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Presentation:
The ‘Sous-Foyer’ and seven marble staircases leading into the main theatre of the Theatre National de Chaillot, within the ‘Palais de Trocadero’ on the right bank of the Seine is host to the presentation of the twenty-seventh Martin Margiela collection for women. Members of the invited public are seated on rows of eleven bistro style chairs placed facing the centre along the two sides of each flight of stairs. More chairs are placed at the top and the foot of each staircase. Members of the invited public also stand behind these chairs to watch the women presenting collection as they mount or descend each staircase. Just as the show is to start the three members of ‘Forma’ a group of percussionists who also play for the French National Orchestra leave the backstage passing through the room before taking position amongst the various percussion instruments they assembled for their improvised soundtrack to the show. As the room lights fall seven of the thirty-one women presenting the collection leave the backstage to stand before one of the staircases. They each begin to descend a staircase as the lights of the show are lit. Women wear a pair of vintage sunglasses, each of them different. Their make-up evokes the dark shadow of their spectacles cast on their face by the bright lights of the show. Gradually, one by one, the thirty-one women walk in succession through the space mounting and descending the staircases as the go. At one point during their procession the soundtrack falls to a near silence and the first women wearing sleigh bells within their garments reach the stairs. For a few moments, before ‘Forma’ re-find their tempo, the only sound in the room is the sound of these bells hidden from view. The show ends as the first women reach the foot of the first staircase they descended. At this point ‘Forma’ greatly increase the level of percussion. Those women who had returned backstage now enter the room in groups each shaking sleigh bells. Many members of the Maison Martin Margiela team in the room who loudly ring hand bells join them in the cacophony. Each of the women remove their sunglasses and smile before exiting.
Collection:
The collection comprises 3 principal categories of garment:
Garments transformed to reflect a movement or gesture – parts of these garments are turned back and stitched in place in a number of ways: the hemlines of dresses and skirts are folded back and fixed, unlined skirts become tops once their fronts have been lifted up unto the torso, the same gesture allows lined skirts become backless dresses; the hem at the side of a dress is brought its shoulder and stitched, Three means of refolding sections of light knit and jersey sweaters and cardigans displace their form on the body. In some cases graduated colour accentuates the effect of the transformation. Masculine trousers and jeans are turned inside out to be worn.
Vintage and used garments are ‘silvered’ by hand: the final patina of the silvering depends on the process used as well as the fabric of the garment treated: jeans, sailor pants. A man’s cotton singlet is given a heavy shine metallic finish. A film of satin finished silver is applied to the front panel of ladies slips. Vintage pleated skirts are enlarged by patch construction and silvered in sections along their sides. The cuffs and collars cut from used men’s shirts and jackets are electroplated silver to become solid jewellery.
The dress-skirts: dresses worn as skirts: their upper section falls around the hips. In some cases their top hangs loose and for others it is stitched down as it hangs or refolded back up before stitching. Bootlaces are stitched together lengthways to become corsets and belts.
Accessories: the frames of vintage sunglasses are spray painted black and their original graduated lenses refitted. Old rugby leather rugby balls are now handbags. The waistbands cut from used jeans are silvered to become belts. The empty cases of old watches are mounted on black cotton ribbon and tied at the wrist.
The Martin Margiela ‘Tabi’ boot is made in stretch beige satin and black leather, in some cases the leather version is hand painted white. For the show, an old stock of eighties ladies stiletto heeled and men’s shoes are worn under stretch ‘Lycra’ tights in pastel and vivid colours. Wax crayon etches the detail of the shoes on the exterior of the tights.
The ‘Sous-Foyer’ and seven marble staircases leading into the main theatre of the Theatre National de Chaillot, within the ‘Palais de Trocadero’ on the right bank of the Seine is host to the presentation of the twenty-seventh Martin Margiela collection for women. Members of the invited public are seated on rows of eleven bistro style chairs placed facing the centre along the two sides of each flight of stairs. More chairs are placed at the top and the foot of each staircase. Members of the invited public also stand behind these chairs to watch the women presenting collection as they mount or descend each staircase. Just as the show is to start the three members of ‘Forma’ a group of percussionists who also play for the French National Orchestra leave the backstage passing through the room before taking position amongst the various percussion instruments they assembled for their improvised soundtrack to the show. As the room lights fall seven of the thirty-one women presenting the collection leave the backstage to stand before one of the staircases. They each begin to descend a staircase as the lights of the show are lit. Women wear a pair of vintage sunglasses, each of them different. Their make-up evokes the dark shadow of their spectacles cast on their face by the bright lights of the show. Gradually, one by one, the thirty-one women walk in succession through the space mounting and descending the staircases as the go. At one point during their procession the soundtrack falls to a near silence and the first women wearing sleigh bells within their garments reach the stairs. For a few moments, before ‘Forma’ re-find their tempo, the only sound in the room is the sound of these bells hidden from view. The show ends as the first women reach the foot of the first staircase they descended. At this point ‘Forma’ greatly increase the level of percussion. Those women who had returned backstage now enter the room in groups each shaking sleigh bells. Many members of the Maison Martin Margiela team in the room who loudly ring hand bells join them in the cacophony. Each of the women remove their sunglasses and smile before exiting.
Collection:
The collection comprises 3 principal categories of garment:
Garments transformed to reflect a movement or gesture – parts of these garments are turned back and stitched in place in a number of ways: the hemlines of dresses and skirts are folded back and fixed, unlined skirts become tops once their fronts have been lifted up unto the torso, the same gesture allows lined skirts become backless dresses; the hem at the side of a dress is brought its shoulder and stitched, Three means of refolding sections of light knit and jersey sweaters and cardigans displace their form on the body. In some cases graduated colour accentuates the effect of the transformation. Masculine trousers and jeans are turned inside out to be worn.
Vintage and used garments are ‘silvered’ by hand: the final patina of the silvering depends on the process used as well as the fabric of the garment treated: jeans, sailor pants. A man’s cotton singlet is given a heavy shine metallic finish. A film of satin finished silver is applied to the front panel of ladies slips. Vintage pleated skirts are enlarged by patch construction and silvered in sections along their sides. The cuffs and collars cut from used men’s shirts and jackets are electroplated silver to become solid jewellery.
The dress-skirts: dresses worn as skirts: their upper section falls around the hips. In some cases their top hangs loose and for others it is stitched down as it hangs or refolded back up before stitching. Bootlaces are stitched together lengthways to become corsets and belts.
Accessories: the frames of vintage sunglasses are spray painted black and their original graduated lenses refitted. Old rugby leather rugby balls are now handbags. The waistbands cut from used jeans are silvered to become belts. The empty cases of old watches are mounted on black cotton ribbon and tied at the wrist.
The Martin Margiela ‘Tabi’ boot is made in stretch beige satin and black leather, in some cases the leather version is hand painted white. For the show, an old stock of eighties ladies stiletto heeled and men’s shoes are worn under stretch ‘Lycra’ tights in pastel and vivid colours. Wax crayon etches the detail of the shoes on the exterior of the tights.
MARTIN MARGIELA
SPRING–SUMMER 2003
PARIS
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