This Maison Margiela show, under Glenn Martens’ direction, was nearly a masterpiece, both in concept and execution. However, calling a collection that challenges the idea of perfection ‘near-perfect’ might seem contradictory. Additionally, Martens and the Margiela studio appear to be gaining momentum, suggesting even greater things to come.
The event took place in a Shanghai container yard, marking the first Maison Margiela runway outside Paris. This ‘destination’ show aimed to expand the brand’s reach, introducing a four-city tour in China with exhibitions exploring key themes, including the enigmatic masks. The unusual location, surrounded by towering red, blue, and green containers labeled with company names like Temu, complemented the collection’s theme of thrifted origins juxtaposed against the global trade backdrop.
Martens and his team began this collection, which featured both ready-to-wear and Artisanal offerings, by revisiting Martin Margiela’s creative upcycling approach. The upcoming Margiela exhibition will showcase 58 archival pieces crafted from various thrifted items like wigs, combs, and playing cards. The Fall 2026 collection drew inspiration from 19th-century porcelain dolls, resulting in a remarkable 90-kilogram dress made from a mosaic of shattered porcelain, which audibly protested against the rough cement floor. This theme also influenced the first three looks, where layers of organza were intricately printed, painted, and molded to create mesmerizing visual effects, worn under masks that hinted at doll-like makeup beneath.
Once the porcelain theme receded, the collection shifted to evening wear resembling skin-like surfaces, with jersey tightly stretched over tailored garments, revealing the structure beneath. This concept reappeared in leather outfits, where the garment edges were deliberately left raw. The Margelian Bianchetto technique was applied to various pieces, including a silk gown, tailcoats, pants, and an argyle mohair skirt suit. An Edwardian-inspired gown featured a latex-blended white paint finish, requiring the model to pose with crossed arms. Another dress, with a puckered paint surface, was adorned with gold leaf, achieving a look both opulent and distressed.
Several dresses from the 1870s, discovered in Paris flea markets, were coated in beeswax to create an amber-like effect, leaving trails of cracked wax on the runway. Additional 19th-century dresses were mounted on fabric, then removed to imprint their essence onto new creations. Upcycled materials like metal wires, vintage velvets, and tapestries were transformed into wearable art.
The draping, quintessentially Martens, was exceptional. It swirled around the body like emotional weather patterns, using taffeta in matte cream and shiny lavender, along with metal wires. Equally striking were the tailored looks layered with silk and lace, blurring gender lines, and floral gowns with pleated ‘scar’ details.
The masks, originally intended to shift focus from the wearer to the garments, might seem unsettling. While some observers view this concealment as problematic, the real challenge was the interaction between heelless shoes and the rough floor. Despite occasional instability, no mishap occurred. In a world where identity is data-driven, this Maison Margiela show stood as a testament to artistic resistance, spiritual mystery, and beautiful imperfection.
