Martin Margiela's Mad Revolution

For those of us fashionistas who lived through the 1980’s, it was a decade of sumptuous fashion that was sexy, flirty, pretty, glamorous and, at times, downright fun. But not everybody was on board. Hiding in the shadows in the atelier of French designer, Jean Paul Gaultier, was a young Belgian named Martin Margiela. He was against everything my favorite decade represented: from the omnipresence of designer logos to the planned obsolesce of the fashion trends. As the 1980’s drew to a close, we found ourselves facing a Gulf War, economic constraints AND….a radical revolution within the fashion world itself.

"Recoup" A gown is belted and worn as a skirt.
The lining is pulled out and worn as a top

Considered one of the most atypical and mysterious designers of his generation, Martin Margiela with his conceptual collections, his predilection for deconstruction and recycled materials, his catwalk shows  staged at unusual venues (warehouses, car parks, a metro station even a waste land site) quickly became one of the most talked about and the most imitated  designers of his generation. He never made a single public appearance nor did he give personal interviews. Instead, journalists  were responded to  by fax in the first person plural as a gesture of respect to his team and as a statement in response to the celebrity cults dominating the fashion world at that time. As a reaction to the rise (and importance) of the supermodel, Margiela often covered the faces of girls in his shows. In 1988 Margiela set out on his own and launched a totally new movement which not only challenged the existing system but completely changed the course of fashion itself. “Grunge” otherwise known as ripped jeans, repurposed vintage clothes, deconstruction (garment linings and lingerie introduced as outerwear), rough cut hems, the helter-skelter of mixing patterns and prints…most of what we see on the streets of today can be attributed to this rebel. Don’t get me wrong!  Me and my girls are NOT….repeat…NOT fans of grunge! So when we arrived in Paris only to learn there were—not one, but two exhibitions devoted to Martin Margiela, the man I feel launched the “anti-fashion,” grunge movement of the 1990’s, we found ourselves a bit perplexed.

Scavaging style. Existing garments are reconstructed into "new clothes.

“Martin Margiela: 1989-2009” currently on at the Palais Galliera,  is the first retrospective in Paris devoted to Margiela. It  examines  the designer’s conceptual approach in challenging the aesthetics of his time. His anti-1980’s movement is the starting point—deconstructed garments he recuperated from vintage shops then put back together with the seams on the outside. With the help of 100 garments accompanied by catwalk videos and installations, visitors are led through the evolution of his twenty year career. The intimate installations throughout the museum provides an up close and personal look at how Margiela constructed garments by deconstructing them, exposing the lining and other unfinished parts, thus revealing the different stages of manufacture: pleats, shoulder pads, patterns, bastings and all.

 The designer thinks of new ways to wear clothes and new materials like the shirt and dress (left) which are made from stockings.

Margiela often transformed recuperated items and objects into works of fashion. Here, gloves are stitched together into a bustier.

Interestingly enough, even Barbie has a presence in this show. Margiela often pushed the scale of a garment to extremes, enlarging the proportions to 200%. With his “Barbie Collection” he was inspired by  doll clothes and how the fabric and the closures are often oversized for the scale of the doll. This “error” is reinterpreted for humans with the use of supersized buttons, snaps and yarn.

Margiela studies Barbie and the proportions of the elements used in the construction of her clothes. In this case, the oversized yarn used to make her sweater and giant snaps serve as inspiration for the human series of sweaters.

The exhibition walks visitors through the designer’s rebellious era complete with clothes that looked as though they were lifted straight off the racks of the Salvation Army to Margiela’s last show where, more experimentation was made in terms of construction. In contrast to the beginning of his label, Margiela made an about face and embraced the swollen shoulders  and proportions of a fashion era he initially rejected.

From human hair wigs on the left to a supersized "Chanel" knitted jacket on the right, everything was fair game when it came to imagining new creations. At the end of his career, Margiela reconsiles with the big shoulders of the 1980's (center).

The exhibition, which is very well mounted, is both aesthetically shocking and enlightening at the same time. No matter how you find his work, one comes away with a newfound appreciation for his “art.” Margiela’s story doesn’t end here, however.

The down comforter coat. One basic coat with the option of changing the "cover"

 Margiela loved to use vintage scarves for his dresses.

Long before Kanye West's Yeezy stocking boots, Margiela had already created them.

The beginning of the ripped jeans craze!

