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SCENOGRAPHY / TROMPE-L’OEIL----------------------------------------------------------The concept for the scenography of the exhibition isinspired by Maison Martin Margiela’s frequent use of trompe-l’oeil, not only in its collections, but also in its photo-graphy and its office and store interiors. The optical illu-sions are moreover reinforced by the use of mirrors, multi-plying their labyrinthine character. In the Parisian head-quarters of the Maison, that particular use of the trompe-l’oeil is especially conspicuous. Most of the doors aredecorated with photocopied pictures of other doors, produ-cing a black-and-white graphic aesthetic that also has thelook and feel of street posters. In the Maison Martin Margiela shops, optical illusions aregenerated with black-and-white photographs of the interiorsof their previous office spaces on the rue du FaubourgPoissonnière, an 18th-century Hotel particulier. The roomsof this building, including such details as baroque mirrors,marble mantelpieces, decorative frames and rosettes, werephotographed before the Maison moved to their current loca-tion on rue Saint Maur. This way, Margiela and his teamcarry their own history with them to each new location orstore. In other words, the frequent presence of trompe-l’oeil has proven an outstanding metaphor for Maison MartinMargiela’s complex relationship with time and history. TheFashion Museum has decided to reinterpret this remarkableworking method by creating optical illusions with enlargeddetails of our own exhibition space.

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

1. INCOGNITO----------------------------------------------------------Early in his career, Martin Margiela made an emphatic deci-sion to withdraw as a public figure and let his fashion dothe talking. All interviews are consistently given in thefirst person plural, in the name of the Maison as a whole,and no photographs of the designer are distributed – a sharpreaction against the celebrity cult that dominated the fash-ion scene of the 1980s and 1990s. This decision to remainanonymous is directly translated into the actual clothing

MAISON MARTIN MARGIELA ‘20’ The exhibition----------------------------------------------------------In October 2008, Maison Martin Margiela celebrates its 20thanniversary. For this occasion, the Fashion Museum presentsMAISON MARTIN MARGIELA ‘20’ The Exhibition.

In 1988, after graduating from the fashion department of theAntwerp Academy and working as an assistant for Jean PaulGaultier, Martin Margiela and Jenny Meirens establishedMaison Martin Margiela. Their first pioneering fashion showfollowed in October of that same year. Margiela’s was a rad-ically new visual language, with a silhouette – long, withstrikingly narrow shoulders – that diametrically opposed thepower-dressing of the 1980s.

Maison Martin Margiela is especially known for its decon-structivist approach, its fashion shows in unexpected placesand its taste for recovery and recycling materials. TheMaison shows the inside of a garment, reveals its construc-tion and focuses on that which fashion generally anxiouslyattempts to conceal. This working method results in ananalysis of the system that underlies fashion and is evi-dent in all the various aspects of the fashion house.

One of the most remarkable characteristics of Maison MartinMargiela is its consistent use of white, or better said, allpossible shades of white, in the interiors of its offices,shops and showrooms. White stands for ‘the strength offragility and the fragility of the passage of time’. Thepreference is for matte shades of white, so that the agingprocess is clearly visible. Maison Martin Margiela veryintentionally leaves behind traces of what the system wouldgenerally write off as demodé. History is not being deniedhere, but integrated as an indispensable element.

Maison Martin Margiela offers several collections for women,from ready-to-wear fashion to unique garments (ArtisanalCollection). The main collection uses a plain white labelwith no text, sewn into the garments by hand with four whitestitches. The other collections, of which there are 12, areidentified by a circled number on the label. Since 1998, theMaison has also included four different collections for men.

5. September 2000A miniature wicker ‘Emanuelle chair’ covered with a miniatu-re cotton slip cover. This object is a miniature version ofthe life-size Emanuelle chairs that obscure the windows atthe Maison Martin Margiela shop in Tokyo, Ebisu, their veryfirst brand store. These original 1970’s chairs were foundat a holding depot in Belgium just as the Maison was plan-ning the opening of the shop in Tokyo. The life size chairsand a very small quantity of miniatures were found togeth-er. They were made available, only at and to commemorate theopening of the first Margiela shop in the world! The makingof ‘white objects’ for exceptional events has grown tobecome one of the traditions of the house.6. Turtleneck with four white stitches.The main line’s plain white cotton label is sewn into thegarments by means of four white stitches, visible on theoutside.7. Autumn-Winter 2004-2005Chain covered with black chiffon, creating a necklace.8.‘Blouse blanche’, short modelAt public events, Maison Martin Margiela’s staff are in-variably clothed in white cotton coats, the so-called blouseblanche, inspired by the white work coats of the Parisianhaute couture ateliers. The blouse blanche has become analternative uniform, emphasizing team spirit, as it is wornby every member of the house, regardless of function or hie-rarchy, also ensuring a certain degree of anonymity throughuniformity. 9. Autumn-Winter 2002-2003Hand-painted vintage handbag covered with an individuallytailored cotton dust cover, presented in a Plexiglas box tothe audience at the show, by a member of the Maison MartinMargiela team.

