{"id":103014,"date":"2019-11-27T17:48:05","date_gmt":"2019-11-27T16:48:05","guid":{"rendered":"https:\/\/highxtar.com\/?p=103014"},"modified":"2019-11-27T17:50:37","modified_gmt":"2019-11-27T16:50:37","slug":"why-masks-and-tabi-boots-have-defined-maison-margielas-heritage","status":"publish","type":"post","link":"https:\/\/highxtar.com\/en\/why-masks-and-tabi-boots-have-defined-maison-margielas-heritage\/","title":{"rendered":"Why masks and Tabi Boots have defined Maison Margiela’s heritage"},"content":{"rendered":"

As well as The Antwerp Six or Rei Kawakubo, Martin Margiela takes part of that bubble that has flown through time with impulses that transgress all parameters in fashion history. His work in the field of deconstruction, the reuse of fabrics and his leading role in anti-fashion opposed mass culture and the mass marketing of the main haute-couture houses until he became a global icon.<\/strong><\/p>\n

In 1988<\/strong> the creative work of the belgian designer and his team of workers with labcoats began the construction of a new paradise called Maison Margiela, the one that in 2014 John Galliano<\/strong> replaced keeping his codes and the strong aesthetic impact that surrounds the upside-down universe of the french brand. We review the imaginary of the fashion legend and the iconic archive of the Maison in which to get lost among wigs, strident makeup, experimental fabrics and so on. We focus on their anonymity and the story behind the hype, on how the masks and Tabi Boots have become an obsession, on the pieces of the universal high-end showcase.<\/strong><\/p>\n

\"Maison<\/p>\n

THE VISION THROUGH HIS MASKS <\/b><\/span><\/h5>\n

Part of Maison Margiela<\/strong><\/a>‘s story can be seen through the masks that marked a hallmark in the fashion industry since her debut at the SS89<\/strong> show. Those masks that already inspired artists like Picasso or Matisse got on the catwalk stage to stay forever. The aesthetic of the past that surrounds the house, of looking back, feeds all the roots of the brand, as does anonymity: Martin Margiela<\/strong><\/a>‘s maxim that fixes the protagonism in the creative team in its totality and not only in a visible face. That’s precisely why all the brand’s workers wear white coats, so that the hierarchy doesn’t exist<\/strong>.<\/p>\n

The idea of anonymity is transferred to the universe of Margiela’s masks, in that of focusing the vanishing point on the clothes and not on the people who wear them. ‘Look at my clothes and only judge my clothes’<\/strong>. The models thus become faceless people, anonymous since the debut of the masks in 1989. Another surrealistic samples can be seen in the colorful 1995 proposal, in SS96<\/strong> where other ways of hiding identity were presented, in FW2000 and its exaggerated fringes that covered the face, as well as in SS2008<\/strong> where the models covered their eyes with ribbons. But SS2009<\/strong>, the anivesary collection, became the most iconic because it was a mix that merged all the highlights<\/strong> of the house: masks, wigs, reconstruction and eccentric makeups<\/strong>.<\/p>\n