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MAISON MARTIN MARGIELA 20 The exhibition

---------------------------------------------------------In October 2008, Maison Martin Margiela celebrates its 20th anniversary. For this occasion, the Fashion Museum presents MAISON MARTIN MARGIELA 20 The Exhibition. In 1988, after graduating from the fashion department of the Antwerp Academy and working as an assistant for Jean Paul Gaultier, Martin Margiela and Jenny Meirens established Maison Martin Margiela. Their first pioneering fashion show followed in October of that same year. Margielas was a radically new visual language, with a silhouette long, with strikingly narrow shoulders that diametrically opposed the power-dressing of the 1980s. Maison Martin Margiela is especially known for its deconstructivist approach, its fashion shows in unexpected places and its taste for recovery and recycling materials. The Maison shows the inside of a garment, reveals its construction and focuses on that which fashion generally anxiously attempts to conceal. This working method results in an analysis of the system that underlies fashion and is evident in all the various aspects of the fashion house. One of the most remarkable characteristics of Maison Martin Margiela is its consistent use of white, or better said, all possible shades of white, in the interiors of its offices, shops and showrooms. White stands for the strength of fragility and the fragility of the passage of time. The preference is for matte shades of white, so that the aging process is clearly visible. Maison Martin Margiela very intentionally leaves behind traces of what the system would generally write off as demod. History is not being denied here, but integrated as an indispensable element. Maison Martin Margiela offers several collections for women, from ready-to-wear fashion to unique garments (Artisanal Collection). The main collection uses a plain white label with no text, sewn into the garments by hand with four white stitches. The other collections, of which there are 12, are identified by a circled number on the label. Since 1998, the Maison has also included four different collections for men.

SCENOGRAPHY / TROMPE-LOEIL
---------------------------------------------------------The concept for the scenography of the exhibition is inspired by Maison Martin Margielas frequent use of trompeloeil, not only in its collections, but also in its photography and its office and store interiors. The optical illusions are moreover reinforced by the use of mirrors, multiplying their labyrinthine character. In the Parisian headquarters of the Maison, that particular use of the trompeloeil is especially conspicuous. Most of the doors are decorated with photocopied pictures of other doors, producing a black-and-white graphic aesthetic that also has the look and feel of street posters. In the Maison Martin Margiela shops, optical illusions are generated with black-and-white photographs of the interiors of their previous office spaces on the rue du Faubourg Poissonnire, an 18th-century Hotel particulier. The rooms of this building, including such details as baroque mirrors, marble mantelpieces, decorative frames and rosettes, were photographed before the Maison moved to their current location on rue Saint Maur. This way, Margiela and his team carry their own history with them to each new location or store. In other words, the frequent presence of trompeloeil has proven an outstanding metaphor for Maison Martin Margielas complex relationship with time and history. The Fashion Museum has decided to reinterpret this remarkable working method by creating optical illusions with enlarged details of our own exhibition space.

0. INTROduction
---------------------------------------------------------Three-dimensional group portrait of Maison Martin Margiela in Styrofoam. The designer whose name identifies the Maison is not in the portrait.

1. INCOGNITO
---------------------------------------------------------Early in his career, Martin Margiela made an emphatic decision to withdraw as a public figure and let his fashion do the talking. All interviews are consistently given in the first person plural, in the name of the Maison as a whole, and no photographs of the designer are distributed a sharp reaction against the celebrity cult that dominated the fashion scene of the 1980s and 1990s. This decision to remain anonymous is directly translated into the actual clothing

label, an element usually of utmost importance for designer fashion. Margiela does not sign his clothing. The label on the inside of each garment is a blank, white cotton tag, hand-sewn in large stitches at the four corners. The label is free of any kind of writing. It therefore serves no obvious function and is, at least according to present-day market principles, completely useless and hopelessly redundant. For designer fashion, the label is crucial it is its certificate of authenticity. This empty tag does in fact leave its traces, but on the outside of the garment. To the outsider, the four stitches that fasten the label to the fabric might appear as small mistakes in manufacturing. For a select in-crowd, however, these stitches are instantly recognized. It may be ironic that what first looks like a mistake, in fact, makes the function of the label that much stronger. In the end, the label proves to be the ultimate superlative, a high-powered marketing tool. The incognito strategy of Maison Martin Margiela is strictly followed through in the presentation of the collections. Models are made anonymous by having their faces covered, as if to protect their identity. They might, for instance, run down the catwalk with veils obscuring their faces or with make-up or hair masking the eyes or the whole face. In the look books, a black band has been drawn over the eyes of the models. Lastly, the incognito motif is also translated in a more abstract manner, through the strategy of the coverup, or upholstering of objects, garments and accessories. Furnishings in the stores and offices are covered with white cotton. This way, time, style and colour become abstraction. In addition, articles of clothing, such as blouses, or accessories, such as purses and shoes, are wrapped in cotton or transparent muslin, or entirely covered with tape. 1. Spring-Summer 2008 Incognito sunglasses: a flat uni-lens runs over the front and sides of the face like a black strip, concealing the wearers identity. 2. Spring-Summer 2006 Pumps and wallet, covered with tape marked Fragile. 3. Autumn-Winter 2007-2008 Veiled boots: skin-coloured leather boots with black chiffon drapery. Because of the drapery, the boots melt together with the clothing with which they are being worn. 4. Veil, worn by the models during the Maison Martin Margiela fashion shows to hide the face.