2. PAINT----------------------------------------------------------The covering of materials and garments with paint is a sig-nificant trait in Maison Martin Margiela’s oeuvre. Not onlyclothing, but also furniture, as well as store, showroom andoffice interiors are repainted white. The layer of whitepaint creates the illusion of a neutral canvas, as if theMaison wanted to establish its own tabula rasa with histo-ry. When the garment is actually worn, the paint will slow-ly start to crack, ultimately making the colour and textureof the original item visible once again. Here, the design-

label, an element usually of utmost importance for design-er fashion. Margiela does not ‘sign’ his clothing. The labelon the inside of each garment is a blank, white cotton tag,hand-sewn in large stitches at the four corners. The labelis free of any kind of writing. It therefore serves no obvi-ous function and is, at least according to present-day mar-ket principles, completely useless and hopelessly redun-dant. For designer fashion, the label is crucial — it is itscertificate of authenticity. This empty tag does in factleave its traces, but on the outside of the garment. To theoutsider, the four stitches that fasten the label to thefabric might appear as small mistakes in manufacturing. Fora select in-crowd, however, these stitches are instantlyrecognized. It may be ironic that what first looks like amistake, in fact, makes the function of the label that muchstronger. In the end, the label proves to be the ultimatesuperlative, a high-powered marketing tool.The incognito strategy of Maison Martin Margiela is strict-ly followed through in the presentation of the collections.Models are made anonymous by having their faces covered, asif to protect their identity. They might, for instance, rundown the catwalk with veils obscuring their faces or withmake-up or hair masking the eyes or the whole face. In thelook books, a black band has been drawn over the eyes of themodels. Lastly, the incognito motif is also translated in amore abstract manner, through the strategy of the ‘cover-up’, or upholstering of objects, garments and accessories.Furnishings in the stores and offices are covered with whitecotton. This way, time, style and colour become abstraction.In addition, articles of clothing, such as blouses, oraccessories, such as purses and shoes, are wrapped in cot-ton or transparent muslin, or entirely covered with tape.

1. Spring-Summer 2008‘Incognito’ sunglasses: a flat uni-lens runs over the frontand sides of the face like a black strip, concealing thewearer’s identity.2. Spring-Summer 2006Pumps and wallet, covered with tape marked ‘Fragile’.3. Autumn-Winter 2007-2008‘Veiled’ boots: skin-coloured leather boots with black chif-fon drapery. Because of the drapery, the boots melt togeth-er with the clothing with which they are being worn.4. Veil, worn by the models during the Maison MartinMargiela fashion shows to hide the face.

traditional bamboo scaffolding. Over the last twenty years,the house has produced countless variations in differentmaterials. The original Maison Martin Margiela Tabi bootcombines the split toe of the tabi sock with the round heelthat characterized the 1970s.

1. Tabi boots covered in graffiti as part of an installa-tion for the exhibition, The World According to its Design-ers. A decor and all its contents, all painted white, becametotally black with graffiti during the course of the exhi-bition. Musée Galliera, Paris, 1991.2. Ten interpretations of the Tabi boot and the wooden shoelasts used in their production, silver chromed.3. Pair of oversized, blow-up Tabi boots.4. Film: the production of a pair of inflatable MaisonMartin Margiela Tabi boots in a studio in Tokyo, 2006.Director: Anders Edström © Maison Martin Margiela, 13’00”.

4. DESTROY----------------------------------------------------------In the late 1980s, Maison Martin Margiela became known forits conspicuous use of recuperated materials and reworkingsecond-hand clothing into new clothes. These pieces literal-ly illustrate the ageing process and the passing of time.The Maison also designs garments that look tattered andworn, but which, on closer inspection, are not. In thesecases, new fabrics are used, whose tailoring creates thethreadbare effect.

