Veronique Branquinho fall 2000-01
This collection intends to present classical fabrics - which are considered as timeless and old fashioned - in a new and modern way. By mixing tailored pieces in Prince of Wales, Herringbone, pied-de-poule and gun club fabrics, with enlarged hounds tooth and herringbone detailed knitwear, a youthful silhouette is created.
Knee length skirts with double hem are presented with woollen leggings in jacquard jersey and heavy knitwear tops or feminine silk blouses. Masculine but elegant tweed trench coats with contrasting fabric on the collar are mixed with wide and straight checked pants. Skirts and pants have sophisticated detailing such as a smoking or a plaited belt. Other striking details include bat-wing sleeves cut with a narrow shoulder and long jumper dresses worn with pants. As for coats, they are long and wide with pleated back, or collarless with a large volume on the body and straight on the hips. Turtlenecks are worn under woollen shirts with a woollen or silk neckerchief. Above these pieces a vest and undercoat are presented.
by annick geenen, young belgian fashion design
Martin Margiela autumn / winter 2001
On large rectangles of fabric (wool, camelhair, viscose) have details of a coat been added. Some have tie belts, others satin interior hem finishing and another the shoulder epaulettes and belt of a Trench coat. All have ‘slip sleeves’ so that when worn the rectangle hangs from the shoulder creating the effect of a coat from the back and a cape from the front. Extra large vintage dresses; skirts and logo T-shirts are compressed onto similar garments of much smaller size. They appear crushed down to size folded and pleated irregularly onto them. The logos on the T-shirts may only be read partially. Elements of classic Men’s tailoring: some are enlarged and others have their fronts veiled in the same fabric as their structure allowing details such as lapels and buttons to be seen only in relief. Jackets in wool (some pin-stripe) and velvet, waistcoats in leather (an evening version in satin), a short Evening jacket (‘Spencer’) in wool and a Man’s car coat in black leather.
scan from purple fashion magazine #7
“pink memories”, photographed by chikashi suzuki
Undercover autumn / winter 1998-99
Michael Koppelman of London-based streetwear organisation Gimme 5 has collaborated with Takahashi on one-offs and special projects for his hideout store since it opened in 1998. ‘At the time of the “scab” collection, some of Jun’s assistants came over to london,’ he anecdotalises, ‘and they told me that a lady selling fruit on oxford street came and gave them some bananas, because she thought they were homeless. They were happy, not only because of the random act of kindness, but also because it meant the clothes seemed real. That’s the difference between what Jun does and what others do; it’s not based on “yachting” or something, it’s based on street culture.
— koppelman on takahashi’s special projects
WWD: After your Y-3 10th anniversary show in New York, you said that “in the world right now, fashion is s–t.” Can you elaborate on what you meant by that?
YOHJI: Let me talk like an old man. Young people, be careful. Beautiful things are disappearing every day. Be careful.…You don’t need to be [shopping at fast-fashion stores], especially young people. They are beautiful naturally, because they are young. So they should even wear simple jeans and a T-shirt. It’s enough. Don’t be too much fashionable.…The brand advertising is making you crazy. You don’t need to be too sexy. You are sexy enough.
Has Anybody Here Seen My Old Friend Martin?
Published: March 13, 2005
Some would argue that Martin Margiela is the coolest man in fashion. He’s certainly the most elusive. Since the Belgian wunderkind set up shop in Paris in 1988, no one has seen a picture of him, and no face-to-face interviews have been granted. Margiela sees his role as a philosopher, rethinking the basic premise of clothing — how it is sized and sold, how it interacts with the body — with his team of white-coated assistants. Over the years, this has resulted in frayed ball gowns, reversed seams, cloven-toed boots and, when he was designing for Hermes, the most perfectly cut pants and jackets on the planet. Now, with his high-flying partner, Renzo Rosso of Diesel, and a new, industrial-strength business plan, Margiela is hotter than ever. How to scale the ramparts and dispel the mystery? We figured that if anybody could do it, it would be that fashion and music provocateur, Malcolm McLaren. Herewith, the beginning of a correspondence.
dec. 15, 2004
Dear Martin, we know each other, I believe, but have never met. I certainly don’t know what you look like and have even contemplated the thought that you may be a ghost! do you exist? Sometimes I think not. but with that in mind, I am writing to you to find out. Let me begin by saying I wear your clothes but can’t help wondering if you have ever worn mine. were you ever in london in the 70’s and 80’s? because somehow, I feel we are connected. your clothes are just a little more grown up, that’s all. a more serious, maoist approach.
(Source: The New York Times)
Maison Martin Margiela fall 1998-99
Mark Borthwick’s project for the fall 1998-1999 show included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’.
The video features a verbal interaction between three women wearing garments of the collection (Helen Filliers, Yorinda Gersina, & Stella Tennant). The book, published in the autumn of 1998, features photographs taken during the shooting of the video.
(source: contemporary fashion archives)