5. September 2000 A miniature wicker Emanuelle chair covered with a miniature cotton slip cover. This object is a miniature version of the life-size Emanuelle chairs that obscure the windows at the Maison Martin Margiela shop in Tokyo, Ebisu, their very first brand store. These original 1970s chairs were found at a holding depot in Belgium just as the Maison was planning the opening of the shop in Tokyo. The life size chairs and a very small quantity of miniatures were found together. They were made available, only at and to commemorate the opening of the first Margiela shop in the world! The making of white objects for exceptional events has grown to become one of the traditions of the house. 6. Turtleneck with four white stitches. The main lines plain white cotton label is sewn into the garments by means of four white stitches, visible on the outside. 7. Autumn-Winter 2004-2005 Chain covered with black chiffon, creating a necklace. 8.Blouse blanche, short model At public events, Maison Martin Margielas staff are invariably clothed in white cotton coats, the so-called blouse blanche, inspired by the white work coats of the Parisian haute couture ateliers. The blouse blanche has become an alternative uniform, emphasizing team spirit, as it is worn by every member of the house, regardless of function or hierarchy, also ensuring a certain degree of anonymity through uniformity. 9. Autumn-Winter 2002-2003 Hand-painted vintage handbag covered with an individually tailored cotton dust cover, presented in a Plexiglas box to the audience at the show, by a member of the Maison Martin Margiela team.

2. PAINT
---------------------------------------------------------The covering of materials and garments with paint is a significant trait in Maison Martin Margielas oeuvre. Not only clothing, but also furniture, as well as store, showroom and office interiors are repainted white. The layer of white paint creates the illusion of a neutral canvas, as if the Maison wanted to establish its own tabula rasa with history. When the garment is actually worn, the paint will slowly start to crack, ultimately making the colour and texture of the original item visible once again. Here, the design-

er presents the impossibility of denying history, something that contemporary fashion indeed pretends to be able to do. The painted object serves as a palimpsest that slowly gives way to layers of a hidden past. This feature rather poignantly highlights the process of ageing while simultaneously ensuring that each piece retains a certain degree of specificity. Depending on the wearers demeanour, as well as a host of external factors, each item is allowed to change in its own unique way. Time imbues these designs with a unique patina. 1. Autumn-Winter 2004-2005 Second-hand borsalino hat in felt, painted over with white paint. 2. Spring-Summer 1990 Shoes painted white. 3. Spring-Summer 1998 Waistcoat with the front painted over with white paint. 4. Spring-Summer 2002 Second-hand denim jacket, painted over with white paint. 5. Spring-Summer 2000 Cotton T-shirt with printing that suggests a painted-over effect. 6. Spring-Summer 2003 Underdress cut to form a sleeveless blouse, partly laminated with silver foil. 7. Autumn-Winter 1999-2000 Second-hand woollen suit jacket for men, painted over with silver paint. 8. Spring-Summer 2003 Black, second-hand jeans, laminated with silver foil. 9. Autumn-Winter 1999-2000 Second-hand suit jacket for men, in a woollen, pinstripe fabric, painted over with silver-coloured paint. 10. Tabi-boots painted over with silver paint.

traditional bamboo scaffolding. Over the last twenty years, the house has produced countless variations in different materials. The original Maison Martin Margiela Tabi boot combines the split toe of the tabi sock with the round heel that characterized the 1970s. 1. Tabi boots covered in graffiti as part of an installation for the exhibition, The World According to its Designers. A decor and all its contents, all painted white, became totally black with graffiti during the course of the exhibition. Muse Galliera, Paris, 1991. 2. Ten interpretations of the Tabi boot and the wooden shoe lasts used in their production, silver chromed. 3. Pair of oversized, blow-up Tabi boots. 4. Film: the production of a pair of inflatable Maison Martin Margiela Tabi boots in a studio in Tokyo, 2006. Director: Anders Edstrm Maison Martin Margiela, 1300.