Within his 20 year career, Margiela was commissioned to design ten womenswear collections for the 132 year old prestigious house of Hermes. From 1997 to 2003, Margiela developed a vision in which the woman’s way of living standards was essential to the design of the garment.  For the Hermes woman, Margiela developed a gradually evolving wardrobe made up of individual pieces that contributed to the comfort, quality and timelessness of the basic look.  He presented his collections on "real women" of varying images and body types as his fashions were always harmonized with the wearer.

Two looks in one thanks to the addition of an overskirt.

It's Martin Margiela but classically executed for Hermes.

This second exhibition—which goes on until mid-September focuses on Margiela’s collaboration, his love for tradition and tailoring. Margiela: The Hermes Years can be perceived as a vast wardrobe, in which the two worlds of Martin Margiela  engage in dialogue with one another.

What first may seem to be irreconcilable worlds of luxury and avant garde,  are brought together as part of a single vision, in which ideas and concepts that span collection and seasons are recaptured, rethought, or even refined. For me, here is where I could best appreciate the talent of a man I had previously dismissed. Many of the concepts introduced in his own signature line were elaborated and refined for Hermes. Aesthetically, the silhouettes remain faithfully simple.

The stole jacket. Essentially a shawl or stole but with pockets that result in the look of a jacket!

The “originality” lies in the multipurpose nature of each garment. The concept of a down comforter coat with covers that snap over it and transform into a multitude of looks is very smart. Other favorites: the shawl with pockets that provide a trompe l’oeil jacket; a basic dress given a new look thanks to a leather apron that wraps around.

Both exhibitions provide an in-depth and well rounded look at a man who remained invisibly in the background of his work. They also yield a few very interesting items—Margiela’s “flat” garments--that I found useful for my girls. Okay, they won’t be wearing grunge anytime soon, but they did see a few things they found quite intriguing. In my next post, I will be following up with a “Behind the Design” post to show you what I found interesting and how I adapted it for my dolls.

“Martin Margiela: 1989-2009” Musée de la Mode de la Ville de Paris (Palais Galliera). 10, avenue Pierre-Ier-de-Serbie 75116 Paris www.palaisgalliera.paris.fr Entry : 10 Euros. Open Tues-Sun 10am-6pm (Thurs until 9pm) through July 15.
“Margiela: Les annees Hermes. Musee des Arts Decoratifs. 107, rue de Rivoli, 75001 Paris. www.lesartsdecoratifs.fr Entry : 11 Euros. Open Tues-Sun 11am-6pm (Open Thurs until 9pm) through September 2.

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Je Suis Couturier: Homage to Azzedine Alaia

“I love (clothes), uncomplicated by details, ornamentation or color that remain beautiful and are timeless,” the late Azzedine Alaia once declared. “I love those clothes which are simple but yet, the most difficult to make.” That signature look of the late designer,  is the subject of an exhibition entirely devoted to the greatest Tunisian fashion designer of our times.

Me and the girls are in Paris right now where we are taking in beautiful weather, nice walks along the Seine (river), great food and wine and, of course, all the cultural fashion events Paris has to offer. Our first stop---“Je Suis Couturier,” a small but powerful glance at the career of this five foot tall, giant man. Situated on the premises of what was once his atelier/boutique in the center of the city are 40 or so dresses and gowns prestinely displayed—ranging from his iconic looks from the 1980's: leather skirts that wrap sensually around the body and hooded, jersey sheaths to the softness of more recent dresses made of tulle and tiny ruffles.

Everything is in black or white mounted on "invisible" dress forms so as not to disturb the beauty of the dresses. We stood there and simply drank in the sight of Alaia's brilliance.

Azzedine Alaia arrived in France from his homeland of Tunisia in the mid-1950’s to study  at the prestigious Ecole des Beaux Arts, a left bank fine arts institution in Paris.

After brief stints at Dior and Guy Laroche, Alaia worked as a dressmaker to pay his rent. It is rumored that he also worked for Thierry Mugler, creating the hourglass silhouettes for the avant garde designer's early collection.

By the 1970’s Azzedine began making friends in high places, socialites who adored his work and told their friends. Instead of radically changing the look of his clothes from season to season, he worked hard to perfect what he believed was the perfect dress, the perfect silhouette—everything carved out of black or white materials—jersey and leather being his favorite.

By the 1980’s his roster of private clients became pretty impressive. Celebrities, Tina Turner, Naomi Campbell, Grace Jones bought and wore so many of this clothes, they literally became walking billboards of his work.

Last November (2017), Alaia passed away suddenly of a heart attack. According to reports, there was a wealth of archives of both his work and the works of other iconic designers he followed throughout the years…enough to mount a small museum of his own.

