Maison Martin Margiela

Maison Martin Margiela women's collection line circa Spring Summer 2012 (Matthieu Blazy era) white ribbed cotton maxi slip on dress.In 2011, Matthieu Blazy became a designer at Maiso...

Black silk bustier jumpsuit . Elastic band on the top edge. Pocket on both side. NEW WITH TAG SIZE 44 (It) 40 (Fr)

S/S 2017 Maison Margiela runway basting stitch jacket Runway jacket from Maison Margiela's Spring/Summer 2017 collection, showcasing the house's iconic exposed basting stitch detail...

rare MARTIN MARGIELA ARTISANAL black fabric fringed tassel pom pom trim self tie belt Reference: TGAS/F01083 Brand: Martin Margiela Designer: Martin Margiela Model: Repurposed Furnit...

This is an intentionally “crushed” sheer black skirt from Maison Martin Margiela’s Spring 1999 collection. Made from lightweight chiffon, the skirt h...

As a variation of the traditional waiter apron that Belgian former fashion designer Martin Margiela reworked with his eponymous Maison Martin Margiela since its first collection for Spring/Summer 1989, this minimalist convertible transparent black chiffon rectangular garment, which can be styled as a tied face veil, jabot, wrap skirt or dress, was part of his 1994 first retrospective collection. The iconic corner-stitched textural white cotton brand label is stenciled with seemingly contradictory text referencing an earlier Fall/Winter 1990 collection. Instead of the blank label that had become internationally recognized among progressive fashion buyers during the brand's initial five years, this black print was added in this manner for only one collection during its founder's tenure. This distinct typography identifies the garment as one of his favorites that he reproduced from his first 10 fashion shows. This season-less self-curated retrospective collection without any new designs was unprecedented in the ready-to-wear luxury-fashion industry, which sold only newly-designed clothes typically two to five times annually. In the early 1990s, this old-made-new-again collection was astonishing for a Paris-based high-end brand, for which any lack of fresh designs for Spring had otherwise been attributed to the loss of an artistic director or the outbreak of war. Nevertheless, there are subtle differences of color, material and draping possibilities that make our re-edition unique from the referenced 1990 apron and from later "replicas", which was the term that Margiela printed on a different kind of label for his second self-curated retrospective in Spring 1999 following 10 more collections. Aside from the text-printed brand label with four characteristic hand-sewn corner stitches, the only other element that unified Margiela's first collection of favorites was that all the items were overdyed a darker color so that the clothes were various shades of grey, blue or black depending on the original color of the textile and how much dye the thread/yarn absorbed. The first Margiela apron...

A gorgeous white cotton shirt from Martin Margiela. It has long sleeves with cuffs, a shirt collar and button front. The back is stunning in a chevron pattern of the same fabric lea...

When Belgian former fashion designer Martin Margiela debuted gold Lurex knits while French luxury-goods Hermes Womenswear Artistic Director, simultaneously for Fall/Winter 1999, he introduced at his eponymous Paris-based Maison Martin Margiela a collection featuring 1970s-inspired Lurex-accented sweaters, along with oversized loose clothes intended for either women or men. Including a distinct printed tag stitched into a seam by Italian knitwear innovator Miss Deanna, who created many iconic knits under Margiela's artistic direction, this Margiela sparkly finely-knit long-sleeve pullover in a Lurex and viscose stretch blend is a minimalist unisex design with narrow ribbed trim at the crewneck, wrists and hem. Its "Made In Italy" size 44 with a 15.5-inch shoulder-line is without darts and drapes like a one-size-fits-most soft T-shirt. Presenting the optical illusion of a dark tube top and detached sleeves worn underneath, the lightweight sweater was knit from pale-gold, grey and blue yarns into a ombre pattern like a spray-painted gradient or dip-dyed fabric. Yet the additional glittery orange-tone metallic thread (difficult to photograph due to reflections) woven throughout proves that it was not painted or dyed, but an experimental complex knitwear manufacturing technique by Miss Deanna. While we have sold Lurex distorted sweaters by Miss Deanna from the F/W 1999 collection with matching label text formatting and a blank Margiela brand label, none of them included a conceptual trompe-l'oeil of another garment in reference to earlier collections, which suggests that this is among a Margiela-commissioned one-off comparable to her initial Artisanal knits. Later for Margiela's first diffusion collections, Miss Deanna mass-produced knits for Line 6, which were identified by the house's new brand label with a circled numeral among the Line numbers from 0 to 23. This more affordable Line evolved into MM6. Comparatively, Margiela's Fall 1999 Artisanale Line 0 collection, which was instead produced by his Parisian team, explored the textural effects of hand-painting fabrics, such as the unisex T-shirts that were striped or obscured with thick silver paint. Earlier in the 1990s, Margiela had reproduced some vintage...