Maison Martin Margiela: Beyond Jackets, Fragrances, and the Color White

Contents:

• Margiela and Belgium
• Margiela and Gaultier
• Margiela and Meirens
• Margiela: The Impact of Recycling on Creativity
• Margiela in the Context of the Contemporary Fashion World
• Margiela without Margiela
• Margiela with Galliano

We delve into the "plus one" concept of the Antwerp Six and discover what lies behind the idea of ​​anonymity and white in the designs of the Maison Margiela brand.

Margiela and Belgium

On April 9, 1957, Martin Margiela was born in the small Belgian town of Genk, located in the Flemish region. In the 20th century, Genk became the most important industrial center of the country, known for its coal mines. Not only local residents worked in these mines; the country's government signed contracts with Italy, Turkey, Morocco, Greece, and Spain, which facilitated the influx of foreign workers.

Genk developed a multicultural society thanks to waves of migration, in which a variety of languages, traditions, and everyday life peculiarities intertwined. When the mines began to close, a significant number of workers chose to remain in this city.

In a rare interview that Martin gave shortly after completing his studies, He shared a memory of one day seeing a fashion show by André Courrèges and Paco Rabanne on television. It was then that he realized that he wanted to do nothing else but create clothes.

In 1977, he began his studies at the fashion department of the Royal Academy of Fine Arts in Antwerp, which is one of the most respected fashion schools in Europe. Although he was not a classmate of the Antwerp Six and was not part of their team, they were in the same educational environment and influenced each other's work and styles.

After completing his studies at university, Margiela began his career as a freelance designer, actively collaborating with local boutiques. It is believed that he briefly collaborated with Dior, but the most accurately documented place of work before creating his own brand is the house of Gaultier.

Margiela and Gaultier

In 1984, Margiela moved to Paris. This was an obvious step, because it was in this city that his ambitions could become reality: here, fashion was not only an art form, as in Antwerp, but also a large-scale business. He soon took up a position as an assistant to Jean-Paul Gaultier, where he was responsible for creating sketches, organizing catwalk shows, and coming up with new ideas.

Gaultier later admitted that he had initially planned to refuse to collaborate with Margiela: "I've already told you how much I value your achievements. However, since I created all my collections myself, I didn't need an assistant of that level. You didn't have to master what you already knew; You had all the necessary qualities to become a leader, and you were already able to hold your shows in Paris."

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In 1987, Martin ended his collaboration with Gaultier and focused his efforts on realizing his own ideas. That same year, he visited Japan, which had a significant influence on his design style. During this trip, he was introduced to the concept of true layering in clothing and natural deconstruction, which made him look at Western fashion in a new way.

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In Japan, he first encountered the concept of the famous Tabi. On the streets of Tokyo, he was attracted by vendors wearing cotton chuni with a distinctive split toe. This inspired him to create similar shoes, but made of leather and with a high round heel.

Margiela and Meirens

In 1988, the Maison Martin Margiela brand was founded. Jenny Meirens, who ran a designer clothing boutique in Brussels, became the designer's partner in both the creative and business spheres. She instantly recognized Margiela's outstanding talent from their first meeting.

The name of the brand Maison Martin Margiela is pronounced "Mi-son-Martin-Margiela," which means "House of Martin Margiela" in French. The transcription "Mason Martin Margiela" is considered incorrect.

The designer's name is pronounced differently depending on the language: in Belgian it is Martin Margiela, in French - Martin Margiela, and in English - Martin Margiela. The most common is the English version, Martin Margiela, and its use is not considered an error.

Meirens offered to put Martin's collections on sale for a week in her innovative Crea store, which opened earlier that year. The store was located on Place Sainte-Catherine in Brussels, an area known more for its fish markets than for its fashion trends.

For Crea, Meirens selected works by Belgian modernists, as well as works by the French avant-garde artist Claude Montand and Yohji Yamamoto, who was just beginning his career on the Parisian fashion scene and caused a lot of excitement. Her shop was looking for an alternative to the Jolie Madame aesthetic.

The concept of Maison Martin Margiela was developed in a cozy bar in Mantua, Italy. Meirens focused on business and strategic planning, while Margiela concentrated on artistic direction.