Maison Martin Margiela: ‘We have always enjoyed the chal-lenge of reworking existing clothes, fabrics and objects tocreate new garments and accessories. This challenge islinked to finding a new role and force for these materials,revisiting their structure and use. For us, it is not thatgarments are vintage in the sense in which the word is nowused. We use materials and garments from many sources andperiods, many of them very ordinary.’

1. Autumn-Winter 1992-1993Sleeveless woollen top with visible, frayed lining at theneck, arm openings and seams.2. Autumn-Winter 1996-1997Sleeveless leather shirt dress/blouse with unfinished,asymmetrical seams.

er presents the impossibility of denying history, somethingthat contemporary fashion indeed pretends to be able to do.The painted object serves as a palimpsest that slowly givesway to layers of a hidden past. This feature ratherpoignantly highlights the process of ageing while simulta-neously ensuring that each piece retains a certain degreeof specificity. Depending on the wearer’s demeanour, as wellas a host of external factors, each item is allowed to‘change’ in its own unique way. Time imbues these designswith a unique patina.

1. Autumn-Winter 2004-2005Second-hand borsalino hat in felt, painted over with whitepaint.2. Spring-Summer 1990Shoes painted white.3. Spring-Summer 1998Waistcoat with the front painted over with white paint.4. Spring-Summer 2002Second-hand denim jacket, painted over with white paint.5. Spring-Summer 2000Cotton T-shirt with printing that suggests a painted-overeffect.6. Spring-Summer 2003Underdress cut to form a sleeveless blouse, partly laminatedwith silver foil.7. Autumn-Winter 1999-2000Second-hand woollen suit jacket for men, painted over withsilver paint.8. Spring-Summer 2003Black, second-hand jeans, laminated with silver foil.9. Autumn-Winter 1999-2000Second-hand suit jacket for men, in a woollen, pinstripefabric, painted over with silver-coloured paint.10. Tabi-boots painted over with silver paint.

3. TABI----------------------------------------------------------Maison Martin Margiela’s Tabi boots have become one of theirmost iconic objects. They are inspired by Japanese tabi.These are ankle-high socks with a split for the big toe andare worn with traditional Japanese sandals. The versionswith rubber soles are still worn in Asia by constructionworkers, farmers and gardeners. They allow for greater agi-lity for the feet and toes and facilitate the mounting of

body shape by bending the metal frame. During the presenta-tion of the 1989-1990 Autumn-Winter collection, this metalstructure was worn over a white, cotton blouse.2. Spring-Summer 1998Jacket in Tyveck pattern paper, printed with numbers andindications of the direction of the fabric, the names of thepattern sections and size indications (size 42); a metalhook at the top, inspired by the metal hooks on which pat-tern sections for single garments are hung in the dress-maker’s atelier.3. Autumn-Winter 1998-1999Sleeveless leather jacket. When not being worn, the jacketcan be pressed completely flat, preserving the two-dimen-sional character of the paper clothes patterns.4. Autumn-Winter 1998-1999Leather version of the jacket in Tyveck pattern paper(object nr.2). When not being worn, the jacket can be press-ed completely flat, preserving the two-dimensional charac-ter of the paper clothes patterns. 5./6. Autumn-Winter 1997-1998Dress in coarse cotton with handwritten instructions, basedon the toile or initial model of a design. Written on thelabel is: ‘Toile of a garment after its first fitting: allrectification marks and faults remain apparent.’7. Spring-Summer 1991Dress in pinstriped lining fabric, with visible darts, com-bined with a seperate cotton shoulder section.8. Spring-Summer 2003Sleeveless jacket made of lining fabric, with an unfinishedcollar; pleated skirt taken up on the side leaving its lin-ing apparent.9. Autumn-Winter 2003-2004Jacket made from a man’s jacket sleeves.10. Autumn-Winter 1994-1995Jacket with the sleeves switched and sewn back to front, sothat 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 2005-2006Jacket that has been reduced in size and shortened withpleats and darts. The excess fabric is kept on the inside.12. Autumn-Winter 1989-1990Tailored jacket with exposed seams and darts, with suede-patched elbows and puffed shoulders.13. Spring-Summer 1997Sleeveless jacket in raw linen, inspired by the covering of

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

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

6. TAILORING / PRODUCTIon PROCESs----------------------------------------------------------Maison Martin Margiela’s visual language is saturated withreferences to haute couture and the craftsmanship involvedin tailoring clothing. In their communications, we alsorepeatedly find images of objects associated with the pro-duction process and the dressmaker’s atelier: fabric shears,shoe lasts, clothes hangers and dressmaker’s dummies. Theseimages have been stamped as les icônes, the icons of thefashion house. Maison Martin Margiela unveils the historyof the article of clothing. The traces of the productionprocess are literally turned out, from inside to outside,where fashion normally anxiously keeps them hidden. Elementsthat refer to the construction of a piece of clothing, suchas shoulder pads, zippers, lining, patterns, and darts areincorporated on the outside of the clothing.