4. DESTROY
---------------------------------------------------------In the late 1980s, Maison Martin Margiela became known for its conspicuous use of recuperated materials and reworking second-hand clothing into new clothes. These pieces literally illustrate the ageing process and the passing of time. The Maison also designs garments that look tattered and worn, but which, on closer inspection, are not. In these cases, new fabrics are used, whose tailoring creates the threadbare effect. Maison Martin Margiela: We have always enjoyed the challenge of reworking existing clothes, fabrics and objects to create new garments and accessories. This challenge is linked to finding a new role and force for these materials, revisiting their structure and use. For us, it is not that garments are vintage in the sense in which the word is now used. We use materials and garments from many sources and periods, many of them very ordinary. 1. Autumn-Winter 1992-1993 Sleeveless woollen top with visible, frayed lining at the neck, arm openings and seams. 2. Autumn-Winter 1996-1997 Sleeveless leather shirt dress/blouse with unfinished, asymmetrical seams.

3. TABI
---------------------------------------------------------Maison Martin Margielas Tabi boots have become one of their most iconic objects. They are inspired by Japanese tabi. These are ankle-high socks with a split for the big toe and are worn with traditional Japanese sandals. The versions with rubber soles are still worn in Asia by construction workers, farmers and gardeners. They allow for greater agility for the feet and toes and facilitate the mounting of

3. Autumn-Winter 1990-1991 Woollen sweater in open, coarse knit, with the suggestion of holes and wear. 4. Autumn-Winter 2000-2001 Pre-formed heavy knit cardigan with frayed seam. 5. Spring-Summer 1990 Sleeveless bolero, made of street posters stuck together, lined with white cotton. 6. Autumn-Winter 1989-1990 Waistcoat made from broken dishes and wire. 7. Autumn-Winter 2005-2006 Cotton shirt with frayed collar and sleeves, suggesting a worn-out effect. 8. Autumn-Winter 1993-1994 Skin-coloured top with burnt and singed hemline. 9. Autumn-Winter 1992-1993 Twin set with permanent creasing. 10. Spring-Summer 2009 Bustier and skirt made of frayed, ripped panels. 11. Spring-Summer 2009 Destroy jersey T-shirt dress.

5. invitations
---------------------------------------------------------Overview of invitations for fashion shows and showrooms.

6. TAILORING / PRODUCTIon PROCESs

---------------------------------------------------------Maison Martin Margielas visual language is saturated with references to haute couture and the craftsmanship involved in tailoring clothing. In their communications, we also repeatedly find images of objects associated with the production process and the dressmakers atelier: fabric shears, shoe lasts, clothes hangers and dressmakers dummies. These images have been stamped as les icnes, the icons of the fashion house. Maison Martin Margiela unveils the history of the article of clothing. The traces of the production process are literally turned out, from inside to outside, where fashion normally anxiously keeps them hidden. Elements that refer to the construction of a piece of clothing, such as shoulder pads, zippers, lining, patterns, and darts are incorporated on the outside of the clothing. 1. Autumn-Winter 1989-1990 Le Mannequin Idal Original 1950s tailors mannequin, adjustable to every

body shape by bending the metal frame. During the presentation of the 1989-1990 Autumn-Winter collection, this metal structure was worn over a white, cotton blouse. 2. Spring-Summer 1998 Jacket in Tyveck pattern paper, printed with numbers and indications of the direction of the fabric, the names of the pattern sections and size indications (size 42); a metal hook at the top, inspired by the metal hooks on which pattern sections for single garments are hung in the dressmakers atelier. 3. Autumn-Winter 1998-1999 Sleeveless leather jacket. When not being worn, the jacket can be pressed completely flat, preserving the two-dimensional character of the paper clothes patterns. 4. Autumn-Winter 1998-1999 Leather version of the jacket in Tyveck pattern paper (object nr.2). When not being worn, the jacket can be pressed completely flat, preserving the two-dimensional character of the paper clothes patterns. 5./6. Autumn-Winter 1997-1998 Dress in coarse cotton with handwritten instructions, based on the toile or initial model of a design. Written on the label is: Toile of a garment after its first fitting: all rectification marks and faults remain apparent. 7. Spring-Summer 1991 Dress in pinstriped lining fabric, with visible darts, combined with a seperate cotton shoulder section. 8. Spring-Summer 2003 Sleeveless jacket made of lining fabric, with an unfinished collar; pleated skirt taken up on the side leaving its lining apparent. 9. Autumn-Winter 2003-2004 Jacket made from a mans jacket sleeves. 10. Autumn-Winter 1994-1995 Jacket with the sleeves switched and sewn back to front, so that the jacket can be worn with the fastening at the back. The jacket can be tightened at the waist with a ribbon. 11. Autumn-Winter 2005-2006 Jacket that has been reduced in size and shortened with pleats and darts. The excess fabric is kept on the inside. 12. Autumn-Winter 1989-1990 Tailored jacket with exposed seams and darts, with suedepatched elbows and puffed shoulders. 13. Spring-Summer 1997 Sleeveless jacket in raw linen, inspired by the covering of

