s largt luxury-goods pany. Galliano then worked through the night, ftg mols and makg fal adjtments to their cloth. By the time he reached his drsg room, he looked numb. Still, Galliano is a man who believ eply that appearanc matter, and he had refed to alter his normal route: jt after dawn on the day of the show, he jogged three to his gym, where his exercise program clus hundreds of s-ups and equent boxg match. Even he acknowledg that he has an almost monic sire to perfect his body. “I am a pletely obssive man, and that out more clearly tim of strs,” Galliano told me before the show. “Whatever I do, I like to do until n’t be done anymore. It don’t matter if ’s work or the gym or some thgs I might not even want to mentn.”</p><p class="paywall">Galliano arrived Paris 1990, a nearly stute punk wh unmistakable talent and an unrivalled reputatn for personal excs. At the time, many signers were operatg unr the fluence of Japane-spired mimalism. The eighti were over and the era of the pouffe was out of vogue. The mols, often wearg subtly tailored black clothg, would walk quietly down the nway unr dim lights. They would twirl and walk back to the stage, and that would be the show. Galliano was appalled. He thks about fashn shows the way Steven Spielberg thks about movi; he believ spectacle, plitn, spense. “I met John 1984 at the show he put on to graduate om art school London,” Jeremy Healy, a well-known d.j. who is among Galliano’s clost iends, told me. “My girliend was mollg, and when she walked down the nway she had a tree branch g out of her head and she was wavg a ad mackerel. An actual ad fish. The whole show was like that. It tak a lot to shock me. But I jt thought, What the hell is this bloke up to?” The graduatn show was a succs, and nvced Galliano that the bizarre—and even the famo—sells. Sce then, he has never wavered; the past , he has sent trapeze artists, sailor boys, and nghty schoolgirls down the nway, not to mentn nuns bondage and even a versn of homels tramps.</p><p class="paywall">Galliano has staged fashn shows at the Paris Opéra and at the Gare d’Aterlz, where he hired an antique steam tra to ferry the mols about the platform, which he turned to a North Ain so, wh more than a sre of half-naked men servg mt tea and a floor vered wh imported st-lored sand. Last fall, spired by a trip to Cha, Galliano flew a dozen Shaol monks to Paris, and sent them thunrg down the twalk twirlg swords and swgg numchucks. He also imported a troupe of Che acrobats who, posned at the stage entrance, spun plat on foot-long sticks. There was even a girl a pk tutu ridg a bicycle on top of a parasol rried by a Che elr. In the <em>Internatnal Herald Tribune</em>, Suzy Menk lled “the most staggerg example of self-dulgent luxury sce Louis XIV held urt at Versaill”—where, by the way, Galliano had prented Dr’s prev wter llectn.</p><p class="paywall">Galliano alters his look for each show, and he r at least as much about his own appearance as he do about those of Nile Kidman and Gwen Stefani, both of whom he often drs. The morng of this summer’s hte-uture show, Galliano put on a pair of refully distrsed bluejeans wh perfectly ayed cuffs—which vered his sandals but not the toenails he had recently pated a glossy sha that he lls “smic blue.” Galliano’s personal hair-and-makp team had been briefed advance on the look he wanted to achieve, which was spired by the evolutn of dance. “I am feelg very Spanish tango dirty creepy wh oily black hair,” he said. His stylist got the msage: he glued a strgy goatee onto Galliano’s ch and trimmed to a neat triangle; after that, he spent half an hour curlg Galliano’s hair and then applied a thick at of masra to the lash beneath his dark-brown ey. Galliano wore hoop earrgs. His mcl were oiled, then vered by a layer of grime—so that he would look like a toreador when he took his victory lap. (Most signers simply dart onto the nway at the end of a show; a few take a quick stroll the pany of the mols. Galliano stts the twalk all by himself, and he do wh the htr of Naomi Campbell.)</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">By the time guts started filg to the tent, however, Galliano looked weary and prsed. His father was a plumber, a quiet, stern man who labored for years one of South London’s dgit preccts before retirg and movg, wh Galliano’s mother, to Spa. Many thgs had been left unsaid between the two men—among them that Galliano is gay. (“It was all very Lat and plited between me and my father,” he told me.) Galliano paced on a zebra-sk g that had been sent om his atelier. Two six-by-eight-foot blowups of the mol Angela Ldvall, glisteng and full of sire, domated the ltle room.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">“This day is gog to be hard,” Galliano said. “But I n al wh that later. Right now, I need to foc on the show. I want people to fet about their electricy bills, their jobs, everythg. It’s fantasy time. My goal is really very simple: when a man looks at a woman wearg one of my drs, I would like him basilly to be sayg to himself, ‘I have to fuck her.’ ” He shgged his shoulrs. “I jt thk every woman serv to be sired. Is that really askg too much?”