1. Autumn-Winter 1989-1990 ‘Le Mannequin Idéal’Original 1950s tailor’s mannequin, adjustable to ‘every’

conceptualism and its radical reinterpretation of fashion,it is its flawless and intimate knowledge of the history offashion that endows its collections with their avant-gardecharacter.

1. Autumn-Winter 2006-2007Trench coat, of which the cut of the shoulder line isinspired by a seat cover.2. Autumn-Winter 2005-2006Trench coat evoking the look of someone sheltering from therain underneath the coat, with the collar ending at the topof the head. The neck and shoulder lines have been elonga-ted so that the coat can be worn as a hood. When not wornhigh up, the collar envelops the shoulders.3. Spring-Summer 2001Oversized trench coat with front panels and collar turnedinwards.4. Autumn-Winter 2004-2005Trench coat with enlarged details and cut collar.5. Autumn-Winter 2002-2003Trench coat made of two vintage coats assembled together.

9. A DOLL’S WARDROBE----------------------------------------------------------The autumn-winter 1994-1995, spring-summer 1995 and 1999collections include a number of articles of clothing in-spired by dolls’ wardrobes, such as those of Barbie, Ken andG.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 adoll’s wardrobe. Details and disproportions are reproducedin the enlargement.’ The literal enlargement of detailsresults in giant zippers and buttons, as well as enlargedmotifs in the textiles and extremely thick wool in, forexample, sweaters.

1. Spring-Summer 1995Woollen skirt with oversized Prince of Wales motif, largezipper and hook-and-eye closure.2. Spring-Summer 1995Corduroy slacks, mid 1960’s with exaggerated wale, oversizedzipper and hook-and-eye closure.3. Spring-Summer 1995Blouse with large checks and oversized snap closures hiddenby faux button front.

a dressmaker’s mannequin and lined in black cotton. Thanksto the stiffness of the linen, the jacket keeps the origi-nal shape of the dummy while it is being worn.14. Spring-Summer 1997Sleeveless jacket in raw linen, inspired by the covering ofa dressmaker’s mannequin. A ‘study’ for a chiffon draperyis worn over the jacket.15. Autumn-Winter 2003-2004Jacket turned inside out with visible lining.16. Autumn-Winter 2003-2004Patchwork vest made from stitched interfacings. This mate-rial is normally used for stiffening collars.17. Autumn-Winter 2003-2004Sleeveless dress slashed at the waist to show the lining.18. Spring-Summer 2006Suit jacket that is completely finished on one side, whilethe other side is unfinished, with the excess fabric on acotton roll. The jacket seems to ‘melt’ on one side. Theeffect was reinforced during the fashion show with acces-sories made from coloured ice cubes, which left brightlycoloured stains on the clothing as they melted.19. Spring-Summer 2007Sandals with Plexiglas heels. The invisible heel gives theillusion of a stand on tiptoe; sandals in paper glued onleather and wooden heel on which are marked the technicalinstructions, inspired by a prototype.

DVD: SPRING-SUMMER 1997.

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

8. classical wardROBE / the TRENCH COAT----------------------------------------------------------Over the last two decades, Maison Martin Margiela has intro-duced countless variations on the garments that constitutethe canon of Western fashion. Obvious examples include thetrench coat, the tuxedo, the white shirt or blouse and jeans.In addition to celebrating the collective memory of modernfashion, these items showcase Maison Martin Margiela’s ex-pert tailoring. Although the Maison is mainly known for its

1. Spring-Summer 19892. Spring-Summer 1997‘Double Carrure’: men’s shoulder line over a smaller, women’sshoulder line, applied by means of shoulder pads.3. Spring-Summer 19984. Spring-Summer 20015. Autumn-Winter 2005-20066. Autumn-Winter 2006-20077. Spring-Summer 20078. Spring-Summer 20089. Autumn-Winter 2008-2009

11. TAILORING / REPLICA----------------------------------------------------------Maison Martin Margiela has been introducing garments with thename ‘Replica’ into its fashion lines 4 and 14, respective-ly, since 2003 and 2004. These are reproductions of arche-typal, second-hand garments from different style periods. Asecond label is added, containing further information on thegarment’s style, provenance and date. The role of MaisonMartin Margiela as designers of these pieces is intendedsolely to ensure that their selection of fabric and construc-tion resemble the original as closely as possible. MaisonMartin Margiela no longer credits itself with being the gar-ment’s ‘author’.