a dressmakers mannequin and lined in black cotton. Thanks to the stiffness of the linen, the jacket keeps the original shape of the dummy while it is being worn. 14. Spring-Summer 1997 Sleeveless jacket in raw linen, inspired by the covering of a dressmakers mannequin. A study for a chiffon drapery is worn over the jacket. 15. Autumn-Winter 2003-2004 Jacket turned inside out with visible lining. 16. Autumn-Winter 2003-2004 Patchwork vest made from stitched interfacings. This material is normally used for stiffening collars. 17. Autumn-Winter 2003-2004 Sleeveless dress slashed at the waist to show the lining. 18. Spring-Summer 2006 Suit jacket that is completely finished on one side, while the other side is unfinished, with the excess fabric on a cotton roll. The jacket seems to melt on one side. The effect was reinforced during the fashion show with accessories made from coloured ice cubes, which left brightly coloured stains on the clothing as they melted. 19. Spring-Summer 2007 Sandals with Plexiglas heels. The invisible heel gives the illusion of a stand on tiptoe; sandals in paper glued on leather and wooden heel on which are marked the technical instructions, inspired by a prototype. DVD: SPRING-SUMMER 1997.

conceptualism and its radical reinterpretation of fashion, it is its flawless and intimate knowledge of the history of fashion that endows its collections with their avant-garde character. 1. Autumn-Winter 2006-2007 Trench coat, of which the cut of the shoulder line is inspired by a seat cover. 2. Autumn-Winter 2005-2006 Trench coat evoking the look of someone sheltering from the rain underneath the coat, with the collar ending at the top of the head. The neck and shoulder lines have been elongated so that the coat can be worn as a hood. When not worn high up, the collar envelops the shoulders. 3. Spring-Summer 2001 Oversized trench coat with front panels and collar turned inwards. 4. Autumn-Winter 2004-2005 Trench coat with enlarged details and cut collar. 5. Autumn-Winter 2002-2003 Trench coat made of two vintage coats assembled together.

9. A DOLLS WARDROBE
---------------------------------------------------------The autumn-winter 1994-1995, spring-summer 1995 and 1999 collections include a number of articles of clothing inspired by dolls wardrobes, such as those of Barbie, Ken and G.I. Joe. Here the theme is a standardized, idealized body. These pieces of clothing were given a second, black label, with the inscription, Reproduction of a garment from a dolls wardrobe. Details and disproportions are reproduced in the enlargement. The literal enlargement of details results in giant zippers and buttons, as well as enlarged motifs in the textiles and extremely thick wool in, for example, sweaters. 1. Spring-Summer 1995 Woollen skirt with oversized Prince of Wales motif, large zipper and hook-and-eye closure. 2. Spring-Summer 1995 Corduroy slacks, mid 1960s with exaggerated wale, oversized zipper and hook-and-eye closure. 3. Spring-Summer 1995 Blouse with large checks and oversized snap closures hidden by faux button front.

7. ASSEMBLAGE
---------------------------------------------------------Autumn-Winter 2002-2003 Sleeveless fur jacket made from two secondhand fur jackets assembled together, with long sleeves as decorative elements at the front and back.

8. classical wardROBE / the TRENCH COAT

---------------------------------------------------------Over the last two decades, Maison Martin Margiela has introduced countless variations on the garments that constitute the canon of Western fashion. Obvious examples include the trench coat, the tuxedo, the white shirt or blouse and jeans. In addition to celebrating the collective memory of modern fashion, these items showcase Maison Martin Margielas expert tailoring. Although the Maison is mainly known for its

4. Spring-Summer 1995 White shirt with attached black tie and large snap closures hidden by faux button front. 5. Spring-Summer 1999 Double-breasted jacket of cotton coarsely woven with faux button front and oversized snap closures. The collar at the back is left open and the stitching on the sleeves shows uncut threads representing the short-cuts taken in finishing dolls garments that replicate costly finishing techniques. 6. Spring-Summer 1999 Bomber jacket with oversized zipper. 7. Spring-Summer 1999 Trench coat with large snap closures. The stitching shows uncut threads. 8. Spring-Summer 1999 Jeans with oversized zipper. The stitching shows uncut threads. 9. Spring-Summer 1999 Oversized dog tag on ball chain: a reproduction of an identity badge from a G.I. Joe doll. 10. Autumn-Winter 1994-1995 Striped varsity lettermans sweater knitted in an oversize gauge, boatneck and a large letter U. 11. Autumn-Winter 1994-1995 Early 1960s style sweater knitted in an oversize gauge, shawl collar and exposed white cotton stitching in the seams and on hem. 12. Autumn-Winter 1994-1995 Cardigan knitted in oversize gauge with large snap closures hidden behind faux button front.

