MARGIELA MONDAY

On paper, the appointment of John Galliano as the new Creative Director of Maison Martin Margiela is one of the most unlikely in fashion history. Margiela is the eponymous fashion house built by the elusive Belgian designer; an avant-garde reaction to the maximalist culture of the 1980s. With his unique brand of minimalism and label-less garments, the designer created a cult following based around anonymity and cultural iconoclasm. On the other hand, Galliano is a romancier as obsessed with excess as he seemingly is with his own public image, to the extent that his finale walk often garnered more column inches than the collections themselves. Unsurprisingly, the fashion world waited with bated breath to see the grand unveiling of Galliano's debut Artisanal showing for the house, so much so that the event even spawned its own hashtag, #MargielaMonday. So, the question remains; was it worth the wait?

FASHION REVOLUTION

Thursday, 24th April 2014. Today is the day that Fashion Revolution's 'Inside Out' campaign is set to take centre stage on social media; already the hashtag is trending worldwide with the likes of Susie Bubble showing support for the campaign and prompting us to ask ourselves who makes the clothing we wear. It's a question that has often been raised in the past, and one that remains largely unanswered by several companies that have previously been investigated for the use of sweatshop workers. It's obvious that we can't all afford a wardrobe of custom-made couture; the extent of our wardrobe is largely governed by our wallets, so how can we be sure to make ethical choices without paying more?

MAISON MARTIN MARGIELA ARTISANAL, S/S 2014

The fashion industry is renowned for its concentrated view on the concept of ‘trend’, meaning that the clothes we buy now will undoubtedly end up in Oxfam before the year is out. With its ‘Artisanal’ collection, the maison of Martin Margiela is seeking to reclaim these discarded fabrics and turn them into something which is both one-of-a-kind and timeless. The couture line is still relatively new, with this season marking its fourth showing under the official umbrella of Couture Fashion Week – meaning that expectations were raised.

'APPLAUSE' - THE OUTFITS

It is no secret that Lady Gaga is beloved by the fashion industry. Designers such as the late Lee McQueen, Donatella Versace and Hussein Chalayan have all clamoured to dress her in the past, and she is good friends with elite fashion photographers such as Nick Knight and Inez & Vinoodh. Therefore, it comes as no surprise that Gaga's new video for her single 'Applause' is a fashion orgy of spectacular proportions. Featuring instantly recognisable designs by Gareth Pugh, John Galliano and Maison Martin Margiela, the singer pairs haute couture with D.I.Y creations from her own 'Haus' of Gaga in order to craft a truly memorable aesthetic. This blog post details some of the most eye-catching designs from the video alongside the collections that they came from. 

PART 2; MARGIELA

After the Japanese takeover of the early 80s came a new fashion movement, all of whose members were educated in Antwerp. Designers such as Dries van Noten, Walter van Beirendonck and Ann Demeulemeester made an impact on the international fashion scene but none of them more so than the enigmatic cult icon Martin Margiela. His 'Maison' showed its first collection in 1989, and the striking yet macabre use of only black, white and red would soon define his aesthetic as a designer - an aesthetic firmly rooted in minimalism. 

Maison Martin Margiela S/S 1989

The Belgian designers conceptual collections and reluctance to give interviews intrigued the mainstream media on a massive scale. His first runway show, for example, saw an army of masked models bathed in red paint before walking, leaving a trail of blood-red footprints on the white cotton of the runway which was then manufactured into a series of waistcoats. The models were always masked with plain black cotton - the obscurity of their identity meant that, in the era of the supers, the shows were truly about the clothing itself and Margiela's artistic statements as opposed to grabbing headlines for using big-name models.

MAISON MARTIN MARGIELA ARTISANAL

There were many incredible shows at this season's Couture Week, but perhaps the collection that has sparked the most debate is the showing of iconic Belgian house Maison Martin Margiela. In a society that is programmed to associate couture only with the unbridled opulence and drama of the iconic designs of couturiers such as Yves Saint Laurent and Thierry Mugler, this collection came as a surprise. Margiela is renowned for going against the grain - although he left the house in 2009, the collections are still heavily inspired by punk propaganda, and the house has chosen to name their couture line 'Artisanal', claiming it different to other couture collections as it consists mainly of recycled and re-used garments. 

As is customary of a Margiela collection, all of the models had their faces obscured by a range of dazzlingly intricate masks - with materials ranging from crystal flowers to navy blue beads, the masks always perfectly complimented the outfits they were paired with and created the signature Margiela aesthetic that distinguishes the house from its contemporaries. However, the house's choice to show jeans on a couture show sparked debate - as couture is infinitely more expensive that ready-to-wear, tradition has taught clients to expect a collection crammed with extravagant coats and gowns as opposed to daywear. On the other hand, I personally love the inclusion of daywear in the couture shows; with the current economic climate, there are less and less people that can afford to spend eeye-watering amounts of money on evening gowns that can only be worn on (extremely) special occasions. In a way it makes sense to incorporate denim into the collections - many justify buying expensive denim as an investment, and these jeans were certainly a cut above high street. 

