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Why is the fashion industry still inseparable from Margiela today?

  • Categories:Company News
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  • Time of issue:2022-04-01 11:33
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(Summary description)To this day, Martin Margiela remains a special presence, to a certain extent, he is becoming a spiritual leader in the self-expression of creative workers in the fashion industry.

Why is the fashion industry still inseparable from Margiela today?

(Summary description)To this day, Martin Margiela remains a special presence, to a certain extent, he is becoming a spiritual leader in the self-expression of creative workers in the fashion industry.

  • Categories:Company News
  • Author:
  • Origin:
  • Time of issue:2022-04-01 11:33
  • Views:0
Information

To this day, Martin Margiela remains a special presence, to a certain extent, he is becoming a spiritual leader in the self-expression of creative workers in the fashion industry.

Raf Simons, the creative director of Prada, known as the pioneering brand of industrialization, admitted that Margiela was his first love. Raf strayed into a show called "all white" in 1989, which changed his perception of superficial fashion, and allowed him, an architecture major, to express his heart in fashion.

Demna Gvasalia, creative director of Balenciaga, which has been branded as a subculture pioneer in recent years, once said: "The time I worked at Margiela after graduating from Antwerp seemed to be my 'master's program'. There, I found too much Beautiful things, I learned the conceptual way to turn the mundane into the creative.” Today, oversized suits, worn coats, socks and shoes were still everywhere on the Balenciaga runway, and the creative expression of democratizing fashion into haute couture also came from Margiela the spirit of.

Rapper Kanye West has always appeared in our field of vision in recent years with a masked look, which originated from the scene of wearing Maison Margiela's diamond mask at a concert in 2013. Fashion critic Bliss Foster believes that Kanye hopes to learn from Maison Margiela , to "anonymize" the self, and to use the works to speak for themselves. The all-black cover of the recently released new album "Donda" echoes Margiela's all-white label.

Obviously, Martin Margiela has become the ubiquitous god of fashion, and when we talk about this ghost in fashion history again, his methodology, reflection on fashion trends, and response to times and history will More memorable.

01 Fragmented deconstruction and reorganization

Martin Margiela was born in Belgium in 1957. After graduating from the Royal Academy of Arts in Antwerp in 1979, he worked as a freelance designer for several years; until 1985, Martin started working for the old fashion urchin Jean Paul Gaultier, three years later He founded his eponymous brand Maison Martin Margiela with his partner Jenny Meirens. With its pioneering design concept and highly recognizable creative style, it immediately set off a huge wave in the fashion industry. The Paris newspaper Liberation hailed Martin Margiela as "one of the most talented creators of his generation".

Since Martin Margiela released his first collection in 1988, his legacy has been associated with new and revolutionary designers like Rei Kawakubo and Yohji Yamamoto. In the 1990s, when the British economy was in recession, environmental problems became more and more obvious, and against the backdrop of instability, decay and anxiety, Margiela's original fashion methodology and anti-fashion thinking subverted the original appearance of fashion.

Fashion journalist Suzy Menkes once commented that Margiela seemed "out of place" in those days. Margiela's fashion show not only deconstructed clothes, but more bluntly shredded the tacit rules of the fashion system. The creation begins to focus on substance, emphasizing durability and environmental protection; conceptualization intends to replace the superficial fashion, oppose flashiness and excessive consumption, and reflect on the future of fashion.

Martin Margiela sees the starting point of fashion as "the human body". During the design process, he studies the different aspects behind any piece of clothing such as proportions, materials, structures, volumes and techniques. He re-ripped and re-sewed garments, subverting definitions and introducing new material oversize designs.

When Margiela was a child, he saw her grandmother cut old, worn-out clothes in half and then stitch them back together to make new ones. This inadvertently became Margiela's fashion inspiration, and it became his favorite technique when he entered the fashion industry.

When he was studying at the Royal Academy of Arts in Antwerp, the course required the use of kitchen materials to make clothing, and the kitchen rag (tea tower) was the material he chose, which became his first deconstructed design work. In the future we can see such as: 1989FW's vest made of broken plates and 1990's top made of plastic bags were inspired by this course.

Throughout all his works, it is not difficult to see garments that have been dismantled in half, threads, stitches, raw edges and pieces are exposed unabashedly, the dismantled linings have been copied into garments, and even the mannequins used to make the garments. also appeared on the show. Those things that are carefully decorated and hidden in the traditional clothing process have become the focus of Margiela's most wanted to uncover.

In Margiela's design, it is not a simple splicing of material structure, but also reflects the reflection and deconstruction of culture. He realized that "the commodification of fragments of culture is a sign of contemporary life", and through the reconstruction of fragmented objects, the superficial clothing and fragmented culture began to resonate with the echoes of history.

02 Old things and history of scavengers

Margiela's greatest challenge to haute couture is the upcycling of worn-out objects, which stems from Margiela's passion for "second-hand market" discoveries, whose creativity seems to offer opportunities for "regeneration" of varying degrees of eccentricity : classic gloves turned into handbags or veneer-like tops, women's corsets made from shoelaces, men's sandals transformed into patchwork jackets fir; ancient silver spoons turned into hand copper, corks turned into necklaces , a wallet made of rugby...