1. Spring-Summer 1989 2. Spring-Summer 1997 Double Carrure: mens shoulder line over a smaller, womens shoulder line, applied by means of shoulder pads. 3. Spring-Summer 1998 4. Spring-Summer 2001 5. Autumn-Winter 2005-2006 6. Autumn-Winter 2006-2007 7. Spring-Summer 2007 8. Spring-Summer 2008 9. Autumn-Winter 2008-2009

11. TAILORING / REPLICA

---------------------------------------------------------Maison Martin Margiela has been introducing garments with the name Replica into its fashion lines 4 and 14, respectively, since 2003 and 2004. These are reproductions of archetypal, second-hand garments from different style periods. A second label is added, containing further information on the garments style, provenance and date. The role of Maison Martin Margiela as designers of these pieces is intended solely to ensure that their selection of fabric and construction resemble the original as closely as possible. Maison Martin Margiela no longer credits itself with being the garments author. 1. Spring-Summer 2005 Replica of a doctors coat. Provenance: France. Period: 1920. 2. Spring-Summer 2005 Replica of a tuxedo jacket. Provenance: Hong Kong. Period: 1970.

10. TAILORING / SHOUlDERS

---------------------------------------------------------The shoulder is an important element in the Maison Martin Margiela silhouette. In the late 1980s, the house had a breakthrough with a very narrow jacket with puffed sleeves, mounted high on the shoulders. As the jacket is worn, the wearers actual shoulders are outlined right below the puffed sleeve. The next two decennia saw several experiments with shoulder proportions. The shoulder lines were widened, expanded upwards and even moved entirely to the front. In the 2008-2009 Autumn-Winter collection, the shoulder has almost completely disappeared in a conical silhouette that reaches up to the nose.

12. a PERSONal wardROBE

---------------------------------------------------------[Projection] Maison Martin Margiela wardrobe of a client in Antwerp: Karin, doctor and acupuncturist, Maison Martin Margiela customer since Autumn-Winter 1992-1993. 40 silhouettes, from different collections. Styling: Karin.

13. ARTISANAL COLLECTIon

---------------------------------------------------------Since their very first collections, the Maison has worked recuperated materials and second-hand clothing into new apparel. The Maison calls these creations garments remodelled by hand, as if to specify that they merely reshuffle

the materials to reproduce the old in always novel constellations. Since the 2005-2006 Autumn-Winter collections, each new season has seen the release of such garments in a separate collection, the Artisanal Collection, identified by the numbers 0 for women and 10 for men. This specific fashion line is the Maisons response to the haute couture of the traditional fashion system and is presented each season during the Paris haute couture week. What Maison Martin Margiela appropriates from haute couture is its labour-intensive handwork and the creation of unique items. However, in Margielas case, the term luxury does not point to the use of valuable fabrics, but instead refers to the number of hours of labour invested in the production of a certain garment. The number of hours required for production is also literally communicated. Autumn-Winter 2005-2006 Woollen secondhand jacket, taped over with black tape. 1. Autumn-Winter 2005-2006 New cotton bandages modelled individually as a jacket and lined in silk chiffon. Production time: 12 hours 2. Spring-Summer 2001 Halter-top made from second hand gloves. Production time: 12 hours 3. Spring-Summer 2009 Fur jacket made from blond wigs. Production time: 51 hours 4. Spring-Summer 2008 A plaiting of elastic bands creates a jacket. Various widths and qualities of elastics are plaited directly on the dummy to make a jacket. The different types of elastics brings a particular colour to each garment. Production time: 29 hours 5. Autumn-Winter 1991-1992 Sweater made from military socks. Production time: 8 hours 6. Spring-Summer 2008 Small mirrored squares are assembled as a top. These small tiles, like those found on a faceted disco ball, are glued on an open-back top lined in black leather. Production time: 45 hours 7. Autumn-Winter 2006-2007 The belts from vintage leather trench coats are assembled to create a jean. These belts of varying leathers and col-

