Dear iDEALS, there is one particular collection that I wait for each fashion week and it is none other than Maison Martin Margiela.
ESPACE COMMINES PARIS 3e TUESDAY 4 JULY 2012
‘0’ : COLLECTION
‘ARTISANAL’ POUR
FEMME
Since its founding in 1988, Maison Martin Margiela has collected used - and sometimes new - clothes, accessories and objects from around the world. One of the cornerstones of the Maison’s creative expression is resurrecting these vintage pieces and recasting them in a new way that preserves the mark of time. In addition to restoring and reworking these items, they are also reinterpreted in new fabrics. Each piece is made entirely by hand in the Maison’s artisanal atelier. The eccentricity of materials used and the complex and particular processes necessary at each stage of transformation, naturally limit quantities and ensure the unique character of these pieces.
PASSAGE # 1. VESTE TAILLEUR An anachronistic silhouette was built for this collection by confronting clothing, fabrics and objects originating from the turn of the XXth century, with more contemporary shapes, volumes and raw materials.
PASSAGE # 2. TAILLEUR PANTALON A tailored jacket and straight trousers are cut in “Calico”, a raw cotton material. An Edwardian crystal door-knob becomes a brooch, closing the jacket. Production time: 24 hours for the jacket and 8 hours for the trousers / Cotton, bronze and crystal door-knob sourced in New York.
PASSAGE # 3. SMOKING A smoking jacket made from several sources of Edwardian lace is worn over lace trousers. The jacket’s pleated lapel is made from one of the former dress’ satin underskirts. An Edwardian crystal door-knob becomes a brooch, closing the jacket. Production time: 61 hours for the jacket / Lace: Chantilly, Bruges and Calais, sourced in France, Belgium and Great Britain. Cotton, bronze and crystal door-knob sourced in New York.
PASSAGE # 4. MANTEAU A sleeveless coat, cut from a patchwork of lace and Art Nouveau dresses is worn over lace trousers. The antique lace is restored and reassembled to create a vegetal pattern. Production time: 96 hours for the coat / Lace: Chantilly, Bruges and Calais, sourced in France, Belgium and Great Britain.
PASSAGE # 5. VESTE TAILLEUR À BASQUE, JUPE A basque jacket and skirt are cut from several silk and lace period dresses, dating back to the early XXth century and from lace veils made by Weiner Werkstätte. An Edwardian crystal door-knob becomes a brooch, closing the jacket. Production time: 89 hours for the jacket and 15 hours for the skirt / Lace: Chantilly, Bruges and Calais, sourced in France, Belgium and Great Britain. Lace veils from a private collection in Paris. Cotton, bronze and crystal door-knob sourced in New York.
PASSAGE # 6 . ENSEMBLE A mass of embroidery, whose designs are attributed to Paul Poiret and created by the master passementier Prevost is gathered to recreate an open-back blouse, worn over lace trousers and under a wrap-around skirt made from a patchwork of lace and Edwardian dresses.
Production time: 20 hours for the blouse and 15 hours for the skirt / The embroidery was found in a Parisian antiquary, production estimated between 1905 and 1915.
PASSAGE # 7. ENSEMBLE DU SOIR An Edwardian tailor-made gown is opened up, restored and reassembled. Only the outer layer is conserved, creating a chasuble dress worn over lace trousers.
Production time: 30 hours for the dress / Garment originally made between 1900 and 1910 by L. Deleplanque, a tailor from Brussels.
PASSAGE # 8. ROBE DU SOIR A cut of antique lace is lined with silk and tied around two Edwardian door-knobs to create an evening dress.
Production time: 12 hours / Antique lace found in Senlis, France. Bronze and crystal door-knob sourced in New York.
PASSAGE # 9. ROBE–TABLIER A cut of silk is tied around a crystal Edwardian door-knob to become a backless evening dress, worn over lace trousers.
Production time: 6 hours for the dress / Bronze and crystal door-knob sourced in New York.
PASSAGE # 10. PLASTRON Antique costume jewellery from the Opera de Paris’ early XXth century supplier Le Blanc-Granget, is assembled on a velvet covered leather bib.
Production time: 16 hours for the bib / The jewellery was sourced from France’s Saint-Ouen flea market.
PASSAGE # 11 . VESTE TAILLEUR PLASTRON A sleeveless suit jacket is completely re-embroidered with rhinestones and antique crystals. It is worn over lace trousers.
Production time: 88 hours for the jacket / Rhinestones and crystals, found in Paris. Bronze and crystal door-knob sourced in New York.
PASSAGE # 12. BOMBERS An antique tailor-made silk gown, embroidered with an Art Nouveau vegetal pattern is restored and transformed to become a long evening bomber jacket.
Production time: 140 hours for the bomber jacket / Tailor Andréa Jamet’s dress is estimated to date from between 1905 and 1909 in Saint-Étienne, France
PASSAGE # 13. ENSEMBLE A bolero made from several vintage leather baseball gloves is worn with lace trousers and over a Prevost embroidered blouse.
Production time: 48 hours for the bolero and 23 hours for the blouse / Vintage baseball gloves from the United States of America. The embroidery was found in a Parisian antiquary, production estimated between 1905 and 1915.
PASSAGE # 14. BLOUSON EN CUIR A sleeveless jacket made from several vintage leather baseball gloves is worn over lace trousers.
Production time: 43 hours for the jacket / Vintage baseball gloves from the United States of America.
PASSAGE # 15. MANTEAU REPLICA A coat cut from a windsurfing board’s sail is tailored to reproduce the volume of a 1910 man’s overcoat and is worn over lace trousers.
Production time: 51 hours for the coat / PVC, reinforced plastic, nylon and metal.
The different lace on each pair of trousers was sourced from renowned French lacemakers. The production time for each pair of lace trousers was 9 hours.
The veils caressing the models’ faces were embroidered in our Parisian atelier.
The costumes’s handkerchiefs were made from swatches of upholstery fabric, coming from the Printemps Haussmann, the Grands Magasins du Louvre and the Bon Marché between 1900 and 1910.
The number of hours work reflects only the time required to produce these pieces, not fabric research nor the many treatments needed to ennoble them.
All accessories and shoes are developed in our Parisian atelier.
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