1. Spring-Summer 2005Replica of a doctor’s coat. Provenance: France. Period: 1920.2. Spring-Summer 2005Replica of a tuxedo jacket. Provenance: Hong Kong. Period:1970.

12. a PERSONal wardROBE----------------------------------------------------------[Projection] Maison Martin Margiela wardrobe of a client inAntwerp: Karin, doctor and acupuncturist, Maison MartinMargiela customer since Autumn-Winter 1992-1993.40 silhouettes, from different collections. Styling: Karin.

13. ARTISANAL COLLECTIon----------------------------------------------------------Since their very first collections, the Maison has workedrecuperated materials and second-hand clothing into newapparel. The Maison calls these creations ‘garments remodel-led by hand,’ as if to specify that they merely reshuffle

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

10. TAILORING / SHOUlDERS----------------------------------------------------------The shoulder is an important element in the Maison MartinMargiela silhouette. In the late 1980s, the house had abreakthrough with a very narrow jacket with puffed sleeves,mounted high on the shoulders. As the jacket is worn, thewearer’s actual shoulders are outlined right below thepuffed sleeve. The next two decennia saw several experimentswith 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 hasalmost completely disappeared in a conical silhouette thatreaches up to the nose.

ours are placed on a tailor’s dummy and stitched togetherto create a straight leg, cotton lined, trouser. All of theoriginal detailing of the belts has been maintained. Thesuppleness of the trousers is assured by the opening of thebelts so that their original thickness is reduced.Production time: 47 hours8. Spring-Summer 2007Four men’s printed rock T-shirts are slashed vertically andassembled to create a top. These T-Shirts are firstly washedand bleached and then cut vertically to create shreds ofcotton jersey that brings an abstract quality to their orig-inal logos. The loose ribbons of fabric are delicatelyattached together by hand at the bust. Production time: 12 hours9. Spring-Summer 2006Vintage summer sandals are used to create a waistcoat. Theupper portions of men’s sandals, made of real leather of var-ious hues and patinas, are put together to form a waistcoat.Production time: 22 hours10. Spring-Summer 2008Vintage buttons are embroidered on a silk chiffon to createa bit-mapped effect motif. Two rectangular pieces of silkmuslin are assembled to form a dress. The front is embroid-ered with various buttons of mother-of-pearl, metal, plas-tic to draw a mouth. Production time: 25 hours11. Spring-Summer 2006‘Costume jewellery’ beaded necklaces are hand sewn into abone-like structure to form a jacket. Each string is weight-ed, thereby creating a perfect balance in the finished garment.Production time: 41 hours12. Autumn-Winter 2008-2009A selection of press publications from the last twenty yearshave been reprinted, then cut into thin strips to createthis jacket. These thin strips of glossy paper are applied,compressed and then sellotaped onto a leather base.Production time: 29 hours13. Spring-Summer 20061980s handmade butterfly sequin tops are transformed andassembled into a coat. Production time: 42 hours14. Spring-Summer 2008A 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

the materials to reproduce the old in always novel constel-lations. Since the 2005-2006 Autumn-Winter collections,each new season has seen the release of such garments in aseparate collection, the ‘Artisanal Collection’, identifiedby the numbers ‘0’ for women and ‘10’ for men. This speci-fic fashion line is the Maison’s response to the haute cou-ture of the traditional fashion system and is presented eachseason during the Paris haute couture week. What MaisonMartin Margiela appropriates from haute couture is itslabour-intensive handwork and the creation of unique items.However, in Margiela’s case, the term ‘luxury’ does notpoint to the use of valuable fabrics, but instead refers tothe number of hours of labour invested in the production ofa certain garment. The number of hours required for produc-tion is also literally communicated.

Autumn-Winter 2005-2006Woollen secondhand jacket, taped over with black tape.