ours are placed on a tailors dummy and stitched together to create a straight leg, cotton lined, trouser. All of the original detailing of the belts has been maintained. The suppleness of the trousers is assured by the opening of the belts so that their original thickness is reduced. Production time: 47 hours 8. Spring-Summer 2007 Four mens printed rock T-shirts are slashed vertically and assembled to create a top. These T-Shirts are firstly washed and bleached and then cut vertically to create shreds of cotton jersey that brings an abstract quality to their original logos. The loose ribbons of fabric are delicately attached together by hand at the bust. Production time: 12 hours 9. Spring-Summer 2006 Vintage summer sandals are used to create a waistcoat. The upper portions of mens sandals, made of real leather of various hues and patinas, are put together to form a waistcoat. Production time: 22 hours 10. Spring-Summer 2008 Vintage buttons are embroidered on a silk chiffon to create a bit-mapped effect motif. Two rectangular pieces of silk muslin are assembled to form a dress. The front is embroidered with various buttons of mother-of-pearl, metal, plastic to draw a mouth. Production time: 25 hours 11. Spring-Summer 2006 Costume jewellery beaded necklaces are hand sewn into a bone-like structure to form a jacket. Each string is weighted, thereby creating a perfect balance in the finished garment. Production time: 41 hours 12. Autumn-Winter 2008-2009 A selection of press publications from the last twenty years have been reprinted, then cut into thin strips to create this jacket. These thin strips of glossy paper are applied, compressed and then sellotaped onto a leather base. Production time: 29 hours 13. Spring-Summer 2006 1980s handmade butterfly sequin tops are transformed and assembled into a coat. Production time: 42 hours 14. Spring-Summer 2008 A fox stole is made from a combination of party paper balls. They are hand dyed with China ink in various shades of grey. The assembling is done by hand using a weaving technique. Each stole is composed of 2500 paper balls. Production time: 55 hours

14. BIRTHDAY ROOM

---------------------------------------------------------Compilation of images from the fashion shows, films and photography. With thanks to the following photographers: Ronald Stoops, Marina Faust, Anders Edstrm, Raf Coolen, Julien Oppenheim, Jacques Habbah, Art Gray, Tatsuya Kitayama, Jonathan Hallam, Giovanni Giannoni, Barbra Katz.

8. Spring-Summer 2005 Embroidered dress turned 90 to be worn as a skirt, with drapery created along one side of the body. Nylon fishnet stockings and after party stilletto shoes.

16. XXXL
---------------------------------------------------------In several of their collections, Maison Martin Margiela has deviated significantly from the standardized body as prescribed by fashion. Various collections explored the idea of oversized clothing by wrapping the body like a gigantic artificial cocoon. 1. Autumn-Winter 2000-2001 Leather jacket, size 78. 2. Spring-Summer 2000 Enlarged white dinner jacket with satin collar, sloping shoulders and pink powder puff brooch. The Spring-Summer 2000 collection comprises a number of archetypal articles of clothing for men, including the trench coat, tuxedo and blouson,... Each piece is produced in two versions. The first is a prototype in white cotton, in order to emphasize the form and structure, the second an oversized version for women in a mens size 74, produced in the most characteristic fabric for that particular article of apparel. 3. Autumn-Winter 2000-2001 Moulded black vest (Italian) size 78, padded with silk paper. 4. Autumn-Winter 2000-2001 Secondhand tailors dummy (size 44) from 1956, found at a flea market. 5. Autumn-Winter 2000-2001 Pre-formed heavy knit sweater with frayed seam, (Italian) size 78. 6. Spring-Summer 2009 Black evening dress longuissime. 7. Spring-Summer 2000 Oversized sunglasses. 8. Autumn-Winter 1996-1997 Oversized black leather belt with large buckle and adjustable elastic band at the back. 9. Spring-Summer 2006 Oversized, fake diamond ring, worn on a neck chain of black cotton ribbon. 10. Autumn-Winter 2000-2001 Hairpiece combs to be worn as false fringe covering the eyes.

15. LE PORT
---------------------------------------------------------The theme of Le Port illustrates how garments can be worn and shown in different ways, showing various interpretations of shapes and structures. 1. Autumn-Winter 2008-2009 Woollen sweater with a very wide, conical shaped, rolled neck that partly hides the face; narrow slacks with a short skirt panel at the front and back; suede boots with a metal screw for a heel. 2. Spring-Summer 2004 Dinner jacket with the back brought on to the front, worn with a tulle shawl on the front of the jacket and rhinestone necklace; trousers in Silesia brought forward to the front; Tabi shoes in two colours. 3. Spring-Summer 2003 Viscose dress of which the hemline has been lifted and stitched to the shoulder, slip dress with lace trim made of vintage slips; shoes under tights. 4. Autumn-Winter 2007-2008 Skin coloured body with large shoulder pads; fringed jacket worn over a plastic structure with extra large shoulders; fringed skirt worn over a looped skirt. 5. Spring-Summer 2004 Satin halter dress worn with a skirt made from two different skirts, one stitched onto the other; pantyhose covering only the front of the legs; Tabi shoes in two colours. 6. Autumn-Winter 2001-2002 Compressed vintage dress with collar and cuffs detached from a vintage mens shirt; tabi-boots. 7. Autumn-Winter 2007-2008 Jacket made from circle shaped, padded tubes, sewn together; narrow leather slacks with a short skirt panel in front and back; fluorescent green boots, painted over with black paint. As they are worn, the fluorescent layer will be increasingly visible.

