{"id":347194,"date":"2020-10-23T13:52:48","date_gmt":"2020-10-23T17:52:48","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=347194"},"modified":"2024-07-03T13:00:47","modified_gmt":"2024-07-03T17:00:47","slug":"martin-margiela","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/martin-margiela\/","title":{"rendered":"Martin Margiela: An Intimate Look at the Designer and His Surreal Fashions"},"content":{"rendered":"\n
\"swimsuit
A swimsuit made of plastic shopping bags from Martin Margiela\u2019s Spring\/Summer 2009 collection<\/figcaption><\/figure>\n\n\n\n

At his final runway show, a retrospective of his greatest hits that took place in October 2008, the elusive Belgian designer Martin Margiela<\/a> left a note on every seat that read: \u201cTwenty years, forty shows, hundreds of garments, what is there left?\u201d<\/p>\n\n\n\n

It was a fitting farewell bow for the notoriously private designer, who, having made a point of never attending his own shows, retired from fashion the following year without fanfare. <\/p>\n\n\n\n

\u201cHe\u2019s not like other designers,\u201d says Gregory Chester, a collector of Margiela\u2019s early pieces One of a Kind Archive<\/a>, a vintage boutique in London and a 1stDibs seller. \u201cWith some designers, you can just pick collections and say that was your favorite period. But with Margiela, it was the span of his whole career. There\u2019s not one moment that was less than, because it all felt relevant and right for the time it was made. He was always so ahead.\u201d<\/p>\n\n\n\n

Until recently, Margiela had remained in the shadows since his departure, eschewing the industry\u2019s relentless spotlight on personalities just as he did during his 20 years in fashion.<\/p>\n\n\n\n

However, the recent film In His Own Words,<\/em> by director Reiner Holzemer \u2014 who also created Dries, <\/em>featuring another Belgian designer, Dries Van Noten<\/a> \u2014 pulled him back into the fashion penumbra, offering a rare intimate look at his life, career and clothing designs that have become cult-collector obsessions.<\/p>\n\n\n\n

True to form, Margiela\u2019s hands, never his face, are all that is shown of him throughout the film.<\/p>\n\n\n\n

\"Still
\u201cI knew I had taste, but I didn\u2019t know it was becoming a style,\u201d Margiela says in the film In His Own Words, <\/em>which chronicles his 20 years in fashion. <\/figcaption><\/figure>\n\n\n\n

Born in Genk, Belgium, in 1957, Margiela knew he wanted to be a fashion designer after catching glimpses of Parisian fashion on TV as a child. Although his parents discouraged this career choice as an oddly funny aspiration, Margiela enrolled in the fashion program of the Royal Academy of Fine Arts Antwerp.<\/p>\n\n\n\n

There, he befriended and graduated a year ahead of the Antwerp Six<\/a> \u2014 the acclaimed group of Belgian fashion designers comprising Dries Van Noten, Walter Van Beirendonck<\/a>, Ann Demeulemeester<\/a>, Marina Yee, Dirk Bikkembergs<\/a> and Dirk Van Saene.<\/p>\n\n\n\n

Like many of his contemporaries in the 1980s, Margiela understood Paris fashion but felt a deep resonance with the deconstructed beauty espoused by Japanese designers Yohji Yamamoto<\/a> and Rei Kawakubo<\/a>, of Comme des Gar\u00e7ons<\/a>.<\/p>\n\n\n\n

His fascination with Japan influenced many of his earliest collections and designs, from a dress pieced together from broken plates to his iconic Tabi boots<\/a>, inspired by the split-toe Japanese worker\u2019s shoe, which dates back to the 15th century.<\/p>\n\n\n\n

\"Original<\/a>
Original Tabi shoes<\/a> designed by Margiela, including a pair of rare Les Topless sandals from the Spring\/Summer 1996 collection<\/a><\/figcaption><\/figure>\n\n\n\n

He decided to launch his own line while working for renowned Paris designer Jean Paul Gaultier<\/a>. Margiela, Gaultier has often stated, was his best assistant. Even then, the film suggests, he was acutely aware of the widening gulf between the art and the business of fashion.<\/p>\n\n\n\n

\u201cEverybody wants a boy wonder,\u201d says Katy Rodriguez, cofounder of the cult vintage fashion shop Resurrection<\/a>. \u201cEverybody wants this lone genius, this person that came out of nowhere. It\u2019s just not reality. That\u2019s the myth, whether it\u2019s an artist or a fashion designer, and I think Margiela really played with a lot of those myths.\u201d<\/p>\n\n\n\n