In 2003, when she was 16, Jenny ended her career. During this time, she collaborated with Martin and actively participated in the formation of this fashion.

Deconstruction, as Margiela understands it, is not just a technical method associated with visible seams, linings, and darts. It is also a symbolic approach, consisting of a consistent "division" of the usual norms and traditions in the fashion industry, covering all aspects - from the creation of clothes to the design of labels and the organization of shows.

In the spring / summer 1989 collection, the designer began to use deconstructive elements, open seams and materials that can be reused.

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The history of fashion covers many aspects concerning famous fashion houses that have had a significant influence on the development of style and aesthetics. These institutions not only set trends but also shape ideas about beauty and self-expression through clothing. The most important of them have a rich heritage, stretching from the early 20th century to the present day.

Each fashion house embodies a unique philosophy, reflecting the creativity and vision of its designers. Many have become symbols not only of style but also of cultural change. This process began in Paris, traditionally considered the capital of world fashion, but over time spread throughout the world, including Milan, New York, and Tokyo.

Eminent brands such as Chanel, Dior, and Gucci have become not just clothing manufacturers but also important players in the arts and culture, setting fashion trends and influencing social norms. Their collections are often the subject of admiration and discussion, and serve as a source of inspiration for new generations of designers.

Thus, fashion houses are an integral part of the cultural context in which they operate, creating unique products that can evoke emotion and emphasize individuality.

Performativity. In 1990, the Margiela collection show took place in a disadvantaged area of ​​Paris. To organize the event, Martin and Jenny turned to local children to help them find a suitable location.

This method of organizing the show turned out to be a significant strategy: when the location and the event are completely different, it inevitably prompts reflection on the essence and principles of fashion in general.

In the spring of 1993, Maison Martin Margiela held an unusual show that consisted of two parts: one was all white, the other all black, and both took place on either side of the Montmartre cemetery. In the fall of 1997, the collection was shown in three different locations in Paris, with models wearing wigs made from vintage fur coats and traveling between locations on a rented bus accompanied by a mournful Belgian brass band.

Anonymity. At a time when many designers strove for fame and were obliged to do so by the laws of the fashion industry, Margiela chose to focus press attention on his creations rather than on his own personality.

He practically never gave interviews as a couturier and was rarely in front of the cameras (to this day, only two or three photos of him can be found online in which he is clearly recognizable). In the documentary "Martin Margiela: In His Own Words," only his voice can be heard. Outside of his close circle of acquaintances, no one has any idea what he looks like—except, as Jean-Paul Gaultier claims, "Martin is of considerable height."

Not only the designer himself, but also his team and models remain anonymous. In the 1990s, Margiela and his team communicated with journalists via fax and later by email, but never held face-to-face conversations. Press releases invariably use the pronoun "we" rather than "I."

Diversity. It was in this area that Margiela and Meirens were also ahead of their time, inviting not only models to castings, but also people with different appearances and features.

“Of course, it’s easier to organize a fitting with professional models,” Meirens noted in one of her interviews. “However, I don’t like the idea that women are obliged to look flawless. I prefer an ordinary woman with a bright personality. A strong woman is more important to me than just a beautiful one."

White shade / white pigmentation. "When she perceives her surroundings in dark tones, I see everything in white. This is necessary for achieving harmony," Martin says of Jenny.

Since its inception, white has taken a central place in the brand's interior and visual identity. Employees wear white coats, traditionally worn by tailors in haute couture houses.

"White symbolizes both strength and fragility, as well as the passage of time, which can also be gentle. It represents unity, purity, and sincerity. This is not just white, but many whites: all sorts of shades! ”

From the press materials of Maison Martin Margiela

The passage of time was best demonstrated by damage, such as chips and other defects that appear on the matte white paint as a result of natural wear.

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The psychological aspects and symbolism of white can be illustrated by the example of popular brands. White is often associated with purity, simplicity and freshness. It can evoke a sense of calm and confidence, making it attractive to many companies.

For example, brands like Apple and Nike use white in their designs to emphasize minimalism and modernity. White helps create a sense of lightness and transparency, which is especially relevant for technology and sportswear. Brands that choose this color strive to demonstrate their commitment to quality and innovation.

