Sometimes it seems like words are not enough, an image doesn't do justice, and a video seems to go by too fast. Standing in front of the piece and staring at it for hours would probably be the only way to come to terms with the grandiosity of a show we witnessed yesterday. There was no doubt Glenn would do great; he has been doing great for years and years, in various brands and in various ways, but just like I and many others were secretly guessing, the expectations were exceeded, and in what way. Fewer are the times when we feel everything is right, when the right person is at the right place at the right time. Maison Margiela appointing Glenn Martens was one of those moments when the reaction to it could only be, well, yes! And now, with the first, not a taste, but a full course meal of what his tenure at the house will be, we can only wish and hope things stay as they are for as long as they can.
As if the months of waiting were not enough, after Glenn Martens was announced to succeed the master John Galliano at the helm of Maison Margiela, the show delayed its start for around fifty minutes. Fifty minutes staring at the antique silver spoon over equally antique floral motifs teased in the preview, wondering where this could take us. When the show venue, Le Centquatre, the same place where Martin showcased his last couture collection, appeared on our screens, and the scenery with torn wallpaper covering all the walls was revealed, an undeniable feeling of nostalgia arose. It felt like an old artwork came to life, with its signs of the times, the damages that come with it, and the darkness of memory and forgetfulness. The first look appeared: a clear plastic sculpted bust worn over a clear plastic dress and, more importantly, an equally clear plastic-made face mask that covered the entirety of the face. We all thought, "This is Margiela."
What happened next can only be described as one of the most severe cases of pure shock, overstimulation, astonishment, and borderline veneration towards what was being presented that I have felt. A showcase of technique, craft, savoir faire, and intelligence so extraordinary, so unique, and so Glenn and so Margiela at the same time that I found myself shaking my head from side to side rather than up and down. You know when something is so good you get annoyed and almost pissed off? Yes, like that. Glenn Martens, your mind works in such ways that our minds have even trouble following and processing what comes out of it.
Seeing the faces in the audience, the way their gaze softened as the show went by, and the way the smiles became more and more evident with each new look, you could tell the happiness he once told us Glenn Martens | Metal Magazine he felt at all times was being transported through the garments to those who were witnessing them. This is the thing about fashion: it's successful when it makes you feel something. Margiela has been one of those houses that never fails to provoke a reaction and emotion.
Starting with the transparency of plastic and the rawness of materials that appear to be the structure of an old classic tailoring mannequin, the collection felt like a journey. In the show notes the mediaeval architecture and atmosphere of Flanders and the Netherlands is cited as the foundation of the collection, translated of course in patterns, manipulations, and countless references, but this formal inspiration can also be understood in a chronological way. The mediaeval in the present, like that silver spoon, what was once lustrous and shiny will become rusty; it will change and evolve, not for good or for bad, just different.
The gold and silver looks that feel like a sea of metals start to crack and peel off, the painting is fading off, and the pieces are falling apart. The flowers, once full of life and colour, start to wither, becoming dark, still colourful, but some shades less bright. Then the nothingness, the black, grey, nude, and white, the complete absence of ornaments, just the shapes and the body; after this darkness, the last look is the brightest of them all, an almost neon green. Maybe new life is sprouting from the remains? The faces are always covered in classic Margiela fashion, so our narration doesn't have a main character; it's just the story of life.
I can't help but associate three of the most repeated concepts highlighted on the show notes with the three big names of the house. "Heritage" speaks of Glenn. A creator in a constant search for knowledge, a history lover who has the means and the ways to translate his endless memories of trips and journeys to castles, ruins, and landmarks to his craft, while also being referential and self-referential. A collection like this one can only be born from someone who appreciates the past and who knows how to do it justice.
"For an anatomical silhouette" is present in almost every description of each look when talking about the cuts, the corset, the bodices, the pieces, the techniques, and the shapes that scream Galliano from miles away, easily represented in his last couture collection for the house. A mythical legacy that will be forever considered one of the greatest in fashion is still more than present, with the body being the centre of it all, defying what is possible but never not looking human.
And lastly, "recycled" is Martin. I think this is now a good opportunity to bring up the zine Maison Martin Margiela's White Universe, one I'm lucky to be in possession of given its limited distribution, created exclusively for the Fashion and interiors. A gendered affair exhibition at MoMu Antwerp. Here Martin himself shares reflections from the space he inhabited and the recreation of them he did for the exhibit. Alongside the space, we can discover traces of his mind and processes, like the following: "Since I mostly wore second-hand clothing, it seemed obvious to present used clothes in my collections. But sadly enough, back in 1989, this was not widely appreciated in the fashion world. The transformation of vintage garments gave me a new vision on creating fashion and led to surprising results, where each piece became unique. Even objects like street posters, broken china, or plastic supermarket bags are a source of inspiration."
If you look closely enough in this collection, you can find traces of this everywhere; the essence of the house is still present in each garment. With one of the best debuts and best collections of recent times, it is made manifest how Martin and Glenn speak the same language.