This also made him the first brand to propose and practice sustainable (Upcycling), which also gave birth to the Replica series; (MMM) The Replica series are all new, but the label inside each garment indicates its origin: A custom jacket for a boy from France in the 1970s; an evening dress from Italy in the 1980s, and so on. These garments are often disassembled into eight pieces, accurately reproduced, reassembled and presented to consumers again.

Maison Margiela uses his "discoveries" in the second-hand antique market to give clothes a second spring with his exquisite deconstruction and reconstruction techniques. Carefully selected, tailored, handcrafted and rigorously tested. These second-hand garments from all over the world have emotional significance for Margiela, they represent a testimony to the past and life, and it is the heavy sense of history on these clothes that Margiela is fascinated by.

On the 1991/1992 FW, he made sweaters from wool military socks bought from second-hand shops after the war. Fully replicating the lining of a 1950s cocktail dress into a modern garment, photographing the original lining of the dress from the inside out and printing these photos as a pattern on the new skirt, drawing specious creases and handmade textures. A major counterattack against modern industrial fashion and fast fashion, it is also a cultural practice of collage, mixing and cutting in the post-industrial period.

In Caroline Evans's book "Frontier Fashion", this design method was summed up as "scavenging". She likens fashion designers to cultural scavengers, a useful tool for cultural historians to think about fashion today. In Margiela's designs, fragments of the past are continually woven into a new story that reverberates in the present, and garments that are deconstructed through history reveal the complex connections between the past and the future.

03 Unfinished is the eternity of time

Margiela's clothing is a fashion that can be created according to "time interval" rather than "change", time is always attached to Margiela's work. Unfinished and evolution are his philosophy of clothing.

Clothes that are "refurbished" in fashion houses are often made unfinished, introducing varying degrees of time-aged fabrics, textures, and clothes that have been deliberately worn and worn, bringing brand new fashion back to the past, for linear time Directly creating "trouble", these garments are new, but also old.

In the 1997 S/S, which has always been praised by later generations, he put the linen outside the mannequins directly onto the runway. This is clothing based on floor plans stored on hangers by a tailor, who incorporates the garment-making process into a fashion design theme and recreates linen vests from tailor's mannequins. In this vest, Margiela shows the process of cutting and sewing, and having it appear on the runway points directly to the garment that will never be completed, like a deconstructed work in progress, also It represents the eternity of the work itself.

In the fast-developing fashion cycle, the replacement can be done on a weekly basis. In the design, Margiela subtly deconstructs time and subtly escapes the linear cycle of fashion, which not only makes the work show continuity, but also achieves the eternity of creation.

In 1997, Martin Margiela collaborated with a microbiologist for an exhibition of his work at the Museum Boijmans Van Beuningen in Rotterdam. Margiela has recreated every white suit in the eighteen collections he has designed so far. The clothes were soaked with agar and then sprayed with various molds. He then placed the clothes in the museum's special greenhouse for four days, allowing mold and bacteria to grow freely on the clothes. The eighteen pieces were then worn on the models on the exterior walls of the pavilion, lined up along the exterior walls like ghosts.

According to news reports at the time, Margiela wanted to compare the state of clothing decaying with the natural cycle to the state it was used and discarded by consumers. The traces on the clothing become the proof of time, and these "dead (former series)" because of the natural cycle of life constantly glowing with new vitality, become a symbol of eternity.

It becomes obvious that the passage of time acts on clothing, but through the periodic editing and unfinished continuation of fashion, time begins to lighten, the old can become new, the new can become old, and so on and so forth become eternity.

04 Follow the fashionable method and logic

Fashion is attractive, art is elusive, and Martin Margiela stands right in the middle, stepping outside the rules and understanding in a different way, which is why his work is both attractive Again elusive.

The reasons for his retirement from the fashion industry are still divided, and it may be that the acquisition of OTB Group has made him unable to balance creativity and business. It is even more analyzed that the arrival of the Internet has made it impossible for him to continue to be anonymous: "I want my name to be associated with my work, not my face."

In the last frame of "Martin Margiela: In His Own Words" asked: "Have you completed your self-expression in fashion?" Margiela still replied "No!"

Nowadays, due to the advancement of technology and media advertising and other factors, the fashion trend is changing faster and faster. The media is not sensitive to personal style works, and instead tends to the replacement of fashion styles and symbolic memories. Obviously Margiela has become a stylized icon, remembered as the name, number and stitches.

This year, he chose to set sail again as an "artist", hoping to express himself in a more pure way. Opened his own art exhibition at Lafayette Anticipations Gallery in Paris, France, and personally designed and remodeled the exhibition space.

Martin Margiela has undoubtedly created a vocabulary, a language that will depend on the work he creates, no matter how the times change. And he himself has been hiding behind the white screen from beginning to end, always enjoying the process and method of thinking about problems. He is reluctant to stand in the center of the stage, but he still uses fashionable logic to express himself in different shadows.

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