werrottende   

deadbirdsclub: AnOther Magazine A/W 2009. Shot by Katy Grannan, styled by Jane How. /Apocalypse Mjau
i-D April 1997: The Outlook Issue Fun Boy Three Photography: Mark Borthwick Styling: Rebecca Owen Make-up: Bibi of New York Fastforwarding into the Millenium, fashion increasingly rewinds to the past. Ideas plundered from 20th Century wardrobes maybe the trademark of most 90’s designers. But not all. Martin Margiela, Junya Watanabe, and Hussein Chalayan may not be universally liked but they have something to say, something new. They create argument in an industry which is essentially based on change; in short, they create alternative: thinking harder about intelligent design, digging deeper for sources of inspiration, filling the gap between fashion based on sex or commercialism while retaining elements of both. And, despite their individuality, Margiela, Watanabe, and Chalayan are linked by their ability to simplify things, focusing on details that enhance rather than obscure. Sometimes you have to work harder to appreciate this alternative aesthetic but, rather than hitting you immediately then fading just as quickly, these creative visions fit slowly, sublimely into place.
Artisanal S/S 2012. Photography: Rei Nadal
A/W 1996. Women’s show. Backstage. Photography: Anders Edström A brown mask was painted on the upper part of the women’s faces and their teeth were painted a shiny white.
Purple Magazine Spring 2007 Maison Martin Margiela Retrospective Photography: Juergen Teller Styling: Jane How Hair & Make-up: Dick Page S/S 2005 green horizontal dress.
wedo-gallery: Maison Martin Margiela Inspiration No 1 - SS 2012  Source : MMM

S/S 2002. Collection film.

Director: Julian Gibbs (INTRO)

Director Julian Gibbs used 2-D elements to give the video primitive and documentary qualities, with test patterns and simplistic graphic elements creating a minimalist, even Bauhaus atmosphere in parts. Although not filmed in black and white, the video seemed to be almost entirely colourless, with the garments’ textures and silhouettes holding enough potency against the flat backgrounds and even flatter models. (AM)

The collection itself was based on the idea of the circle, a “closed plane curve” with “every point equidistant from any given point/centre”. Margiela translated the circle through collar shapes, curved hems and zips, and more pointedly through a leather jacket and white shirt stretched out and held as perfect circles with clips and string. The ubiquitous Margiela tabi boots with the split toe and cylindrical heel peep out in cracked white leather from underneath a long straight skirt. (AW)

S/S 1992. Women’s show. Photography: Ronald Stoops Textile motifs were painted onto the women’s skin. Each woman had a rhinestone at the inner corner of each eye.