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When John Galliano began showg llectns Paris, at the age of thirty, he was already nsired to posss one of Bra’s most origal, if outrageo, fashn mds. Three years earlier, he had been named Digner of the Year England. (He has sce won the award three more tim—the only person ever to do so.) Crics often dismissed Galliano as a sort of drsmakg Barnum: his cloth were exquise, but he was too much the showman—and his outfs often seemed more sued to the pageantry of public relatns than to profs. Yet his effect on the way women drs is almost impossible to overstate, and beme apparent as soon as he graduated om St. Mart’s School of Art, 1984. More than any other signer workg today, Galliano is rponsible for the sheer and sexually ank clothg so many women wear. “You nnot name many people who pletely change fashn, and John is one of them,” André Leon Talley, <em>Vogue</em>’<em>s</em> edor-at-large, told me. Talley is the person who Galliano says is most rponsible for brgg his work to a larger public. “The sexy slip drs, the spaghetti straps, everythg spired by lgerie and by the curv of a woman’s body—that is all John,” Talley said. Others agree. “John is really the reference pot for the rt of ,” one of his petors, the signer Diane von Furstenberg, told me. “Bee we are makg cloth, and he is makg magic.”</p><p class="paywall">In the mid-neti, Bernard Arnlt, who overse the L.V.M.H. nglomerate’s luxury holdgs—Louis Vuton, Moët, and Hennsy—along wh Christian Dr and other pani, cid that the group need to attract younger shoppers who were more adventuro than their mothers. Among Arnlt’s properti was the uture hoe found by Hubert Givenchy 1952. Givenchy had a talent for creatg cloth that ma a woman look nocent and sexy at the same time, but recent years the look had e to be viewed as prissy and dated. Arnlt wanted somebody to pull the hoe to the morn era, and Galliano was everythg that the unrstated and liberate Marquis Givenchy was not.</p><p class="paywall">When Arnlt actually gave Galliano Givenchy’s job, late 1995, many people were shocked (cludg the sixty-eight-year-old Givenchy himself, who learned about the appotment when he read a news release issued by his own prs office). Galliano beme the first Brish signer to take over a major French fashn hoe nearly a century and a half—sce Charl Frerick Worth was appoted by Napoleon III to drs the Emprs Eugénie. It would have been difficult unr any circumstanc for the staid French fashn tablishment to accept the appotment of a foreigner to n a firm whose refed image was reprented most famoly by Audrey Hepburn. But John Galliano? A flamboyant South London night-club habué who looked like a bucneer, wh his bandannas, pencil mtache, and shoulr-length hair? “When John went to Givenchy, he created more ‘wow’ than any other signer Paris at that time,” Joseph Boano, a senr vice-print at Saks, told me. “He still do. But people were not ready for him yet. There was a lot of surprise.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In Europe, fashn is a blood sport, and the Parisian lunchg class uldn’t get enough of the Givenchy saga. French crics ed the word “pulatn,” and implied that Arnlt’s choice was a sure sign of the natn’s cultural cle. The ments of the uturier Valento were typil: “He has a wonrful imagatn, but I am not sure that technilly he knows everythg about how to make a drs.” Wh a month of arrivg at Givenchy, however, Galliano astonished seamstrs by returng several sample drs along wh wrten stctns on how to improve them so that they f a ls dowdy way: “Tighter, smaller, tighter, smaller, tighter, smaller,” his note said s entirety. “The place was a b of a dowager when I arrived,” he told me, “and I felt that you didn’t really need to get tssed up to look great anymore. I wanted to ee women om wearg rsets and big taffeta skirts.”</p><p class="paywall">Throughout the next year, Galliano was vered the prs as if he were a war. Reporters would appear nstantly at his parents’ home Streatham. They followed his slightly mystified father to work and asked his mother untls qutns that she had no sire to answer. (“I got so sick of seeg my father lled a plumber every article,” Galliano relled not long before his father died. “People are always talkg about how I am a plumber’s son. I am my father’s son primarily. What he chose to do as a reer was his choice and he did very, very well.”) The French papers reported regularly, and somewhat gleefully, that Galliano’s parture was imment. Arnlt was forced regularly to announce that was not. Eventually, though, Galliano’s technil skill beme apparent even to those who did not like the rults. He had, by the time he arrived Paris, mastered the art of cuttg drs along the bias—agast the gra rather than on seams—so that a garment would move more easily and that a woman’s curv would be revealed and not ncealed. It is a difficult technique, bee, as Galliano puts , the drs mt bee “like oily water nng through your fgers.”</p><p class="paywall">The beleaguered French fashn éle had only begun to rever om the shock of Galliano’s ascent, when, 1996, Arnlt moved him to the Hoe of Dr—which, along wh Chanel, is the bt-known and most highly regard fashn brand. Galliano had never held a regular job for any length of time before he went to Givenchy; now he would have to supervise nearly a thoand employe and oversee multiln-dollar marketg mpaigns, and do all, dntgly, the atelier created by one of his hero, Christian Dr.