1. Autumn-Winter 2005-2006New cotton bandages modelled individually as a jacket andlined in silk chiffon.Production time: 12 hours2. Spring-Summer 2001Halter-top made from second hand gloves. Production time: 12 hours3. Spring-Summer 2009Fur jacket made from blond wigs. Production time: 51 hours4. Spring-Summer 2008A plaiting of elastic bands creates a jacket. Various widthsand qualities of elastics are plaited directly on the dummyto make a jacket. The different types of elastics brings aparticular colour to each garment. Production time: 29 hours5. Autumn-Winter 1991-1992Sweater made from military socks. Production time: 8 hours6. Spring-Summer 2008Small mirrored squares are assembled as a top. These smalltiles, like those found on a faceted disco ball, are gluedon an open-back top lined in black leather. Production time: 45 hours7. Autumn-Winter 2006-2007The belts from vintage leather trench coats are assembledto create a jean. These belts of varying leathers and col-

8. Spring-Summer 2005Embroidered dress turned 90° to be worn as a skirt, withdrapery created along one side of the body. Nylon fishnetstockings and ‘after party’ stilletto shoes.

16. XXXL----------------------------------------------------------In several of their collections, Maison Martin Margiela hasdeviated significantly from the standardized body as pre-scribed by fashion. Various collections explored the ideaof oversized clothing by wrapping the body like a giganticartificial cocoon.

1. Autumn-Winter 2000-2001Leather jacket, size 78.2. Spring-Summer 2000Enlarged white dinner jacket with satin collar, slopingshoulders and pink powder puff brooch. The Spring-Summer2000 collection comprises a number of archetypal articles ofclothing for men, including the trench coat, tuxedo and blou-son,... Each piece is produced in two versions. The first isa prototype in white cotton, in order to emphasize the formand structure, the second an oversized version for women ina men’s size 74, produced in the most characteristic fabricfor that particular article of apparel.3. Autumn-Winter 2000-2001Moulded black vest (Italian) size 78, padded with silk paper.4. Autumn-Winter 2000-2001Secondhand tailor’s dummy (size 44) from 1956, found at aflea market.5. Autumn-Winter 2000-2001Pre-formed heavy knit sweater with frayed seam, (Italian)size 78.6. Spring-Summer 2009Black evening dress ‘longuissime’.7. Spring-Summer 2000Oversized sunglasses.8. Autumn-Winter 1996-1997Oversized black leather belt with large buckle and adjust-able elastic band at the back.9. Spring-Summer 2006Oversized, fake diamond ring, worn on a neck chain of blackcotton ribbon.10. Autumn-Winter 2000-2001Hairpiece combs to be worn as false fringe covering the eyes.

14. BIRTHDAY ROOM----------------------------------------------------------Compilation of images from the fashion shows, films andphotography. With thanks to the following photographers:Ronald Stoops, Marina Faust, Anders Edström, Raf Coolen,Julien Oppenheim, Jacques Habbah, Art Gray, TatsuyaKitayama, Jonathan Hallam, Giovanni Giannoni, Barbra Katz.

15. LE PORTÉ----------------------------------------------------------The theme of Le Porté illustrates how garments can be wornand shown in different ways, showing various interpretationsof shapes and structures.

1. Autumn-Winter 2008-2009Woollen sweater with a very wide, conical shaped, rolledneck that partly hides the face; narrow slacks with a shortskirt panel at the front and back; suede boots with a metalscrew for a heel.2. Spring-Summer 2004Dinner jacket with the back brought on to the front, wornwith a tulle shawl on the front of the jacket and rhine-stone necklace; trousers in Silesia brought forward to thefront; Tabi shoes in two colours.3. Spring-Summer 2003Viscose dress of which the hemline has been lifted andstitched to the shoulder, slip dress with lace trim made ofvintage slips; shoes under tights.4. Autumn-Winter 2007-2008 Skin coloured body with large shoulder pads; fringed jack-et worn over a plastic structure with extra large shoulders;fringed skirt worn over a looped skirt.5. Spring-Summer 2004Satin halter dress worn with a skirt made from two differ-ent skirts, one stitched onto the other; pantyhose coveringonly the front of the legs; Tabi shoes in two colours.6. Autumn-Winter 2001-2002Compressed vintage dress with collar and cuffs detached froma vintage men’s shirt; tabi-boots.7. Autumn-Winter 2007-2008Jacket made from circle shaped, padded tubes, sewn togeth-er; narrow leather slacks with a short skirt panel in frontand back; fluorescent green boots, painted over with blackpaint. As they are worn, the fluorescent layer will beincreasingly visible.

where major labels compete in the wooing of consumers. Bycontrast, customers are required to make an extra effortinto finding the stores. This aspect forms part of MaisonMartin Margiela’s overall outlook on fashion. The Housestands for fashion that does not intrude, but that demandsthe participation of the customer, expecting a minimum ofcreativity and interpretive labour on his or her part.