Though the current exhibition will close on June 10, his former collaborators, who have formed an Azzedine Alaia Foundation, plan to formerly transform the premises into a museum and have promised many more exhibitions for the future.

Je Suis Couturier
Azzedizine Alaia Association
18, rue e la Verriere
75004 Paris

My girls tell me they are planning something for some "little" wedding next week....... Stay tuned!!!!!

All photos and text property of Fashion Doll Stylist. 2018. Please credit me and ask me first before reposting!!! Thank you.

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The House Yves Built: Musee Yves St. Laurent

“The boy might become something one day, if he would simply cut his hair and follow me.” (Coco Chanel speaking about Yves Saint Laurent)

This exhibition was very personal for me. When I first arrived in Paris years ago, I discovered the way I dressed myself throughout my teens and 20’s was unconsciously, inspired by Yves Saint Laurent. I wore copies of the Mondrian dress and accessorized it with go-go boots, made my own safari jacket to wear over straight legged trousers, loved my paisley printed skirts and boleros and was the first to rush out to buy a fur trimmed flared coat (inspired by the designer’s Ballet Russes collection). Within two years of arriving in Paris, I landed a job writing fashion for a magazine, where from time to time, I was sent to pick up press materials from the press attache of Yves Saint Laurent. Each time I attended a fashion show, or walked through the doors of this famous right-bank mansion, I felt overwhlmed with great reverence--as if I had entered a temple. So now, with the passing of both the couturier and his business partner, a visit to this newly opened museum was a way for me to pay my respects to one of the greatest designers of the 20th century.

Three iconic looks made famous by St. Laurent: the tuxedo, the Mondrian dress, the safari jacket

Housed within the historic setting of the late couturier’s couture salon, the Musee Yves Saint Laurent is a shrine entirely dedicated to the late designer’s work. On the ground floor are videos of him explaining his work as well as those assistants, workers and press people who manned the ateliers and offices. They recounted their experiences and even revealed a few secrets as to how certain signature looks were constructed. Upstairs, a 450m2 space over two floors serves as a showcase for 50 garments accompanied by accessories, jewelry, sketches, photographs and videos. A very special treat awaits visiters on the top floor. The atelier complete with the desk of Mr. St. Laurent and his team, wall art, bolts of fabrics, trims notes and sketches have all been preserved for the public’s viewing pleasure.

Classic fashion by the master

Master of refinement, elegance and perfection in style, Yves Saint Laurent—the man behind the famous initials: YSL-- dominated the fashion landscape throughout the latter half of the 20th century. His career began at Dior as an assistant before taking over the reins of the house after Christian Dior’s sudden death in 1957.

The 1971 "scandalous" collection featured fashions from the 1940's. It was a huge success!

Jackets almost like jewelry, they were so ornate!

He was only 19 years old at the time but his time there was cut short. After two successful seasons of designing pretty little silk dresses, he broke rank and frightened Dior’s administrators by introducing “street” inspired garments: pea jackets, leather jackets and other ideas deemed unnoble) in Dior’s Haute Couture salons. Consequently he was unexpectedly drafted into the army and tossed out of his job.

Inspired by exotic lands.

Inspired by movements in art

While suing for reinstatement, he met businessman, Pierre Berge who found investors and soon launched Saint Laurent’s own namesake couture house. The young designer made headlines with ground breaking looks that inspired a generation: the Mondrian dress (1965) for fashionistas in the “swinging sixties,” the Tuxedo pant suit (1967) that put menswear on the backs of women and the Safari jacket (1968) that thumbed his nose on Haute Couture, and made off-the-rack fashion front page news!

The 1970’s would further cement St. Laurent’s place in fashion history with exotic looks inspired by foreign lands: Les Ballets Russes (fur trimmed coats with patterns from Russia), Persian printed peasant dresses, and Bambara—a collection of whimsical, African inspired raffia and beaded dresses. But all good things eventually come to an end. In 2002, an ailing Mr. Saint Laurent retired, closed his Couture house, sold off the ready to wear business and sadly, passed away six years later in 2008.

For anyone visiting Paris, the Musee Yves Saint Laurent is a rare opportunity to not only see the interiors of what was once one of the most prestigious couture houses in France, it is also a place to explore and immerse yourself in the timeless elegance of a brilliant talent.

Musee Yves Saint Laurent
5, avenue Marceau. 75116
Parismuseeyslparis.com
Open Tues-Sun 11am-6pm (Fridays  until  9pm)
Entrance : 10 Euros

Photos and text: Fashion Doll Stylist. 2017. Please do not reproduce without prior permission or crediting my site.

