[vc_row][vc_column][vc_column_text]Twenty years ago, Martin Margiela was appointed to the position of Artistic Director of the women’s ready-to-wear at Hermès picked by the charismatic and visionary president of the time Jean-Louis Dumas.
At the time, the name of the Belgian stylist Margiela, who launched his house in 1988 with his partner Jenny Meirens, was synonymous with decomposition, radicality, anarchism, and subversion.
With his militant discretion, he never showed himself, nor was he photographed. He organised catwalks in underground stations or unclassified vacant land with hiding his model’s faces.
Martin Margiela was frightened the Hermèsiens, his branding and his personal image appeared to be far from being as elegant as the Hermès fashion House of which some whispered and foresaw that he’d cannibalise the image of the house.
But the extraordinary know-how of Martin Margiela, the excellence of the materials, and the means put at his disposal allowed Margiela to accomplish what he was always trying to showcase “The excellence of Tailoring”.
Working on his designs, the seams, the epaulettes, and the fastening clamps were apparent, in Hermès he managed to purify the garment giving almost the illusion of suppressing them; The pinnacle of “Le chic”. Just “Topissime”.
Comparing Hermès and Martin Margiela styles, we think that these are different but very soon we comprehend by observing more closely at the esthetics, that the same DNA is behind this superb.
Over the 12 collections that Martin Margiela designed at Hermès from 1997 to 2003, he managed to build an essential wardrobe enriched with new pieces every season.[/vc_column_text][/vc_column][/vc_row]