DVD: an impression of the stores in Paris (Montpensier), LosAngeles, Brussels, London, Milan and New York, filmed by amember of the Maison Martin Margiela shop staff.

Scale model of the façade of the offices in Paris.The Paris headquarters are located on rue Saint Maur in an18th century building, a former Sisters of Charity convent.The sisters’ convent functioned primarily as an orphanage.In 1939 a certain Mr André Peuble, an industrial engineerand art collector, took over the building to found a schoolof industrial design. When the Margiela team moved in, theyfound most of its classrooms exactly as they were on thelast day, when they were vacated, all weighed down by athick layer of dust. Maison Martin Margiela adopted the sameapproach to its restoration as they have with all of thelocations of their offices and shops. Great care was takenthat the use of white was incorporated with the history andoriginal character of the school.

20. FLAT GARMENTS----------------------------------------------------------1. Spring-Summer 1998Blouse in imitation leather, with the sleeves repositionedto the front, creating a crushed effect.2. Spring-Summer 1998Sweater that unzips into one rectangular piece.3. Spring-Summer 1998Sleeveless blouse inspired by the shape of a paper grocerybag.4./5. Spring-Summer 1998Twinset with plastic coating that has to be removed. Afterremoval, a part of the coating remains on the garments.6. Spring-Summer 2009Circle-shaped leather jacket with long sleeves.7. Spring-Summer 1998Felt jacket with the sleeves repositioned to the front,creating a crushed effect.

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

DVD: AUTUMN-WINTER 2000-2001.

17. MAISON MARTIN MARGIELA SILHOUETTEs----------------------------------------------------------Maison Martin Margiela selected five silhouettes on thethemes of different body images and volumes, also giving anoverview of the evolution of the Maison Martin Margielasilhouette. The silhouettes are printed with black flockingin order to emphasize their sculptural qualities.

1. Autumn-Winter 1989-19902. Spring-Summer 19973. Spring-Summer 20004. Spring-Summer 20025. Autumn-Winter 2007-2008

18. Duvet coat----------------------------------------------------------Autumn-Winter 1999-2000100% down duvet with detachable sleeves, worn open or closedby a thin leather string, on its own or covered with vintagesheeting in wool or PVC.

19. MAISON MARTIN MARGIELA 17. offices & stores----------------------------------------------------------In September, 2000, Maison Martin Margiela opened its firststore under its own name in Tokyo, Ebisu. Stores later fol-lowed 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 gla-ring logos or conspicuous signs. This seemingly non-commer-cial strategy is reinforced by the display windows thatrarely show clothing, let alone this season’s designs, whichone would logically expect. Instead of clothes, it is MaisonMartin Margiela’s ubiquitous use of different shades ofwhite that vies for the attention of passersby. These storesdo not cry out for our attention, but simply thrive in thesanctuary of byroads that ward off the busy shopping lanes

3. Spring-Summer 1996Cardigan with photographic print of a safari jacket.4. Spring-Summer 1996Knee-length skirt with photographic print of a woollenchecked 1940’s skirt. 5. Spring-Summer 1996Dress with photographic print of the inside of a 1960’s cock-tail dress. The label stating ‘Tissu de Paris’ is visible onthe back.6. Spring-Summer 1996V-neck dress with photographic print of sequined retro eveningdress.7. Spring-Summer 1996T-shirt with photographic print of a heavy-knit, woollensweater.8. Spring-Summer 1996Dress with photographic print of the inside of a 1960’s cock-tail dress. The label stating ‘Tissu de Paris’ is visible onthe back. 9. Spring-Summer 1989Skin-coloured transparent T-shirt printed with tattoo motifs.10. Spring-Summer 2008‘Intersection’, Alfa Romeo with trompe-l’oeil car cover.11. Autumn-Winter 2004-2005Leather jacket with a ‘chesterfield’ print.12. Autumn-Winter 1997-1998Bless for Maison Martin Margiela: wig made from second-handfur coats.13. Spring-Summer 2008Leather wallet covered with a bundle of imitation dollarbills. The number 11 is printed on the bills, referring tothe Maison Martin Margiela accessories line.14. Spring-Summer 2009Backstage badge for the fashion show, in silver Plexiglas,worn as a necklace.15. Autumn-Winter 2006-2007Black pumps with painted tops, creating the illusion thatthey are splattered with mud.16. Autumn-Winter 1998-1999Leather glove turned into purse.17. Spring-Summer 2003Silverplated collar and cuffs for a men’s shirt, worn asaccessories.

