Who owns margiela

Margiela was categorized more than once as the deconstructivist par excellence in a period when the term was applied indiscriminately to designers whether or not it was appropriate. Margiela was probably one of the few designers in the early s whose work could be fairly described as deconstructivist.

His investigation into the different aspects underlying any article of clothing, such as form, material, structure, and technique, were central to his entire body of work. His work was deconstructivist because he took not only the garment itself into consideration, but also the system that produced it.

Ideas about haute couture, tailoring, high or low fashion, innovation, and commercialism do not arise from any apolitical standpoint, nor are they formulated as criticisms of established fashion assumptions. Margiela's work began from a set of analyses questioning the established theories of what already exists in order to search for alternatives that can be brought to life, both within and outside the system. Margiela's attention to tailoring often exposed the production process behind the clothing, or revealed techniques that traditionally remain hidden in its production.

The experimental aspect of his clothes in fact did not take place at the expense of ease in wear or aesthetic considerations. Margiela's summer collection for included blouses and dresses whose forms were no longer determined by classic lines or cut, but rather by small black stitches that stood out sharply against the fabrics he selected.

The pleating and folding techniques that formed the starting point for his and collections were further developed in the garments. The tiny stitches were applied with surgical precision in order to achieve the correct fit. The result was elegant, slightly aggressive, yet simultaneously a tribute to the work of the many professionals in the field of fashion who remain literally unseen.

The study of form was equally central to Margiela's summer collection, which was a series of "flat garments. The armholes were not placed at the sides of these garments, but rather cut out of the front section.

Only when the flat garments are put on does their actual three-dimensional form appear. A second collection worthy of note in this regard was Margiela's summer collection. The basic idea was to reproduce a series of doll clothes enlarged to human size. The designer retained the disproportions and finishing details, however, resulting in rather alienating pieces with giant buttons and zippers.

In Margiela based two successive semi-couture collections on an old Stockman tailor's dummy. Various elements that pointed to subsequent stages of the production process, such as the sections of a toile, for example, were permanently pinned to the bust as part of a jacket.

Other jackets assumed a masculine shoulder line, with the inside of the prototype replaced with a second structure and with a feminine shoulder line. Removing the sleeves revealed both the masculine and the feminine tailoring. Shoulder pads were sometimes placed on the outside of the garment or used as a separate accessory: the inside became the outside.

This process of reversal also applied to other aspects of the designer's work. Who cares if a garment is too big? Or too messy? Or too cheap-looking? For the wearer, all that matters that it suits them. Anti-fashion isn't comprised of sweeping ballgowns or beautifully tailored three-piece suits, it's massive headpieces that resemble birdbaths and tops five sizes too big that bears a striking similarity to sculptural art. From to , the designer established a look of chic, modern luxury, and femininity at the French legacy house— tame in comparison to his avant-garde beast at Maison Martin Margiela.

The inspiration? To make women feel comfortable in their clothing, similar to how he made misfits feel like themselves at his other line.

His work was that of a quiet genius, again transforming the way we view comfort and expression hand-in-hand with the pieces of fabric we chose to put on our backs. Once more, no one was waiting for the press at the end of the catwalk before the lights go up. Margiela was a man, but more importantly, a myth to the masses. With the guise of anonymity, one can argue Margiela's secrecy contributed to the rise of his house.

Both faceless and nameless as the brand's press releases used "we" instead of "I" , the designer answered to no one. While critics bashed his work at times, the public loved it. Without a persona to approach the world, Margiela's sole focus was curating each collection, not his public image that the industry wanted so desperately to pick apart. After decades of radical experimentation and style-defying garments, Martin Margiela retired from fashion in , citing growing inner frustrations about the state of the industry.

In an acceptance letter published after the designer won the Jury Prize at the Belgian Fashion Awards, Margiela reflected on his choice to leave.

I felt that I could not cope any more with the worldwide increasing pressure and the overgrowing demands of trade," the designer wrote. Honestly, what's more Margiela than leaving an industry you helped pioneer? The move is still regarded as Big Anti-Fashion Energy.

BAFE, if you will. From Martin Margiela's departure to the global impact spawned from his elusive nature begins to beg the question: is anti-fashion clothing? Or simply, is it a state of mind one can aspire to have?

After abandoning his role as the head of his maison, Margiela's label began to operate under a collective of anonymous designers, reinstating the collaborative nature of the house and himself. Then fallen-from-grace John Galliano joined the label in , three short years after departing Dior and nearly six since Margiela's exit.

In an effort to fall back into the public's good graces, Galliano's work at Margiela once again began to show the world what he was capable of. Not fulfilled with the pressures of one label, Martin simultaneously becomes womenswear director at Hermes later in Reflecting more of a raw, unfinished and grunge vibe in his collections they stood out amongst a crowded market. In the early noughties, the brand became a public company with a majority share owned by Diesel Group owner Renzo Russo, a year later Martin left his position at Hermes.

Shortly after this it was announced that Martin Margiela would resign from the eponymous label without a successor taking his place.

Instead an anonymous team of creatives would take the reins and continue the respectively held Maison Margiela name. Dressing A- list celebrities on the regular, the brand has been featured on the front of editorial magazines and continues to make headlines for its unconventional runway collections. In Martin left the label without appointing a successor until , when British couturier John Galliano was hired as head Creative Director.

Buyer's Guide. Their contemporary aesthetic, traditional tailoring and technical innovation give a modern edge to your wardrobe. The capsule collection saw the brand take archive pieces and revise them for a more commercial audience without losing the Margiela edge.