Margiela\u2019s debut show, in 1988, was nothing short of spectacular. Set in a packed Caf\u00e9 de la Gare in the still-seedy Marais district, it was also scandalous to the Parisian fashion set of the time.<\/p>\n\n\n\n

Margiela tore up the conventions of contemporary couture presentations, most notably having his models, plucked from the streets and wearing ink-blotted Tabis, wend their way through the crowd.<\/p>\n\n\n\n

The show redefined the concept of the runway in a way that would later inspire such designers as Alexander McQueen<\/a> and Demna Gvasalia.<\/p>\n\n\n\n

\"Martin
In Margiela\u2019s debut 1988 fashion show, some of the models wore a flesh-colored mesh top with tattoo illustrations<\/a> referencing French Polynesian art.<\/figcaption><\/figure>\n\n\n\n

Doubts about Margiela\u2019s vision for his own house \u2014 and there were many \u2014 were laid to rest with his Fall\/Winter 1989 show. He sent out 500 invitations, all hand-drawn by kids from a school in the 20th arrondissement in Paris and accompanied by directions to the local playground, a derelict, graffiti-walled wasteland with an uneven surface that the models swayed and swaggered across.<\/p>\n\n\n\n

There for his first-ever fashion show was the designer Raf Simons<\/a> \u2014 then still an intern for Walter Van Beirendonck \u2014 who recalls being moved to tears.<\/p>\n\n\n\n

\u201cMore than any pieces in particular, there was a disruptor element in his presentations and designs, from the role of the model to the catwalk to what couture is,\u201d says Miguel Lopez, co-owner of Sui Generis<\/a>. \u201cHe was a true artist.\u201d<\/p>\n\n\n\n

\"Margiela
Everything revolved around the garment for Margiela, who often veiled and obscured the faces of his models.<\/figcaption><\/figure>\n\n\n\n

Margiela pushed those who attended his shows outside their comfort zones. In the years following his debut, he toyed with creative and aesthetic paradoxes that persist in fashion today.<\/p>\n\n\n\n

Consider the Spring\/Summer 2001 shirt patchworked from vintage clothing labels<\/a>, or his famous corset dresses made from tailoring dummies, from his Fall\/Winter 1997 line. Or his oversize collection for Fall\/Winter 2000. \u201cHe did everything in size 78 Italian, so it was like oversize jeans with a huge coat,\u201d says Chester.<\/p>\n\n\n\n

Several years ago, One of a Kind Archive acquired a design from the collection from an unexpected source \u2014 \u201ca man who was literally a size 78. He didn\u2019t buy it because it was oversize, he bought it because it fit him, which was quite cute,\u201d recalls Chester. “A lot of the pieces we collect, especially like the oversize collection, were never really sold at the time. Now, people are searching the globe for them.\u201d<\/p>\n\n\n\n

\"Martin
A childhood obsession with doll\u2019s clothing \u2014 which he sewed with his grandmother \u2014 inspired Margiela\u2019s 1994 collection of adult-size doll dresses.<\/figcaption><\/figure>\n\n\n\n

In 1992, Margiela told D\u00e9p\u00eache Mode<\/em> magazine, \u201cMy clothes appeal to women of a certain mindset rather than of a specific age or physique.\u201d <\/p>\n\n\n\n

For many Margiela collectors, his pieces capture the irreverence of the postwar, post-punk late 1980s<\/a> and \u201990s<\/a>. Rodriguez is among those who felt a connection to Margiela\u2019s clothing in the subliminal challenges it posed to the time\u2019s beauty norms.<\/p>\n\n\n\n

\u201cGrowing up in San Francisco and coming out of the end of punk rock, not wanting to be objectified, not wanting to be seen as a sexual object, not wanting your value to be just because you\u2019re pretty \u2014 all those clothes played into all of that,\u201d she says. \u201cIt really was a reflection of the kind of world the young people I knew at the time wanted to live in.\u201d<\/p>\n\n\n\n

One of the most notable Margiela collectors during the late \u201990s and 2000s was the late Marcia Berger. The independently wealthy New Yorker was, like him, a loner and equally secretive. Rodriguez, who handled Berger\u2019s estate, describes how Berger would go to Barneys and other stores that sold Margiela and buy his pieces.<\/p>\n\n\n\n

\u201cThat was her social life,\u201d Rodriguez says. \u201cThe interesting thing was that she never really wore the clothes. She just bought thousands and thousands of pieces. When she died, we went to her place, and everything was in boxes. It was like she was just living among this massive collection of things.\u201d<\/p>\n\n\n\n