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssS ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="xublr"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssS ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="sb3l"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Certaly, no sgle event had more impact on the way women drsed the twentieth century than the troductn, by Dr 1947, of the New Look, which featured opulent, romantic cloth whose round shoulrs and tightly cched waists seemed risqué and ebullient to a untry jt emergg om the vastatn of the Send World War. “Dr has done for Paris uture what the taxi drivers did for France at the Battle of the Marne,” one fashn wrer said at the time. Instantly, the firm beme a touchstone of French qualy and fse. By 1949, Dr acunted for seventy-five per cent of the Parisian cloth worn by foreigners and five per cent of France’s over-all exports. Arnlt, selectg Galliano, had hand a natnal treasure to an outsir. “You nnot image how shockg was to appot him—this was <em>Dr</em>, for heaven’s sake, <em>Dr</em>,” André Leon Talley said to me one day, his voice risg sharply each time he uttered the word “Dr.” “Can you image? A young radil Brish punk at the firm that reprented the arch-tradn of French luxury.”</p><p class="paywall">For a while, Galliano stggled wh his legacy, but wh a year the pany was makg money aga and his transformatn was plete: ls than a , Galliano had gone om sleepg on the floors of his iends’ apartments to a life as the emperor of the most succsful fashn hoe the world. Although neher Dr nor he will reveal his salary, he earns lns of dollars a year, more a month than his father earned his life. It has been a perilo time for the fashn dtry; sal have fallen, many pani have cut back, and some have closed. But at Christian Dr Couture, which clus the ready-to-wear accsori bs, sal rose forty-one per cent last year, to $535.6 ln. The pany reported profs of thirty-six ln dollars, up sharply om 2001, and projects sal of as much as a billn dollars by 2006. “John Galliano will certaly figure as one of the greatt signers of his time,” Arnlt has said. “Through his work at Dr, he has been able to brg morny to the ultimate luxury hoe and to envisn the fashn of the third lennium.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Galliano actually has two jobs. In addn to Dr, he produc his own le of clothg, and this year he opened his first boutique—a nearly two-thoand-square-foot space, on the Rue Sat-Honoré, which st lns of dollars to renovate—and he has plans for boutiqu London, New York, and Tokyo. Galliano’s first drs for Dr was a lgerie-spired slip created for the Prcs of Wal, who wore as the gut of honor at a dner given at the Metropolan Mm of Art December, 1996. Sce then, his cloth have been veted and hoard both by celebri and by women who have never even met a famo person. The litely embroired gold-and-green shift that Galliano ma for Nile Kidman for the 1997 Amy Awards assured her a role among Hollywood’s most stylish women. Galliano’s Dr saddlebag, now sold shops om Hong Kong to Hoton, has helped the pany earn lns. Two years ago, he was lled to Buckgham Palace, where the Queen award him the C.B.E. for his service to Great Bra.</p><p class="paywall">Galliano don’t legate easily, but neher did Dr. “A Frenchman we’d never heard about till seven years ago is worshiped as a dictator of fashn by every Eve whose fig leaf proved aquate,” an article the <em>Saturday Eveng Post</em> clared 1953. Dr would lgh about his role but said of the women he drsed, whout irony, “My dream is to save them om nature.” Galliano shar the view. “I am a hopels romantic, and I want to make women feel sexy and betiful.” He ns the pany almost as sgle-mdly as Dr himself did: he overse not only the cloth and the advertisg mpaigns but the many licens—bags, sho, Baby Dr, unrwear, eyewear, perfum, and swimwear. Galliano even signed the hangers his boutique, and cid how many layers of pat should be applied to the dtrial-steel beams that hold the buildg together. Visg the boutique one day, I watched as Galliano checked nearly every drs to make certa was hangg the right way and the right place. He even ducked to the bathroom (which has quilted, embroired walls) and the drsg room (whose floors are vered lfsk) to make certa that his newt product, the Galliano Diptyque ndle, was burng properly.</p><p class="paywall">Galliano has veloped a predatory eye for the bottom le. His own label, which had no more than a dozen retail outlets the world when he was appoted to Dr, now has hundreds, and Valérie Hermann, the print of Galliano, projects that sal will grow by as much as twenty-five per cent this year. Galliano has also jt troduced a le of men’s clothg—a typil blend of the bizarre and the nservative, wh su sleev that close not wh buttons but wh the type of hooks and ey found on bras. And his ambn is anythg but sated. I once asked if he uld see himself signg furnure or rs, or even ho. “Y,” he replied stantly. “Y to all of . I would never put a lim on my goals. I would love to see what a John Galliano airplane would look like, or a hotel. I don’t want ever to say there is somethg that John Galliano won’t do.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">One overst morng late June, I walked to the eighteenth-century buildg where Galliano liv wh his boyiend and their Jack Rsell terrier. It is jt a few blocks om the Pisso Mm, the Marais, one of the olst parts of Paris. Most Parisians were still bed, but Galliano’s driver was statned out ont and so was Frédéric Vaché, one of Galliano’s two physil traers. (Whether he is travellg India, Cha, Rsia, or the South of France, he is never whout one of them. He also nsults a sports doctor nearly every week: “He keeps a chart that shows my most strsful perds. At that pot, my rdvascular work creas and my take of prote creas at nighttime.”)