11. 2008 Jewellery collection inspired from the XXXL concept. 12. Spring-Summer 2009 Oversized shoes (5cm larger than the normal measurement). DVD: AUTUMN-WINTER 2000-2001.

where major labels compete in the wooing of consumers. By contrast, customers are required to make an extra effort into finding the stores. This aspect forms part of Maison Martin Margielas overall outlook on fashion. The House stands for fashion that does not intrude, but that demands the participation of the customer, expecting a minimum of creativity and interpretive labour on his or her part. DVD: an impression of the stores in Paris (Montpensier), Los Angeles, Brussels, London, Milan and New York, filmed by a member of the Maison Martin Margiela shop staff. Scale model of the faade of the offices in Paris. The Paris headquarters are located on rue Saint Maur in an 18th century building, a former Sisters of Charity convent. The sisters convent functioned primarily as an orphanage. In 1939 a certain Mr Andr Peuble, an industrial engineer and art collector, took over the building to found a school of industrial design. When the Margiela team moved in, they found most of its classrooms exactly as they were on the last day, when they were vacated, all weighed down by a thick layer of dust. Maison Martin Margiela adopted the same approach to its restoration as they have with all of the locations of their offices and shops. Great care was taken that the use of white was incorporated with the history and original character of the school.

17. MAISON MARTIN MARGIELA SILHOUETTEs

---------------------------------------------------------Maison Martin Margiela selected five silhouettes on the themes of different body images and volumes, also giving an overview of the evolution of the Maison Martin Margiela silhouette. The silhouettes are printed with black flocking in order to emphasize their sculptural qualities. 1. 2. 3. 4. 5. Autumn-Winter Spring-Summer Spring-Summer Spring-Summer Autumn-Winter 1989-1990 1997 2000 2002 2007-2008

18. Duvet coat

---------------------------------------------------------Autumn-Winter 1999-2000 100% down duvet with detachable sleeves, worn open or closed by a thin leather string, on its own or covered with vintage sheeting in wool or PVC.

20. FLAT GARMENTS 19. MAISON MARTIN MARGIELA 17. offices & stores
---------------------------------------------------------In September, 2000, Maison Martin Margiela opened its first store under its own name in Tokyo, Ebisu. Stores later followed worldwide. They are never located on high streets or prominent shopping streets. Rather, a discrete location often a side street or an alley receives preference. Furthermore, the stores are not designated by means of glaring logos or conspicuous signs. This seemingly non-commercial strategy is reinforced by the display windows that rarely show clothing, let alone this seasons designs, which one would logically expect. Instead of clothes, it is Maison Martin Margielas ubiquitous use of different shades of white that vies for the attention of passersby. These stores do not cry out for our attention, but simply thrive in the sanctuary of byroads that ward off the busy shopping lanes ---------------------------------------------------------1. Spring-Summer 1998 Blouse in imitation leather, with the sleeves repositioned to the front, creating a crushed effect. 2. Spring-Summer 1998 Sweater that unzips into one rectangular piece. 3. Spring-Summer 1998 Sleeveless blouse inspired by the shape of a paper grocery bag. 4./5. Spring-Summer 1998 Twinset with plastic coating that has to be removed. After removal, a part of the coating remains on the garments. 6. Spring-Summer 2009 Circle-shaped leather jacket with long sleeves. 7. Spring-Summer 1998 Felt jacket with the sleeves repositioned to the front, creating a crushed effect.

8. Spring-Summer 1998 Sleeveless vest with armholes repositioned to the front, creating a crushed effect. DVD: SPRING-SUMMER 1998.

21. MAISON MARTIN MARGIELA AIDS T-SHIRT

---------------------------------------------------------[PROJECTION] Since the 1994-1995 Autumn-Winter collection, each season, Maison Martin Margiela has presented a T-shirt whose proceeds are entirely donated to AIDES, a French organization devoted to fighting HIV and caring for patients suffering from HIV/AIDS. Each season, the V-necked T-shirt is produced in a new colour combination. The text, printed in black letters over the V-neck, reads, THERES MORE ACTION TO BE DONE TO FIGHT AIDS THAN TO WEAR THIS T-SHIRT BUT ITS A GOOD START. Maison Martin Margiela: When most T-shirts carry a slogan, their message can be read from a distance. Dialogue is therefore not necessary. When this T-shirt is worn, it is no longer possible for others to read the text printed on it (most of the text is on the inside at the back of the V-neckline). A dialogue on HIV/AIDS is then encouraged once another asks the wearer to explain what is written on his or her T-shirt.

22. TROMPE-LOEIL
---------------------------------------------------------The 1996 Spring-Summer collection was made up of printed articles of clothing with a very simple cut and produced in fine, flowing fabrics. The colour palette of the collection is made up of the colours of old photographs and photocopies: white, black, sepia and a range of brown tints. Each piece is printed with a photograph of another garment, of which both the cut and the material differ strongly from the skirt, jacket or dress on which the photograph has been printed. 1. Photographic prints of the inside of a 1960s cocktail dress, printed on and uncut section of fabric. The fabric was presented at the Florence Biennial, Museo Bardini, 20/9/1996-15/1/1997. 2. Spring-Summer 1996 Dress with photographic print of a retro flowered dress.

