Make your own Margiela sock jumper-how to.
Wouldn’t mind giving this a go.
Metamorphosis, Martin Margiela spring / summer 1998
Three photo-scenarios for 1-minute video film sequences. The collection explored the transformation of a two-dimensional garment which becomes three-dimensional on the human body. During the presentation, while men in white lab-coat held up the clothes on hanger, the video was projected on five towers covered with white cotton cloth. Ten items from the collection were presented through 10 film sequences of 1 minute each. It showed images of women – neck-down – wearing the clothes, preceded by text descriptions like: “the shoulder line of these garments has been brought totally forward onto their front.”
scan from belgian fashion design (1999)
rectangular fabric as cape (l) • martin margiela
Maison Martin Margiela F/W 1999, “Video Image”
September 28th 2003, the Museum of Modern Art in the 16th Arrondissement of Paris closed its doors to carry out large-scale renovation work. This closure, due to last more than one year, allows its rooms to host the Martin Margiela presentation just days later. The starkness of the four large rooms used for the show is accentuated by the removal of all art pieces. The invited public enter the museum via a little used graffiti entrance on the Avenue de New York running along the right bank of the Seine. Eighteen specially constructed black podiums and a large spotlight on a tripod trained on each are the only structures to be found throughout the spaces. A large black panel rises at the back of each podium; black steps lead up at their front. Red wine is served as at every Martin Margiela show and the invited public mingle freely awaiting the show. 27 women each present one outfit of the collection. The eighteen spotlights warm up to cast a turquoise light on each podium as the room lights fall for the show’s start. A soundtrack is made up of the instrumental sections of many disco hits of the past twenty years. 18 women leave the backstage together to mount a podium and stand facing the backdrop. Once the turquoise light changes to white each women turns to present their outfit to the crowd assembled at each podium. After fifteen seconds the light returns to turquoise and the women descend to make their way to the next. They are chaperoned on their way through the crowd by a man dressed in black. One by one the nine women backstage at the beginning of the show enter the room to replenish the circuit of women, passing, as the show proceeds, from podium to podium. The finale of the show takes place when all of the women have presented their outfit on each podium. At this moment the chaperones present all of the women, as they stand on the podiums, with a bouquet of artificial flowers that have been sprayed turquoise.
Outfits are emphasised on their fronts, rich details, bare backs and turquoise as a pre dominant colour with brown, black and different shades of white. Skirts are shorter just under the knee.
Garments fall to the front: The back neckline of the collar is moved forward to the front. Lapels and necklines become longer. Shoulder lines and armholes fall to the front. The front of the garment becomes longer as a result. Skirts fall over at the front by opening the zip at the back.
Garments structured by folds: tubes of viscose fabric folded and stitched on the front to evoke a garment or an outfit. The trompe l’oeil details of a jacket or of a cardigan, created only by folding, give the illusion of a two-piece suit, dress or wrap skirt
Garments cut through the back and worn on the front as a halter-top: Jackets, men’s shirt, knits, jersey tops.
Vintage t-shirts, cardigans and scarves are assembled as outfits and stitched together. These outfits are then cut into so that only their fronts remain and they worn as a halter-top.
Belts are worn entirely on the front of body fixed by cotton ribbon knotted at the back.
Vintage underskirts in ‘broderie anglaise’ are reworked as dresses, tops, tunics and skirts, is made out of several vintage underskirts.
The new version of the Martin Margiela Tabi shoes are cut in a way to cover only toes and heel.
Summer 2004, Martin Margiela
- 0: collection artisanale for women & men (the couture pieces shown during the haute couture presentations, sometimes the men’s line are “0 10”)
- ” “: Défilé (runway) collection for women (entirely white label, the original collection, it used to be synonymous with line 1 but hasn’t been so since 2008)
- 1: the collection for women (more intellectual and process oriented line)
- 3: Fragrance (came out 2012, developped by L’Oréal)
- 4: a wardrobe for women (more dressy and “timeless” stuff)
- mm6: garments for ♀ (used to be just 6, these are the basic garments collection is also called “basic garments for women”)
- 8: eyewear collection
- 10: the collection for men (equivalent of line 1, started in SS09)
- 11: a collection of accessories for women & men
- 12: fine jewellery collection (the equivalent of say Dior Joaillerie, so pricier stuff made in partnership with Damiani)
- 13: objects & publications
- 14: A wardrobe for men (equivalent of line 4, started SS05)
- 15: mail order
- 22: a collection of shoes for women and men (started in AW05-06, previously were in line 1 and 10 so I dunno where the 14 for shoes could come from)
- Sartorial: capsule collection part of line 14, basically pricey menswear suits done the traditional way, blingbling gold lining with the words Martin Margiela
- Replica: collections 4 and 14 often include “replica” items, you’ll see the word on the tag and they’re reproduction of vintage objects and the origin is mentionned in a short text
- Aids t-shirt: a series of tees to provide money to french charity AIDES fighting, you guessed it “aids”, there is a text you can read when the tee is folded but not when you’re wearing it.
On the labels you have the numbers from 0 to 23 with the appropriate collection circled but not all of them are in use.
The second part of a collection is in two parts. The principal group of the collection is made up of five series of `flat’ garments with displaced shoulders or necklines. Their sleeves or their neck opening lies on their front. The panels of industrial garment patterns in black motorbike leather and sheepskin are assembled to form coats and jackets. Flat ‘Grocery Bag’ garments in stretch flannels and woollen herring bone. A series of ‘Envelope’ garments have full-length zips that allow skirts, trousers and sweaters to be opened and laid flat. Various used military garments have been transformed into army trousers (worn inside out), army shirts with a displaced shoulder line. Amongst accessories are leather gloves transformed into pendant wallets and ‘Anti-Theft’ wallets in leather, worn as bags.
Flat Garment Series: Wool Knit Cardigan with Shrink-wrap Plastic, Martin Margiela, Winter 1998