</p><p class="paywall">Galliano emerged om the urtyard lookg refully dishevelled but wi awake. His hair was tied back a bun, and he wore a Rsell Athletic T-shirt over shorts and sneakers. We jogged for about five kilometr through the Marais, then along the banks of the See, where Galliano poted out var women whose stylish attire ught his eye.</p><p class="paywall">We ran past La Samarae, which Arnlt recently bought. Galliano poted at a woman strollg along the Left Bank. “Look,” he noted, approvgly. “She is wearg cyclg cloth wh a vtage Chanel top. That’s <em>major</em>.” (“Major” is a word Galliano often, always wh zeal. As “Did you see Nile ‘The Hours’? She was major,” or “Have you ever tried the steak at La-péroe? It’s major.”) A b farther along, we ran past a stunng woman, and as we did he turned his head to me and shouted, “She is so very John Galliano!” The woman, who was her twenti, had short, spiky blond hair, and was wearg silver stiletto sandals and a brown bead drs unr what looked like a ripped black sweatshirt. Her right fist was wrapped around a two-thoand-dollar handbag. It was unclear to me whether she was on her way to the office or g home om a very long night on the town.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssS ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="zwzpif"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Galliano often refers to thgs he se on the street or at work as “very John Galliano.” I asked him what that meant. “It is somethg credibly refed mixed wh somethg savage,” he explaed. “Savage” is another of his favore pliments. Trib of all kds tert him, and he llects the Native Amerin photographs of Edward S. Curtis. “Refed is borg and savage n be too obv,” he said. John Galliano is all about tryg to strike the perfect balance between the two.</p><p class="paywall">It was on a n like this that Galliano beme fascated wh the people who live on the stoops near the See—what he lls the “wet world” and what almost everyone else on earth lls the homels. He built his 2000 fall uture show around a ncept of how they drsed. “There is this whole world of fantastic characters who live there, I believe through choice,” he told me. The cloth—ripped and renstcted—were remarkable displays of fashn technique and history, and they were supposed to reflect the ventivens of street people. Galliano was picketed and reviled, though, for what was nsired a llo attu toward the homels. Rt police surround the Dr offic, on the Avenue Montaigne, and Galliano had to apologize. “I saw jt the romantic si of , the poetic si of ,” he told me. “The cricism was that I was takg the piss out of homels people, but the pot was that they are creatg bety out of necsy. I loved that llectn.”</p><p class="paywall">We ran past Notre-Dame and up the Rue Poissonnière, where, acrdg to Galliano, the bt French knockoffs of signer goods are produced. Frédéric, the traer, ran bi , and every few mut would offer annoyg tips (“Your arms are too tense,” “Your posture is poor,” and so on). After half an hour, we arrived at our statn: Galliano’s gym.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Galliano never worked out before he moved to Paris. How, I wonred, did a guy who was famo for stayg out all night—and for disappearg, sometim for days, after each of his llectns was shown—bee such a fns fanatic? “I got a grownup job,” he replied. “I was drkg ffee and diet sodas to give me the buzz to get through the day. At night, to e down I would open a bottle of red we to relax. Do you know what I mean? Also my change of diet. I ate purely crap before I me to Paris. I lerally didn’t know what a rbohydrate or a prote was.</p><p class="paywall">“But then I went to Givenchy,” he ntued. “And I was rponsible for two l and a lot of work and many employe. I need to fd some kd of balance my life.” Balance is a difficult ncept for Galliano. Even now, Frédéric told me, he has simply shifted his obssn wh night life to an obssn wh his physique. “John don’t jt want to have good pecs,” Frédéric said, as Galliano lowered himself onto a bench to lift weights. “John wants to have the bt pecs Paris.” Galliano’s entire day is built around makg sure that he gets his time at the gym. “Everyone says ’s the same high as wh dgs,” he told me. “It’s that ltle burst of light you are always lookg for.”</p><p class="paywall">Frédéric had stretch a b to unwd om our “warmup” n. “Ready for the abs?” he asked. It was a rhetoril qutn. He put next to each other on mats and started on a long, slow seri of s-ups. Then cnch. Then more s-ups. We did sr of them. It seemed to last for hours; Galliano is impish, and, while he is bldgly sgle-md and amb, he has not lost his sense of how odd has been to move om a life as a dissolute party boy to that of an ternatnal bsman. There are tim when he clearly miss his bched past. “You know,” he said, as we raised ourselv om the mats, “if you had been wh me at this hour fifteen years ago we might have been dog an entirely different kd of s-up by now.”