3. Spring-Summer 1996 Cardigan with photographic print of a safari jacket. 4. Spring-Summer 1996 Knee-length skirt with photographic print of a woollen checked 1940s skirt. 5. Spring-Summer 1996 Dress with photographic print of the inside of a 1960s cocktail dress. The label stating Tissu de Paris is visible on the back. 6. Spring-Summer 1996 V-neck dress with photographic print of sequined retro evening dress. 7. Spring-Summer 1996 T-shirt with photographic print of a heavy-knit, woollen sweater. 8. Spring-Summer 1996 Dress with photographic print of the inside of a 1960s cocktail dress. The label stating Tissu de Paris is visible on the back. 9. Spring-Summer 1989 Skin-coloured transparent T-shirt printed with tattoo motifs. 10. Spring-Summer 2008 Intersection, Alfa Romeo with trompe-loeil car cover. 11. Autumn-Winter 2004-2005 Leather jacket with a chesterfield print. 12. Autumn-Winter 1997-1998 Bless for Maison Martin Margiela: wig made from second-hand fur coats. 13. Spring-Summer 2008 Leather wallet covered with a bundle of imitation dollar bills. The number 11 is printed on the bills, referring to the Maison Martin Margiela accessories line. 14. Spring-Summer 2009 Backstage badge for the fashion show, in silver Plexiglas, worn as a necklace. 15. Autumn-Winter 2006-2007 Black pumps with painted tops, creating the illusion that they are splattered with mud. 16. Autumn-Winter 1998-1999 Leather glove turned into purse. 17. Spring-Summer 2003 Silverplated collar and cuffs for a mens shirt, worn as accessories.

18. Autumn-Winter 2007-2008 Sandals in silver-coloured leather over a skin-coloured shaft that creates the illusion of a leg. 19. Autumn-Winter 2001-2002 Woollen fabric pressed on a jacket (mens model), in such a way that a print of buttons, collar and pockets is created in the fabric. 20. Spring-Summer 1999 Minimal trenchcoat, with belt and collar in appliqu embroidery, with the suggestion of a split at the back and an asymmetrical opening with hooks and eyes at the front. 21. Spring-Summer 2007 Body in skin-coloured stretch jersey with inserted black bra and an asymmetrical dress with very deep neckline. The body is worn as a second skin. 22. Autumn-Winter 2001-2002 Velvet pressed on a jacket (mens model), in such a way that a print of buttons, collar and pockets is created in the velvet. 23./24. Spring-Summer 2008 Jacket and long skirt embroidered with sequins in matte grey, white and black. The sequins create the illusion that light is being reflected on the clothing.

theatre. Twenty men, wearing outfits styled from garments of all the Houses mens collections that had been specially recreated in shades of white for this particular event, arrive din style and joined the guests for the party. Photographs of this party were later reproduced for an installation for An exhibition before Refurbishment.

23. MAISON MARTIN MARGIELA MEN

---------------------------------------------------------Mug shots of male models for Maison Martin Margiela, from 1999 to the present. Compilation of presentations of the mens collections from various seasons: Pitti Immagine Uomo, January 2006, Florence Spring-Summer 2002, Autumn-Winter 2003-2004, Autumn-Winter 2005-2006. Installation for the mens collections at An exhibition before Refurbishment, in order to advertise the opening of the Maison Martin Margiela store in Honk Kong in July 2006. In January 2006, Maison Martin Margiela was Invited Designer at Pitti Immagine Uomo, the renowned biannual trade fair for menswear in Florence. During the evening of January 12, 2006, Pitti Immagine Uomo invited a score of participants at the fair to celebrate Maison Martin Margielas invitation and participation. People were welcomed to join the House for an aperitif at The Teatro Puccini, an unrestored cinema dating back to the 1930s and currently used as a

0. Introduction 1. Incognito 2. paint 3. Tabi 4. Destroy 5. invitations 6. Tailoring / Production process 7. Assemblage 8. classical wardrobe / the Trench coat 9. A dolls wardrobe 10. Tailoring / Shoulders 13. 11. Tailoring / Replica 12. a personal wardrobe 13. Artisanal collection 14. Birthday room 12. 15. le Port 11. 16. XXXL 17. Maison Martin Margiela 15. silhouettes 18. Duvet coat 19. Maison Martin Margiela 15. offices & stores 9. 20. Flat garments 21. Maison Martin 10. 21. Margiela Aids T-shirt 22. Trompe-loeil 23. Maison Martin 8. 21. Margiela Men 7. 19.

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