John Galliano and Zara: Why the First Re Vol.1 Collection Has Become the Biggest Fashion Topic of the Autumn

What happens when one of the most famous couturiers of our time is asked to work not with his own archives, but with those of a mass-market fashion brand?

What happens when one of the most famous couturiers of our time is asked to work not with his own archives, but with those of a mass-market fashion brand?

We can finally see the answer.

On October 1, 2026, Zara unveiled the first collection created as part of its creative collaboration with John Galliano. Titled Re Vol.1, the capsule has already become one of the most talked-about fashion events of the autumn.

And it’s not just about the name.

Galliano Didn’t Simply «Create a Collection for Zara»

Usually, a collaboration with a designer follows a familiar formula: the invited creative develops new pieces specifically for the brand, adding their personal signature and recognizable style.

Galliano decided to take a different approach.

Instead of starting with a blank page, he chose to delve into Zara’s archives.

And this is precisely where the most interesting part of the story begins.

The designer is not simply working with clothes, but with the brand’s memory. Old ideas, silhouettes and aesthetic codes are given the opportunity to return to the contemporary wardrobe — this time through Galliano’s vision.

It’s not exactly a return to the past.

It’s not a simple reissue either.

And it certainly isn’t just another capsule collection.

Rather, it is a dialogue between the past and the present.

But This Is Where an Intriguing Ambiguity Emerged

Even before the launch of Re Vol.1, the concept had already raised a number of questions.

When it became known that Galliano would be working with Zara’s archives, it was easy to assume that the project involved older pieces from the Spanish brand, literally reinterpreted by the designer.

But the idea turned out to be more complex.

And it is precisely this ambiguity that has fueled interest in the project: where does Zara’s archive end and Galliano’s personal vision begin?

And can we really speak of a «return of the past» when that past is viewed through an entirely new creative perspective?