</p><p class="paywall">Galliano was a vigoro participant the wild life of London the neteen-eighti. For stunts at St. Mart’s, as for others, that life revolved heavily around the clubs, and Taboo, which was held on Thursday nights at Maxim, Leicter Square, was at the center of . The club had an outrageo reputatn ( fact, s history will be reunted this fall a Broadway mil starrg one of s bt-known ctomers, Boy Gee). “It end up seedier than the bottom of a birdge,” one regular has said. “You had bodi lyg on the dance floor. You didn’t know if they’d O.D.’d or were jt msg about. It was very extreme and very dangero.” No chemil or rnal pursu was off-lims there. “It was ’84, ’85 that was really happeng,” Galliano told me one day over lunch. “All the creative energi om the film world, the mic world— would all e together on Thursday night. I would spend the entire week puttg my outf together. It would be a full-time job, and I took serly. Taboo beme que notor. There was a lot of dg e. It was <em>the</em> place to be. It beme harr and harr to get , and the harr was the more people would try, and that ma even more exclive.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssS ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="klunjq"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssS ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="5trdpb"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">And his dg e? “Any kid the eighti ed dgs. I went to St. Mart’s”—he said as if that alone answered the qutn. “It was a new romantic movement, and one did experiment. I am glad I did. And I am glad that, somehow, I got through . It helped me evolve. And I have changed, thank God. I would not want to be stuck the Taboo days for the rt of my life. You have no ia what went on there.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Galliano was raised the ethnic stew of South London. His father was om Gibraltar, where Galliano, whose full name is Juan Carlos Anton Galliano-Guillen, was born. His mother is Spanish. “To get to Spa, you had to take the boat, bee the ontiers were closed,” he said. “We had to go through Tangier. I remember the market, the smells, the lors, the people. It was all very excg. Romance. Lat. When we moved to London, my mother brought all wh . Even the mic. My mother tght me to flamen-dance on tabletops— mak more noise. She had a big fluence on the way I look at the world and the way I drs people.”</p><p class="paywall">Galliano has two sisters, both of whom live London. “We were drsed as well as my mother uld drs for any event, even if was jt to go to the rner shop. We were always bathed, talced, perfumed, hair slicked back. I was groomed to a T. That is very Spanish.” Galliano went to a boys’ school London, and he tend to study languag. It turned out, however, that he had a gift for illtratn. “At the end of that urse, they suggted I apply to a fashn school like St. Mart’s. I had never been that kd of i before. It was totally liberatg.</p><p class="paywall">“I didn’t have a grant, and I was livg at home. There wasn’t much money. And so I got a job as a drser, at the Natnal Theatre. That changed my life. I was a good drser. It helped shape my view of drama, of clothg, of stume—the way people drs.” I asked him what a “good” drser was. “I was always on time. The cloth were always clean. If was a perd piece, the Eton llars were chalk-whe, thgs had been prsed, molk top hats would be smoothed wh the oil of my own hands, I would be the right place at the right time even if meant lyg unr a fuckg stage for two hours until the actor ma his entrance. I worked wh Judi Dench, Sir Ralph Richardson, and they were people who tght me very much about bodi and cloth. And how they mand their space.”</p><p class="paywall">It still had never occurred to him that he might sign cloth for a livg. “I tend to bee whatever is I am workg on, and I was drawg pictur of the French Revolutn,” he went on. “I was spired by Robpierre, ‘<em>l croyabl</em>.’ And I was lookg like this down-and-out French tramp. Livg , breathg. Drawg by ndlelight. Producg parchment paper soaked wh bs of bread that are then staed wh tea. Drawg wh a lligraphy pen and sepia k this very kd of cur light. I uld jt image the fantastic creatur marchg, nng across the wet shy bblton of Paris.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">Galliano’s tutor at St. Mart’s suggted that he turn the drawgs to outfs for his graduatn prentatn. “I cut cloth that uld be worn si out, upsi down, and by both boys and girls,” he said. “Very androgyno, but huge romantic blo wh trilors and hems that rolled up and were spl. You have to make three prentatns. The first went really well. By the send, I was sudnly put on as the last act. I thought, Somethg has gone down here.” And by the third people were stgglg jt to fd seats. The owners of Browns, for many years London’s most adventuro fashn store, attend one of the shows and bought Galliano’s entire stunt llectn for their South Moulton Street store. “I had to lerally wheel my llectn up the street to their shop,” he told me. “I uldn’t even afford to put the cloth a b. And they put one of the ats the wdow and was bought by Diana Ross.”</p><p class="paywall">After graduatg om St. Mart’s, Galliano set up a stud London. He had trouble earng a livg, though. His talent seemed outweighed by a lack of bs skill and by a nsirable sire to enjoy life, particularly at night. “I had ls than no money,” he said. “Zero. I was livg above the garage where the stud was. Dodgg the rent man. Profsnally speakg, was not the greatt moment for me.”