Furthermore, white is versatile and can be harmoniously combined with other shades, making it an excellent background for bright accents. This allows companies to stand out from the competition, creating a memorable and attractive visual style.

Thus, the use of white in branding not only attracts attention but also shapes a certain perception of the company in the eyes of consumers, reflecting its values ​​​​and philosophy.

Numbers. One of the interesting features of Margiela's fashion is his unique approach to structuring collections. Each item is assigned a number ranging from 0 to 23: the numbers circled on the labels indicate the item's series.

Margiela: The Impact of Recycling on Creativity

In 1992, the brand began producing items with the word "Replica" on the labels, which translates as "copy." The accompanying text explained in detail the origins of these items. The clothes and accessories were carefully crafted based on the design of classic pieces.

For Martin, as a fashion designer, these elements played a significant role and also influenced the overall visual style of his brand. Each collection he released a Replica.

The presentation of the autumn-winter 1992/1993 collection took place in the Salvation Army store, where conceptual fashion was combined with the aesthetics of a second-hand store.

Margiela

In 1997, Martin Margiela was appointed creative director of women's ready-to-wear at Hermès.

When Jean-Louis Dumas, then CEO of Hermès, asked Margiela to create women's collections for the brand, it was a risky move. At the time, the fashion industry was focusing on inviting famous designers to "revive" classic houses whose reputations were beginning to fade amid the new trends of the 1990s. However, for Hermès, a symbol of Parisian luxury and the embodiment of true luxury, the choice fell on Margiela, a conceptual rebel known for his anonymity.

Much speculation was sparked about how this avant-garde designer could represent the refined aesthetic of the famous French luxury brand. "They imagined Martin cutting the Kelly bag in half," said Kaat Debo, director of the Antwerp Fashion Museum and curator of the exhibition Margiela: The Hermès Years.

Audiences and journalists witnessed Hermès' monochrome pieces, distinguished by their understated design and unrivaled quality. This was a disappointment, as they were expecting clothes that could impress in the same way as the Maison Martin Margiela collections.

Throughout his career at Hermès, Martin did not neglect his personal brand, continuing to create new collections. One of the most iconic of these was Stockman, inspired by the tailor's mannequins of the brand of the same name.

In 2002, OTB, a company run by Renzo Rosso, became the owner of a controlling stake in the Maison Martin Margiela brand. Over the next decade, Rosso, who is the founder of the Diesel brand, also invested in well-known luxury brands Marni and Viktor & Rolf, which are distinguished by their pronounced conceptual focus.

In 2009, Martin Margiela left Maison Martin Margiela, although this was done rather quietly. In his speech at the Belgian Fashion Awards 2018, the designer noted that one of the reasons for his departure from the fashion world was social media, which, in his opinion, “destroys the element of surprise,” so important for his work.

The last line created by the founder and author dates back to the spring/summer 2009 season.

Despite two decades spent in the fashion industry, Martin Margiela continues to be one of the most enigmatic figures in this field. Perhaps this is why many designers turn to its archives for new ideas and inspiration. It would be difficult to list all those influenced by the House of Margiela; Brands like Vetements, modern Balenciaga, Vejas, Marques Almeida, and Jacquemus certainly draw inspiration from the MMM aesthetic.

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Balenciaga is a unique fashion house that was founded by one of the most outstanding couturiers of his time. This designer possessed exceptional skill in cutting and tailoring, making his work truly unique. The story of Balenciaga is a tale of innovative approaches to fashion that had a significant impact on the industry.

Cristóbal Balenciaga, the founder of the house, was born in Spain and demonstrated a talent for clothing design from an early age. He mastered the art of tailoring, which allowed him to create silhouettes that became iconic. His work combined traditional techniques with modern trends, attracting the attention of both buyers and critics.

Since opening his first boutique in Paris, Balenciaga quickly gained popularity thanks to innovative designs and high-quality craftsmanship. The designer was unafraid to experiment with shapes and materials, making his style unique and memorable. His collections were often distinguished by bold lines and unusual proportions, which contributed to the formation of new fashion trends.

Thus, Balenciaga became not just a fashion house, but a true icon in the world of high fashion, leaving an indelible mark on history.

Margiela without Margiela

In 2010, the first fragrance of the perfume line was presented, called "(untitled)", which translates as "without a name".

