Doechii’s Archival Red Carpet Look Is Purposely Unfinished
Last night, Doechii made a strong case that the best red carpet looks are left unfinished. The rapper, fresh off a whirlwind Paris Fashion Week, attended the GLAAD Media Awards in an archival Maison Margiela outfit that had us dusting off our sewing machines.
Doechii stepped out to the Los Angeles event in a head-to-toe look from John Galliano’s spring 2024 collection for Margiela. She wore an off-the-shoulder bustier designed to look like a mannequin or, in industry speak, a dress form. It featured exposed stitching and marks that imitated the appearance of pins. Doechii paired her deconstructed top with a silk maxi skirt that had excess, raw-edge layers of fabric poking out from the waistband.
Playing into the design theme even more, Doechii styled her look with a pin cushion-inspired bracelet and a white measuring tape. She used the latter both as a prop and as a long necklace. The rapper paired her archival outfit with clear librarian glasses, a styling trick that’s become a signature of the rapper’s geekier looks.
It wouldn’t be a true Margiela moment without highlighting the footwear. Doechii wore the brand’s Tabi “bourgeoise spectator pumps” that were equally as distressed as her look.
Red carpet outfits are often more about the finished product than they are about highlighting the process behind them. But Galliano did just the opposite for spring 2024, focusing on the inner workings of the craft rather than a polished facade. He hemmed skirts with pieces of tape, folded blouses on top of other blouses, and turned bustiers inside out à la Doechii’s outfit. The collection drew inspiration from house founder Martin Margiela, who used similar techniques of exposure throughout his collections in the late 1990s and early 2000s. (Galliano departed the brand late last year, but his archives are still a go-to for stars like Zoe Saldaña and Miley Cyrus on the red carpet).
As a true student of fashion, it makes sense that Doechii would opt for such an outfit.