</p><p class="paywall">Increasgly, he sought refuge the London club scene. “When tim were hard, John really uldn’t do anythg else,” Jeremy Healy said. “We were at clubs till dawn day after day. It was sane, but what was he gog to do? He uldn’t get the work. I enuraged him to be more mercial. He always refed.” For all s raw energy, London uld never pete wh Paris for attentn wh the fashn world. Brish signers like Vivienne Wtwood and Ossie Clark have often been seen as darg or eccentric, sometim brilliant, but they almost never earned the rpect given to French, Italian, or even Amerin signers. It is also the se that France has a llectn of skilled needleworkers and a tradn of rg about clothg, which have helped Paris reta s posn as the center of the fashn world.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">“I had to go to Paris to ntue my reer,” Galliano said. “There really wasn’t a choice. I was not progrsg and I was not gettg better.” Galliano’s chief litenant, Steven Robson, went wh him. “I was at an art school near London and I did an ternship sewg buttons for John,” Robson, a quiet, heavyset man who mov wh the grace of a dancer, told me. “I was too shy to e alone; I had to brg a iend. I stayed a week and then I stayed some more. And I went to llege and worked one day a week. Then two days, then four days.” Galliano and Robson were not exactly weled wh open arms Paris. “We were producg the most betiful thgs, but for dner we were eatg a n of beans on a Bunsen burner,” Galliano said. One day, André Leon Talley went to vis Galliano and Robson at Galliano’s atelier, near the Bastille. “He was horrified, and he immediately started buyg McDonald’s and basilly fed to keep gog,” Galliano said. Talley brought his boss, Anna Wtour, the edor of <em>Vogue</em>, to see Galliano’s work. She loved what she saw, and she quickly beme his most fluential supporter. “Before I knew , Anna had lled the llectn to New York for a picture shoot,” Galliano said. “Then she ved me to e, too.” He attend a seri of dner parti filled wh “social, all the fantastic people, and I was sudnly meetg bankers om Pae Webber—me meetg bankers and them wantg to talk to me. Can you image that?”</p><p class="paywall">He still need to nvce the bankers and buyers that he was ser and stable. To do that, Galliano had to produce somethg for the fall, 1994, Paris llectns. They were only three weeks away, and he had no sh, no venue, no cloth. Talley persuad a sociale named Sao Schlumberger to lend Galliano her large, uned, and slightly crep hoe near Sat-Sulpice.</p><p class="paywall">Wh the help of Robson and Amanda Harlech, who now acts as the creative nsultant at Chanel but for years was the me who helped Galliano fe his style, Galliano filled the hoe wh dried leav. “And love letters that we had wrten ourselv. I went and got about five hundred sty keys and sent them as vatns.” He flood the place wh dry ice, so that you uld see the texture of the air. A broken chanlier was placed on the livg-room floor. It was nt and romantic. Stephen Jon, the London ler, created a seri of hats that looked like Möbi strips and worked as a perfect plement to Galliano’s stere drs. None of the participants charged for their work, not even the world’s most famo mols—Kate Moss, Lda Evangelista, Naomi Campbell, and Christy Turlgton.</p><p class="paywall">Galliano had no time to orr fancy fabric; he cut every drs om the same bolt of cloth. “I ma the drs om black sat-backed crêpe, bee was cheap and I uld e the matte and the shy sis to make look like there was more to than there was,” he rells. “There were, I thk, two touch of pk. Kate and Christy had pk outfs. Those were the only lors the entire show. We jt didn’t have time for anythg else.”</p><p class="paywall">The show beme perhaps the most celebrated fashn event sce Dr troduced his New Look. “It was really a watershed moment morn fashn history,” Diane von Furstenberg told me. “We all knew we were seeg somethg that had not been seen before. The cloth were sublime, simple and feme. You wanted to wear every sgle drs.”</p><p class="paywall">Orrs started to pour , and Galliano barely had the means to fill them. “This was ,” he rells. “I uld not fuck up or make a mistake. It had to be a very profsnal bs or I was never gettg another chance to make a drs.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">At about eight o’clock on the night before Galliano’s most recent show, his two ma llaborators were lyg on their stomachs on the floor of the ballroom-size ftg space the Dr headquarters. Bill Gaytten, who has directed the cuttg of Galliano’s cloth for twenty years, and Robson, whom many now see as Galliano’s alter ego, were matchg stockgs wh sho, glov, jewelry, hair clips, and unrwear. When they assembled ems they thought worked well together—say, lime-green legggs, black glov, and a mh phup bra—they put them a giant Ziploc bag, pasted a label on the pack, and set asi to go wh one of the outfs.</p><p class="paywall">It was an early-summer eveng, before this year’s rerd heat started to settle too heavily on the cy, and the room was filled wh peoni, Galliano’s favore flowers. “They are the last peoni of the season,” he said, as I stared at dozens of purple and pk buds. “And that mak them the sweett.” Flamen mic was wailg so loudly that was hard to thk. “Flamen mic is always about somebody’s pa,” Galliano said. “It never out O.K. the end. It’s the perfect mic to make drs by.