MODERN AVANT-GARDE

Fashion is widely regarded as an industry designed to make women (and men) look beautiful. Clothes are designed to be sold, and for this reason the principal role of a designer is to design clothes that flatter the figure, accentuating the silhouette and generally creating a garment which is both attractive and wearable. In this post I will attempt to look at how important it is for modern fashion to be wearable - although the recession is tightening its grip on industry in general, the fashion industry continues to thrive. The question I wish to explore is whether or not there is room for more avant-garde design in the commercial sphere - the main goal is to sell the collections, meaning that designers choosing to explore less practical visions are now taking a larger risk than ever. 

Hussein Chalayan - one of fashion's most avant-garde designers

In terms of mainstream fashion, the truly iconic houses such as YSL, Chanel and Versace all rose to fame by selling their own interpretation of beauty. Although each designer had their own niche aesthetic (whilst Versace specialised in sexy, bold looks, YSL favoured elegance whereas Chanel glamourised androgyny), each designer created garments which sold well because they maintained a level of wearability which meant that any woman could wear the clothes and look (as well as feel) great. 

Glamour in the 50s - Chanel

In modern society, the enormous presence of the media means that it is now more difficult than ever to maintain a sense of mystery in fashion. One of the greatest aspects of the work of designers such as Kawakubo and Margiela was that the designers rarely made public appearances or gave interviews, leaving the spectators to unravel the story of the collection. Sometimes the message was obvious - Kawakubo's 'White Drama' collection, for example, was a clear commentary on the restraints of marriage, a theme which she had previously explored in her 'Broken Brides' collection. However, other elements are open to interpretation; Kawakubo is renowned for her intellectual take on fashion, often choosing to create garments that aren't traditionally pretty in order to challenge perception. Kawakubo's F/W 2012 collection was comprised entirely of dresses which were designed to look 2D, shown in a variation of bold prints & colours. Lady Gaga later chose to wear one of the designs (now known as 'The Fat Dress') as a response to criticism of her weight - the exaggerated proportions of the dress render the dress almost unwearable, yet Kawakubo herself has given no explanation as to her decision to create a collection of dresses that are essentially impossible to wear.

Comme Des Garçons A/W 2012

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MET GALA 2013

This week saw the return of the prestigious Met Gala, the annual showcase of some of fashion's most incredible red-carpet looks. Swarms of high-profile celebrities flocked to the event to be photographed in this year's dress code 'Punk Couture' - a theme which has recently been explored in collections by the likes of Margiela and Dries Van Noten. The results were as often amazing as they were questionable - Anne Hathway, for example, wowed in a floor-length vintage black number complete with sheer detailing and a daring bleached crop, whereas Madonna made headlines for the wrong reasons, opting for a custom-made Givenchy jacket teamed with cliché fishnet stockings.

The event also served as a showcase for some of the highlights of the recent A/W collections - Katy Perry looked incredible in head-to-toe Dolce & Gabbana, whilst Miley Cyrus chose a floor-length sequinned fishnet dress by Marc Jacobs for a subtle take on the theme. The event also saw Riccardo Tisci returning briefly to the world of couture after Givenchy announced earlier this year that its couture line would be on hiatus - Beyoncé chose a dress that used the beautiful flame-print fabric from the latest collection, yet when teamed with a sequinned black corset the overall aesthetic was slightly top-heavy and overly bulky.

MAISON MARTIN MARGIELA A/W 2013

Ever since the retirement of Margiela himself, all eyes have been pointed towards the elusive designers of the Maison - we are yet to fully see how the gang will retain the signatures elements of Margiela's designs yet subtly evolve the aesthetic and push the brand further into the future. After the debut of the house's first couture Artisanal range, there were huge expectations for this ready-to-wear collection, and the one thing that remains clear is that the brand are seeking to inject more colour into the mix.

The collection provided several references to the legendary punk culture of the 1980s - the protest dresses towards the end of the show featured block-printed propaganda, whereas the androgynous tailoring and pinstripe looks were reminiscent of Westwood in her heyday. Small details such as built-in ties and oversized, spray-painted cuffs displayed an almost DIY aesthetic, whereas other looks were incredibly polished with a keen eye for tailoring. Perhaps the collection's strongest point was its versatility - fabrics ranged from sheer latex and high-sheen leather to chiffon and even a top made from dyed string. Far from displaying a lack of cohesiveness, the variety of material and attention to detail injected a youthful vibrance into the collection that hasn't been seen from Margiela in a while. Although the house has moved away from the sleek aesthetic it has favoured in the past few seasons, it's exciting to see anarchic spirit once again being injected into the world of high fashion.

MENSWEAR HIGHLIGHT #1

Following the recent inauguration of Antwerp graduate Martin Margiela into the revered couture club, the enigmatic designer is continuing his run of incredible collections with the Fall 2013 Menswear line. Beginning with a range of stylish separates and climaxing in a dramatic leather cape, the range showed continuity and established the role of the Maison as a force to be reckoned with in the menswear field.

     The aesthetic of the collection was mainly minimalist, although shaggy colourful scarves and interesting silhouettes injected a playful attitude into the highly wearable outfits. Margiela has also always been renowned for his unusual choice of casting, often choosing to street-cast his models, and this collection was no different. Choosing a variety of models of different size and age made it clear that this was designed to be a functional collection, one that could be worn by any man with style.

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