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The Majesty of Christian Dior, 70 Years of Style

From now through January 7, 2018 the Musee des Arts Decoratifs in Paris, is paying tribute to the seventieth anniversary of the most famous name in fashion, Christian Dior with a grandiose exhibition entitled,  “Christian Dior, Designer of Dreams.” Well conceived, meticulously organized and incredibly executed, this exhibition is a 3,000 square meter artistic voyage of pure visual delight and discovery. Though Mr. Dior was only present for the first 10 years of his namesake fashion house, his work as couturier and businessmen as well as contributions made by the designers who succeeded him paint a picture of the enduring legacy and evolution of France’s number one temple of style. Some 300 haute couture garments  surrounded by handbags, shoes, bags, perfume bottles, photographs, paintings, illustrations (by Rene Gruau and Mats Gufstasen), along with documents, letters, sketches, print ads, fashion show video clips spread over 3000 square feet is more than enough to plunge the visitor into a luxurious fantasyland that is quintessentially…..Dior.

The exhibition begins with an introduction to the man behind the name. We learned Christian Dior came from an aristocratic family and was inspired by the wardrobe of his fashionably dressed mother. His professional career saw him first, working in an art gallery before turning to the world of style.

Over the years, there were key elements evident in each collection. Inspiration was drawn from the austere chic of Paris, the Gardens of his native town Grandville, Dior’s fascination for the 18th century French aristocracy, a love of nature, the world of fine art, exotic lands and…the elegance and lavishness of Versailles.

Paintings, period furniture and objet d’art are used as a setting to convey the couturier’s aesthetics, culture and inspiration. As to be expected, there are plenty of full size garments—from the New Look suit to the embroidered Junon gown with its sequined petals-- each one more beautiful than the other. But to my surprise and delight, the exhibition also includes an extensive part of “Le Peit Theatre de Dior”—one-third scale versions of many of Dior’s dresses and suits.

Inasmuch as we were allowed to take as many photos as desired, me and the girls are treating all of you to a personal tour as seen through 100 pictures. There is so much to show you, I have divided our tour into two (very long) sections. In this the first part, the focus is placed on the full scale work of Dior and the designers who followed him. This will be followed by more photos showing the 1/3 scale dresses as well as the last, most elaborate theme, “Versailles,” a befitting finale.

What I saw was beyond words, so I promise to keep my text to a minimum and simply let the photos speak for themselves. Enjoy!

The New Look that launched Christian Dior in 1947

It all starts here…The New Look. New Look Spring-Summer collection in 1947, Christian Dior took the feminine shape in a totally new direction, relegating the masculine silhouette of the war years to the past. His dresses expressed a modern femininity, incarnated by his flower-woman and producing a shape characterized by flowing curves.

Raf Simon's modern take on the New Look Silhouette

Side by side, one garment for every year Christian Dior has been in business. In a glimpse we can see how silhouettes have evolved from the end of WWII thru today’s styles.

The “Dior Garden,” a lavish theme of floral dresses, gowns with intricate embroidery or even hand cut petals are surrounded by laser cut flowers that drop from the ceilings and spring from the floor. For the theme, Versailles, the nave of the museum was bathed in lights, providing the illusion of attending a most magnificent ball within interiors of the Chateau.

Including Dior, the legacy of the house has been in the hands of seven couturiers: Yves Saint Laurent, Marc Bohan, Gianfranco Ferre, John Galliano, Raf Simons and Maria Grazia Tchuri (the current designer). This section takes a peak at each one’s contributions.

We begin with the creations of Mr. Dior

After his death, a young Yves St. Laurent succeeded Dior.

Marc Bohan was the next designer in line as designer for Dior

The work of Gianfranco Ferre, the Italian designer at the helm of Dior

Enter, Englishman, John Galliano

Raf Simons followed Galliano and was eventually replaced by the current designer, Maria Grazia Chiuri

But before a dress becomes a dress, it is a toile.

“The Atelier” provides an unusual glimpse of the work that goes on in the couture house’s atelier. These white cotton dresses are draped embryos, which after much adjustment, consultation and decisions on color, fabric and embellishments, ultimately blooms into the finished garment we see fluttering down the catwalk.

End of Part I. Stay tuned...there's more! Up next: Dior in miniature. And, the girls to to a ball at Versailles! Dior's ball at Chateau Vesailles!!

All photos and text property of Fashion Doll Stylist 2017. Please do not reproduce without prior permission. Thank you.

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