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p class="paywall">Galliano sat alone at a table the middle of the room, a pack of Marlboros ont of him at all tim. He had jt returned om his father’s funeral, and he wasn’t talkg much. Every twenty mut or so, a betiful young woman would wanr , take off her cloth, and s a rner. Only after she was strapped to a rset by five assistants, or drsed a ged silk berge gown ma wh, among other thgs, fifteen pounds of glass tub, would any of the men pay attentn to her. (At one pot the eveng, I watched as Gaytten and Robson adjted the waist and crotch of a drs worn by Natalia Vodianova, one of the world’s more allurg mols. They might as well have been measurg the height of a kchen bet.)</p><p class="paywall">Every once a while, Galliano would stand up, take a pair of scissors, and show the seamstrs the room that he wanted somethg cut tighter or a different way. “It has to be raw and sophistited at the same time,” Galliano explaed to Raffaele Ilardo, the head of the atelier. “You need to slash more.” By 3 <em class="small">a.m.,</em> all the mols had appeared and Galliano had studied the cloth refully—ually lookg at them the mirror rather than directly. There was more to do: several of the drs were not pleted, and there was embroiry and tail work to worry about, not to mentn the plited mix of Healy’s mic, which would have to synchronize exactly wh the light show and wh the mols’ entranc.</p><p class="paywall">Galliano’s llectns are mapped out like a ary mpaign. They start wh a nversatn among Galliano, Robson, and Gaytten. “We produce the books, and they bee the bible om which we work,” Galliano told me. “Then we talk about the ncept of the show. We have to have a new way of cuttg or a new way of seeg thgs. And that dialogue turns to a sketch, and then the work begs.”</p><p class="paywall">Galliano’s shows are always built around a theme: one focsed on pg om Rsia at the fall of the Romanovs; another was spired by Napoleon. The drs the recent llectn were tend to portray different aspects of dance—om the tribal rhythms of India to hip-hop. But Galliano did not want simply to make the cloth of, say, the flapper era or the tango. That would have bored him. “I want the mols to look as though they had been dancg for eight days and eight nights,” he said. “I want to see the sweat and the grime and the exhstn and the fear and the pa. I want agony the exprsn and the cloth. I want to feel . I want to rip and tear and cut until the pa is the drs. And then we will create a new dance om that. It uld be a very John Galliano moment.”</p><p class="paywall">Steven Robson shook his head and said, “This is so much work for twenty mut you n hardly believe we keep dog .”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Galliano’s place two related but distct fashn worlds mak for some odd ntrasts. In mood and temperament, the Dr and Galliano l uld not be more different. Dr appeals to a flashy young crowd. The word “Eurotrash” to md. Galliano’s own le is simpler and more feme. When Christian Dr opened his atelier, jt after the end of the Send World War, he bought an old mansn on the Avenue Montaigne. It looked exactly like the salon “Funny Face”—full of curvg bannisters and stately parlors where women of leisure uld sip tea while ntemplatg the purchase of a ball gown. Today, the rridors are led wh stark, black-and-whe pictur om Dr’s time of glory: a 1950 Cartier-Brson photograph of him his stud examg the clothg on a mol; another, om 1954, of the signer wh Jane Rsell. There are also pictur of Marlene Dietrich and the Duchs of Wdsor. All the photographs are amed black. Turn the rner and you n see another kd of shot entirely: the mol Gisele Bündchen, superrealistic lor and a size far bigger than any life. Sweat clgs to her sk so clearly that you almost feel obligated to exame every pore.</p><p class="paywall">On the fifth floor, Dr seamstrs work quietly whe butcher smocks, tape measur danglg om their necks. One n sense the effort and ncentratn as they spend hundreds of hours preparg the bead, sequned, and bejewelled nctns that Galliano will put on the nway. His own atelier, the more ethnilly mixed and funky Twentieth Arrondissement, has a Middle Eastern feel to . There are Turks and Morocns, and the smell of prso mgl wh the sounds of reggae. The garn there is like a jungle, and Galliano told me that ’s the one place Paris where he feels pletely “safe.”</p><p class="paywall">I had long wonred how on earth one n make money on hte uture. Even the neteen-fifti, there were jt a few women eager to spend what might be a b nductor’s annual salary on an ornately signed piece of fabric. Who, for stance, is likely to buy the most plex drs that Galliano produced for this show? It was a silk we-lored gown wh three hundred and ten pleated sertns, which were ed to create the skirt and the sleev. The drs was edged wh a two-hundred-and-twenty-metre strip of black lace, and had been embroired wh a technique ma up of three different forms of stchg. There were sequs, pearl drops, and pearl tub, not to mentn hundreds of jet beads. The drs took neteen people four hundred and twenty hours to make.</p><p class="paywall">“Who are you gog to sell that to?” I asked. Galliano seemed surprised at my qutn. “We are turng away orrs,” he replied. “But the uture is a laboratory, and om I cle my llectn”—meang that he turns the exotic clothg of the nway to many typ of outfs that people might actually wear. Ined, a close examatn of the cloth any Dr boutique will reveal piec adapted om the uture llectn. Today, hte uture functns as Dr’s most powerful marketg tool— is the basis for everythg om drs to eyewear and sho. “John the uture to work out his most advanced ias,” Joseph Boano, of Saks, told me. “But he has a real foc on the bs and how to drive and what the ctomer wants. No matter how wild the shows seem, he never lets go of the ctomer.” Galliano gets annoyed by qutns about the utily of his drs. “It’s like gog to a mm, lookg at a Rothko, and sayg, ‘My kid uld pat that,’ ” he replied when I asked. “It’s abstract and ’s art. Frankly, that ought to be enough.