Although the decision may seem inexpressive, even taking into account the commitment to the pure aesthetics of the brand, there is also an idea behind it. In the context of the abundance of perfumes from both well-known and lesser-known brands trying to attract attention to their new fragrances with bright, memorable, and sometimes provocative names and unusual bottle shapes, this brand has introduced a unisex fragrance that can be described as "the scent of a smoky fur coat from a locker room." It's a kind of empty "bottle" with an original pharmacy label and a cotton thread around the neck. The concept is extremely clear: the scent should be able to express itself independently, without additional labels and imposed marketing associations.

2012 was the year of a high-profile collaboration with H&M, which caused a lot of discussion. Some celebrated the event, while others accused the brand of betraying the house's core principles: uniqueness, meticulous attention to production, and a rejection of chasing fashion trends just a few years after its founder's departure.

The collaboration resulted in the reintroduction of iconic Margiela archive pieces, including oversized pea coats, trompe-l'oeil tops, and blanket-style down jackets. It's pointless to speculate whether such a collection would have reached the mass market had Martin not left his brand. Nevertheless, thousands of fashion fans around the world were delighted: the products quickly sold out in the first days after the release.

When Margiela left his position in 2009, the brand continued to exist thanks to an anonymous team of designers. However, Vogue's Suzy Menkes caused a furor in the fashion industry when she unannounced the name of Margiela's head designer, Mathieu Blasi, in her review of the Fall/Winter 2014 couture collection. She praised the work of Blasi, now the creative director of Bottega Veneta, noting that the collection helped him "come out of the shadows." In her article, she also published a photo of Blasi with Simons.

In response to the situation, the company issued an official statement in which it emphasized its commitment to anonymity. "Maison has remained true to its principles. All our achievements belong solely to the team that creates them."

Margiela with Galliano

In 2014, Renzo Rosso announced that John Galliano had become the creative director of the fashion house. The appointment came as a real surprise and shock, as it was Galliano's first full-time job since his dismissal from Dior in 2011, which resulted from his offensive anti-Semitic comments made while intoxicated.

At the same time, a sensible rebranding process was carried out: Martin was dropped from the name, and the brand is now known as Maison Margiela.

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In 2015, Galliano presented his first collection under the 0 line. The choice of this name, Artisanal, was not accidental: the combination of Galliano's modernist approach and Margiela's postmodernist ideas finds its ideal expression in the field of Haute Couture. Unlike prêt-à-porter collections, there is much more scope for showmanship, theatrical performances, and engaging storytelling.

In 2017, the puffy quilted Glam Slam bag hit the market, instantly gaining popularity and status as one of the fashionable It Bags thanks to its bright extravagance.

However, this purely commercial move (branded bags are a significant source of profit for luxury brands) seems to be removed from the original principles of the company, which once rejected standard business methods.

2024. Galliano's Artisanal collection for Maison Margiela became one of the most talked-about of his tenure at the fashion house. In the dim light of the theatrical performance, the glass faces of the doll-like models and men clad in corsets could be seen. Critics were unanimous: this was Galliano's most striking creation. The official press release emphasized Margiela's signature elements: "hurried dressing," "a bourgeois gesture," and "instinctive glamour." The designer drew inspiration from the work of Hungarian-French photographer Brassai, known for his voyeuristic shots of Paris at night. The event took place under the Pont Alexandre III, where the shimmer of the full moon added to the atmosphere. The runway featured decadent looks, and the color palette had a mysterious and hazy aesthetic.

During the year that Galliano dedicated to this work, he managed to introduce several innovative methods of couture tailoring. For example, he developed a technique called "retrogradation," which is a unique approach to sewing, appliqué, and inlay that creates the effect of material decomposition. Also worth noting is "emotional cutting" - a method in which fabric is cut in such a way that, according to Galliano, the clothes acquire unconscious qualities that influence the perception of images.

Another important point worth discussing is the casting process. The haute couture catwalk saw a record for the number of curvy models. According to information from models.com, of the 26 women who walked the catwalk, six can be classified as body positive. The collection was designed with an emphasis on feminine silhouettes, sometimes using linings to enhance them. Some critics have noted that this approach is truly inclusive: harmonious and natural.

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