Maison Margiela is a Belgian fashion designer who has worked in the fashion industry since 1984. Margiela is known for making clothing that looks “unfinished”, holding runways in unconventional locations, and exploring themes of deconstruction in his work. Margiela’s designs are more mute in color but have recognizable and drastic silhouettes. He has a small presence on social media and has a lack of personal presence in the fashion world as he doesn’t have that many public appearances or interviews. His most well-known piece of clothing he has released is the Tabi which resembles the socks Japanese workers would wear. Since 2014,John Galliano has been named the creative director of Maison Margiela’s fashion house. Galliano has worked in the fashion industry for years and is most well-known for his haute couture and ready-to-wear collections under Dior. These collections are known for being colorful and inspired by different traditional Asian and European clothing combined. The makeup was done by renowned MUA Dame Pat McGrath who has worked with Galliano in the past. Her makeup looks are colorful and always match the outfits given to the model whether the creative director wants Haute Couture or something that’s simply Ready-to-Wear.
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This collection is artisanal which means the clothing is handmade garments created by skilled artisans and utilizes high-quality cloth. These garments are exclusive since they’re expensive, sold, and made in small quantities. Galliano has said that the main theme of this runway is how one can portray oneself through clothing.
The background of the fashion show is dark and eerie. Margiela recreates a 1920s dive bar as a group of singers led by French artist “Lucky Love” sing the song “Now I Don’t Need Your Love” setting the mood for the fashion show as dark with a glimmer of hope. The first model, Leon Dame, inhumanly runs into the runway. His corset is extremely tight while his skin looks like glass. Dames's legs carry him as his arm flails back, almost like he has just been given the freedom to run or is fleeing from something. He then regains composure and saunters to the rest of the runway. He walks around the dark surroundings, Regaining his strength and finding comfort in the cold, gloomy background |
He looks around to the audience as if he’s analyzing them. A doll looking for humanity for inspiration and warmth. Leon Dame leaves as another model walks in.
The next few models have sheer tops that reveal their chests and messy ginger hair. All of their faces are painted slightly lighter with their skin being shiny like a porcelain doll. They look around at the audience before moving to the end of the runway. Their bodies, faces, and outfits are unreal as some of them frolic on the runway, hoping to be seen. They either hold themselves or look into the audience which may be a reference to older Margiela shows where models were instructed to “hug” themselves while walking down the runway.
Fans of Margiela have said that a huge influence of Margiela’s use of nudity, specifically in this runway’s case, is Brassai, a Hungarian photographer who took pictures of sex workers and queer people during the 1900s. He is well-known for not vilifying his subjects but instead representing them in a neutral light. The nudity also represents their confidence and ability to open themselves to the world.
The next few models have sheer tops that reveal their chests and messy ginger hair. All of their faces are painted slightly lighter with their skin being shiny like a porcelain doll. They look around at the audience before moving to the end of the runway. Their bodies, faces, and outfits are unreal as some of them frolic on the runway, hoping to be seen. They either hold themselves or look into the audience which may be a reference to older Margiela shows where models were instructed to “hug” themselves while walking down the runway.
Fans of Margiela have said that a huge influence of Margiela’s use of nudity, specifically in this runway’s case, is Brassai, a Hungarian photographer who took pictures of sex workers and queer people during the 1900s. He is well-known for not vilifying his subjects but instead representing them in a neutral light. The nudity also represents their confidence and ability to open themselves to the world.
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Soon models concealing themselves arrive. The male ones are in trench coats while the female models hug themselves. They are attempting to hide from the peering audience who are curious as to what they are hiding. They look around paranoid hoping not to be exposed.
Assuming that they are referencing dolls or art coming to life, these dolls are scared to come into the world of living. Unwilling to conform or reveal to society what they want to see. This could also be a reference to Brasai’s work as being queer in the 1900s was dangerous; especially, openly queer. These models represent queer people concealing their true nature to avoid hate crimes or social ridicule.
Assuming that they are referencing dolls or art coming to life, these dolls are scared to come into the world of living. Unwilling to conform or reveal to society what they want to see. This could also be a reference to Brasai’s work as being queer in the 1900s was dangerous; especially, openly queer. These models represent queer people concealing their true nature to avoid hate crimes or social ridicule.