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-6 viewport-monor-anchor"></div><p class="paywall">“In se you have the feelg that I am flyg too far om the earth, though, you should remember that while I make the drs I have girls stg and sketchg every step, and at some pot I will say, ‘You know, that drs is really betiful. That drs we uld jt cut now.’ It’s the difference between fashn and cloth.” One of his sketch artists stepped over and showed me what he meant. She was rryg a very tailed seri of drawgs that followed the evolutn of one drs om pla to tertg and then to tensely weird. “Of urse, I am passnate about the llectn and I want to see all the passn and the pa,” Galliano said. “But then I am also thkg, Fuck, this is a wicked Osr drs. Let’s jt sketch .”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssS ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="53lo7d"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">It was gettg late. I asked if Galliano cut his cloth to su the clients or if they had to do what Galliano thought was bt. “We are gentle, yet there are some clients that have a fixed ia,” he replied. “There was a charmg girl—an Arabian client—who wanted to look like Crella for her weddg. So I did my terpretatn of Crella. But no. She wanted to look lerally like the rtoon Crella. The ctomer is always right, I know, and we tried, we really did try, but this one wanted to look like the Walt Disney Crella. So we proposed ias and sent drawgs, and they would e back. ‘I want Crella.’ And we would alter a b and they would e back. She jt wanted to look like Crella, for God’s sake. It was impossible.” Huffg, then lghg a b, he said, “But that was her dream, and the end we did . What other choice was there?”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">It is easy to see fashn, particularly the hte uture, as irrelevant and ivolo. A uture drs is by fn somethg exceptnal, somethg that nnot be ma a factory or large quanti. It is also based sentially on whim, often strange whims; you are unlikely ever to see a woman walkg down the street Galliano’s rset of duchs sat, which is embroired wh nearly a thoand micro-crystals ma by Lage.</p><p class="paywall">Yet hte uture remas a ser bs Paris. In an age when the red rpet at the Osrs has bee a sort of Super Bowl of fashn—and the signers of the drs worn by actrs are mentned on televisn everywhere—uture clothg may even have gaed new relevance. Durg Fashn Week Paris, ask nearly any taxi-driver what time Dr is showg, and you will get the answer; you won’t need to give him the addrs.</p><p class="paywall">Galliano stood silently through his show, watchg on a monor backstage until was time to march down the nway. As he emerged, he was met wh a roar, and he looked like a bullfighter, drenched wh sweat, packed to his stume: gray-and-blue embroired track pants, a mh rset over a gray T-shirt which was cut ep enough to expose his mcl, and suè boots. When he was done, I joed him backstage as he ma his way, rted by secury men wh necks the size of reigerators, toward his ty drsg space. The fashn edors of the world—joed by celebri like Jack Nicholson and Elizabeth Hurley—were wag to ngratulate him.</p><p class="paywall">“Are you all right?” Galliano asked me. Sweat was streamg down his face, and he looked stunned. I was a ltle taken aback by the qutn. “Sure,” I replied. “Are you?”</p><p class="paywall">He burst to tears. “I don’t know,” he said. “That was for my father today. I hope I would have ma him proud.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssS ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="4pd4ou"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2003/09/22" data-reactroot="">September 22, 2003</a>, issue.</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/michael-specter"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/michael-specter">Michael Specter</a> is a staff wrer at The New Yorker and an adjunct profsor of bengeerg at Stanford Universy. His dbook “<a href=">Fci</a>” me out 2020.</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Weekly</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Your gui to the latt magaze and our biggt stori of the week, pl highlights om podsts, humor, and more.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ja Mallm</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of History</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Transn</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Lyndon Johnson and the events Dallas.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Robert A. Caro</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Crime</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Blood Ti</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Two brilliant llege lovers were nvicted of a btal slayg. All the years later, why has the se bee a e?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Nathan Heller</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Chameleon" 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