"In the backyard of the [Royal Academy of Fine Arts] school was this little building, on the verge of collapsing. You would have to very carefully go over the stairs, because if you took one mis-step, you could literally push your feet through them. It was almost dangerous. So I think that the whole thing melted well together. It was the switch from the 80s to 90s, the reaction on excess with minimalism and deconstruction, the first appearance of grunge. So that feeling of romanticism, together with the history, the building and the run down corridors with the statues, it really did make a big impact on how you formed your visual language. I really think there was something quite dark and magical about it, matching perfectly the zeitgeist of the period."

— Willy Vanderperre
Dirk Van Saene spring—summer 1991.
Bill Cunningham once wrote in The New York Times about the 1991 summer collection: “Mr. Van Saene’s clothes are distinguished by a gentle sweetness, like laundry hung out in a Swiss backyard with an alpine meadow in the distance.” That comment possibly gets to the very essence of Dirk Van Saene’s master craftmanship. He succeeds in capturing in his clothes, however complex and inventive their construction, however perfect their finish, however far-fetched and unexpected their appearance, the essential feeling of companionship, the impromptu, the playfulness, sensuality and almost comforting nature of a piece of textile. 
Dirk Van Saene: Let’s face it. The main aim of presenting a collection on a catwalk is to get the press excited, so they write about it and publish pictures of it! The theatrical bit is an attempt to make it different from all those other shows…

Dirk Van Saene spring—summer 1991.

Bill Cunningham once wrote in The New York Times about the 1991 summer collection: “Mr. Van Saene’s clothes are distinguished by a gentle sweetness, like laundry hung out in a Swiss backyard with an alpine meadow in the distance.” That comment possibly gets to the very essence of Dirk Van Saene’s master craftmanship. He succeeds in capturing in his clothes, however complex and inventive their construction, however perfect their finish, however far-fetched and unexpected their appearance, the essential feeling of companionship, the impromptu, the playfulness, sensuality and almost comforting nature of a piece of textile. 

Dirk Van Saene: Let’s face it. The main aim of presenting a collection on a catwalk is to get the press excited, so they write about it and publish pictures of it! The theatrical bit is an attempt to make it different from all those other shows…

Maison Martin Margiela autumn—winter 1994—95.
Nine simultaneous presentations take place in shops stocking the collection on the 7th of September at 7 pm local time in six cities: Paris (4 presentations), London, New York, Tokyo, Milan and Bonn. Ten women stood in the shop window and at 7 pm tore paper down revealing the oufits. These photographs show the presentation at Printemps, Paris.  
Hirofumi Kurino: I was asked to organize this event in Tokyo at my shop, and it was a fantastic and emotional experience. The fact of gathering — simultaneously with other people all over the world — in such a positive atmosphere, sent out a very powerful message. I experienced this presentation as a political, rather than a fashionable event. 

Maison Martin Margiela autumn—winter 199495.

Nine simultaneous presentations take place in shops stocking the collection on the 7th of September at 7 pm local time in six cities: Paris (4 presentations), London, New York, Tokyo, Milan and Bonn. Ten women stood in the shop window and at 7 pm tore paper down revealing the oufits. These photographs show the presentation at Printemps, Paris.  

Hirofumi Kurino: I was asked to organize this event in Tokyo at my shop, and it was a fantastic and emotional experience. The fact of gathering — simultaneously with other people all over the world — in such a positive atmosphere, sent out a very powerful message. I experienced this presentation as a political, rather than a fashionable event. 

Ce que provoque mon travail, je n’en suis en rien responsable. Je suis touché d’avoir pu vous apporter un dynamisme qui, originellement, vous a destiné à la vocation de votre choix. Néanmoins, je ne puis en rien — ne me trouvant pas dans la position d’un professeur, ni dans celle d’un mandarin protecteur — apporter un commentaire sur un travail qui est totalement personnel. Je ne sais ce qui vous a conduit à ce métier. Est-ce le goût du masque et puisque vous êtes une femme, le goût de vous doubler, ou plus encore de vous dédoubler? Personnellement, cette expression arrivée à terme n’a pas pu me donner plus de réponses. Je vous souhaite néanmoins le bon aboutissement de ce que vous avez entrepris. Sincérement votre,
Serge Lutens, Inge Grognard Ronald Stoops
2004 IG/RS, A Magazine curated by Maison Martin Margiela.
Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.
Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.
“The past is what bonds us — The future leads us” became the dress code for this reunion. — Hilde Bouchez & Gerdi Esch, Editors

2004 IG/RS, A Magazine curated by Maison Martin Margiela.

Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.

Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.

“The past is what bonds us — The future leads us” became the dress code for this reunion.  Hilde Bouchez & Gerdi Esch, Editors


2004 IG/RS, A Magazine curated by Maison Martin Margiela.
Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.
Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.
“The past is what bonds us — The future leads us” became the dress code for this reunion. — Hilde Bouchez & Gerdi Esch, Editors

2004 IG/RS, A Magazine curated by Maison Martin Margiela.

Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.

Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.

“The past is what bonds us — The future leads us” became the dress code for this reunion.  Hilde Bouchez & Gerdi Esch, Editors

2004 IG/RS, A Magazine curated by Maison Martin Margiela.
Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.
Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.
“The past is what bonds us — The future leads us” became the dress code for this reunion. — Hilde Bouchez & Gerdi Esch, Editors

2004 IG/RS, A Magazine curated by Maison Martin Margiela.

Each issue is a new adventure. Because our guests “design” their own magazine, it is “invented/reinvented” over and over again. With Maison Martin Margiela this adventure brought us into contact with everybody that has ever had ties with the house, long or short. Permanent staff members, casual collaborators, trainees, assistants, models, artists, photographers, musicians, choreographers, filmmakers: some of them are still closely connected to the house, others have since gone their own way. Maison Martin Margiela and the “extended creative life and expression of the house” became the leitmotiv. Therefore this magazine is like a reunion, where all of these people were invited tobe present within its pages, to show what they are working on at the moment or a piece of work which still remains very dear to them.

Since its very beginnings the Maison has worked with white, in all its shades and temperatures, as a unifying signature. A trace of these whites, in their many expressions, overt and hidden, runs as a thread between the participations.

“The past is what bonds us — The future leads us” became the dress code for this reunion.  Hilde Bouchez & Gerdi Esch, Editors