8. Spring-Summer 1998Sleeveless 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-shirtwhose proceeds are entirely donated to AIDES, a French or-ganization devoted to fighting HIV and caring for patientssuffering from HIV/AIDS. Each season, the V-necked T-shirtis produced in a new colour combination. The text, printedin black letters over the V-neck, reads, ‘THERE’S MOREACTION TO BE DONE TO FIGHT AIDS THAN TO WEAR THIS T-SHIRTBUT IT’S A GOOD START’.

Maison Martin Margiela: ‘When most T-shirts carry a slogan,their message can be read from a distance. Dialogue istherefore not necessary. When this T-shirt is worn, it isno longer possible for others to read the text printed onit (most of the text is on the inside at the back of theV-neckline). A dialogue on HIV/AIDS is then encouraged onceanother asks the wearer to explain what is written on hisor her T-shirt.’

22. TROMPE-L’OEIL----------------------------------------------------------The 1996 Spring-Summer collection was made up of printedarticles of clothing with a very simple cut and produced infine, flowing fabrics. The colour palette of the collectionis made up of the colours of old photographs and photocopies:white, black, sepia and a range of brown tints. Each pieceis printed with a photograph of another garment, of whichboth 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 cocktaildress, printed on and uncut section of fabric. The fabric was presented at the Florence Biennial, MuseoBardini, 20/9/1996-15/1/1997. 2. Spring-Summer 1996Dress with photographic print of a retro flowered dress.

theatre. Twenty men, wearing outfits styled from garmentsof all the House’s men’s collections that had been special-ly 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 aninstallation for ‘An exhibition before Refurbishment.’

18. Autumn-Winter 2007-2008Sandals in silver-coloured leather over a skin-coloured shaftthat creates the illusion of a leg.19. Autumn-Winter 2001-2002Woollen fabric pressed on a jacket (men’s model), in such away that a print of buttons, collar and pockets is createdin the fabric.20. Spring-Summer 1999‘Minimal trenchcoat’, with belt and collar in appliquéembroidery, with the suggestion of a split at the back andan asymmetrical opening with hooks and eyes at the front.21. Spring-Summer 2007Body in skin-coloured stretch jersey with inserted black braand an asymmetrical dress with very deep neckline. The bodyis worn as a ‘second skin’.22. Autumn-Winter 2001-2002Velvet pressed on a jacket (men’s model), in such a way thata print of buttons, collar and pockets is created in thevelvet.23./24. Spring-Summer 2008Jacket and long skirt embroidered with sequins in mattegrey, white and black. The sequins create the illusion thatlight is being reflected on the clothing.

23. MAISON MARTIN MARGIELA ‘MEN’----------------------------------------------------------‘Mug shots’ of male models for Maison Martin Margiela, from1999 to the present.

Compilation of presentations of the men’s collections fromvarious seasons: Pitti Immagine Uomo, January 2006, FlorenceSpring-Summer 2002, Autumn-Winter 2003-2004, Autumn-Winter2005-2006.

Installation for the men’s collections at ‘An exhibitionbefore Refurbishment’, in order to advertise the opening ofthe Maison Martin Margiela store in Honk Kong in July 2006.In January 2006, Maison Martin Margiela was Invited Designerat Pitti Immagine Uomo, the renowned biannual trade fair formenswear in Florence. During the evening of January 12,2006, Pitti Immagine Uomo invited a score of participantsat the fair to celebrate Maison Martin Margiela’s invita-tion and participation. People were welcomed to join theHouse for an aperitif at The Teatro Puccini, an unrestoredcinema dating back to the 1930s and currently used as a

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0. Introduction1. Incognito2. paint3. Tabi4. Destroy5. invitations6. Tailoring / Production process7. Assemblage8. classical wardrobe / the Trench coat9. A doll’s wardrobe10. Tailoring / Shoulders11. Tailoring / Replica12. a personal wardrobe13. Artisanal collection14. Birthday room15. le Porté16. XXXL17. Maison Martin Margiela 15. silhouettes18. Duvet coat19. Maison Martin Margiela 15. offices & stores20. Flat garments21. Maison Martin 21. Margiela Aids T-shirt22. Trompe-l’oeil23. Maison Martin21. Margiela ‘Men’