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A few other models come in with dress suits. Wearing corsets and prosthetics to make them have an exaggerated hourglass figure. The way they walk is labored as the first model has ripped and handmade socks like a porcelain doll that has been neglected. The models walk like they’re carrying some weight and are also learning to walk, making it difficult for them to cross the runway. The model I want to focus on is covered in black “spiderwebs” as if they were disposed of and just withering away. They’re soon exposed to the world again after being discarded. Walking across the runway seeking a new purpose and audience.
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Another model walks in with a porcelain necklace that is fastened to her by rope and another disheveled ripped scarf underneath. The top piece of the dress suit is ripped and hastily tied and put together. Its texture is like that of a potato bag and the headpiece has exposed pieces of styrofoam covered by ripped multicolored stockings. All these choices culminate in the appearance of a neglected doll. Her chest is also covered by a skin-colored piece of fabric which looks like the torso of a cloth body doll. The next few models carry the same theme; however, the male one is dressed like a scarecrow.
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In the 26th look, a model walks in with a more exaggerated silhouette and a corset that accentuates it. Their hands are bandaged and the tips of their fingers are blackened. The model is also wearing a porcelain plate on their neck and a piece of cloth replicating a cloth-bodied doll. This outfit takes more from the theme as it looks DIY-ed. The cloth appears to be hastily stitched together to cover up holes. The suit is composed of obviously different materials. She also hears Margiela’s iconic tabis in the form of heels but they are covered in different types of stockings and bandages. This furthers the theme of clothes being a form of self-expression as we can see the outfit saying that this “doll” used to be loved and constantly broken and repaired. They’ve been through a lot, however, they’re still standing. The model’s silhouette may be a reference to Victorian dresses such as Marie Antoinette’s Wedding Dress which had a “straight” bottom piece.
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Another model walks in right after this one. She wears a robe that is made of pleated and distressed fabric that is tied together into a bow. She also wears a porcelain neckpiece and a hat made out of pleated fabric and styrofoam. Her dress and hat are made to look like it’s made out of folded and hastily glued cardboard that is put on the doll. The purse is a Margiela snatched bag which is also duck-taped and made with the same pleated fabric. Critics have also claimed that the body shape could be a reference to wooden articulated dolls that were used by not only painters but also fashion artists.
It may also be a reference to Margiela’s Spring/Summer 1990 fashion show which was held in a children’s playground. The invites for the fashion show were also created by children as they wrote down the name and location of the event on corrugated cardboard. |
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After the series of skirts and suits another model walks in with a beautiful sheer dress composed of purple, yellow, and black. The bottom of the dress is draped with black feather-like fabric. Her shoes are also made of the same color and she also has a hat made with styrofoam and covered with ripped stockings. She wears a mask covering her face with makeup on top of it. The Margiela fashion team claims that this outfit was based on watercolor strokes which are light in color and transparent unless layered. The model now looks like an unfinished piece of art on a canvas covered with the first layer of paint.
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The last few looks all have the same color scheme and pattern: white and baby blue stripes. Blue eyeshadow with a prominent red lip and glass doll-like skin. They also all have porcelain neckpieces. The stripes are made to line up together on each part of the dress, perfectly fitting the model’s body. This is considered impressive in the fashion world, as instead of them being random they’re specifically contoured. The models look brand new like a breath of fresh air to the fashion world compared to the other models' clothing which are worn down. Many critics have claimed that Margiela’s new fashion show has brought back theatrics and true Haute Couture, trying out new techniques instead of another Ready-To-Wear.
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This fashion show was praised by critics and fashion lovers alike. It has also become a trend on social media to copy the makeup looks presented on the runway. I interpret the fashion show as being about abandoned dolls reclaiming their identity. A lot of the outfits also have purposefully messy and exposed stitching, which is an iconic part of Margiela’s outfits. I hope everyone who reads this article decides to watch the whole fashion show posted on YouTube and come to their interpretations of the pieces.
TAMIKA SYLVESTRE