\"Black
Black shearling and leather jacket from Martin Margiela\u2019s Fall\/Winter 2002 collection for Herm\u00e8s<\/a>, similar to this cropped version<\/a><\/figcaption><\/figure>\n\n\n\n

In 1997, at the age of 40, Margiela took the helm at Herm\u00e8s<\/a> as creative director of the house\u2019s women\u2019s ready-to-wear department. His creations for the storied French brand reimagined luxury for the modern woman. His work also provoked criticism among critics for its simple, tailored lines.<\/p>\n\n\n\n

\u201cIt\u2019s what luxury at its highest should be, in my opinion,\u201d says Chester. \u201cIt wasn\u2019t overdesigned. It was so rich, but it wasn\u2019t in your face. You could walk down the street, and only a few people would know what you were wearing. It\u2019s the best Herm\u00e8s has ever been, and I want Herm\u00e8s to be like that now.\u201d <\/p>\n\n\n\n

\"poster-turned-dress
A poster-turned-dress, printed with an image of the first jacket designed by Margiela for his house, featured in his Spring\/Summer 2009 retrospective collection.<\/figcaption><\/figure>\n\n\n\n

In a 2008 review of the fashion designer\u2019s last official runway show, New York Times<\/em> men\u2019s fashion correspondent Eric Wilson aptly dubbed Margiela \u201cFashion\u2019s Invisible Man.\u201d<\/p>\n\n\n\n

Nevertheless, the designer\u2019s influence throughout fashion remains massive, if hard to define even for the most astute fashion scholar or devoted cult collector. Because to talk about Margiela is to unravel the entire myth of fashion itself. <\/p>\n\n\n\n

\u201cIt\u2019s hard to pinpoint what it is about his designs,\u201d says Chester. \u201cThe handmade quality and his references are very discreet. They feel nostalgic, but you don\u2019t know why.\u201d<\/p>\n\n\n\n

Adds Rodriguez, \u201cA lot of young people talk to me about what they want to do, and it\u2019s a completely different ethos. It\u2019s like you want to make something out of something, not make something out of nothing. The Margiela era was to make something out of nothing. That\u2019s what he did.\u201d<\/p>\n\n\n\t

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At his final runway show, a retrospective of his greatest hits that took place in October 2008, the elusive Belgian designer Martin Margiela left a note on every seat that read: \u201cTwenty years, forty shows, hundreds of garments, what is there left?\u201d It was a fitting farewell bow for the notoriously private designer, who, having […]<\/p>\n","protected":false},"author":293,"featured_media":347872,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2020-10-24T00:53:38Z","apple_news_api_id":"0357ceb3-d22f-4f68-9a7c-07f0083b6036","apple_news_api_modified_at":"2020-10-24T00:53:39Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAAAA==","apple_news_api_share_url":"https:\/\/apple.news\/AA1fOs9IvT2iafAfwCDtgNg","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"1","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":["https:\/\/news-api.apple.com\/sections\/8b012b20-6eb7-478f-914d-852b22a7d76e","https:\/\/news-api.apple.com\/sections\/809cd9be-c9e5-4328-a27b-758e48e35422"],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[15522063],"tags":[15548831,15548801,15567295,15532253,15548871,15548861,15548851,15523433,11985093,15567296,15567154,15548821,2820393,15567293,300953,9873193,15567155,15567271,15548841,12649423],"dibs-categories":[15565982],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[15567294],"dibs-sellers":[],"class_list":["post-347194","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fashion","tag-ann-demeulemeester","tag-antwerp-six","tag-comme-des-garcons-2","tag-dickson-wong","tag-dirk-bikkembergs","tag-dirk-bikkembergs-and-dirk-van-saene","tag-dries-van-noten","tag-fashion-2","tag-fashion-designer","tag-jean-paul-gaultier-2","tag-katy-rodriguez","tag-marina-yee","tag-martin-margiela","tag-martin-margiela-in-his-own-words","tag-raf-simons","tag-rei-kawakubo","tag-resurrection","tag-sui-generis","tag-walter-van-beirendonck","tag-yohji-yamamoto","dibs-categories-dibs-v","dibs-creators-dibs-maison-martin-margiela"],"acf":{"post_format":"article","subtitle":"In a recently released film, the elusive Belgian designer reflects on his time in the fashion world and his avant-garde creations, which have become coveted collector items. 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