PARIS, Oct 1, 2007 / FW / --- Since the early 1990s, minimalism has brought to the world of fashion experiments, reflections, visions that were sometimes pertinent, often unachieved, always intriguing. But never has a collection in this category created so much emotion as the one presented today by Maison Martin Margiela at Paris Fashion Week.

Why this collection gave goose pimples to watch is hard to tell. The mere description of garments and looks could not give any idea of the overall impression. The graphic aspect of tube dresses worn over flesh coloured elements, that create a new foundation covering parts of the body is certainly sizzling, particularly when the front and the back never display the same length and when simplicity emerges from an intricate structure, revealing various prisms of a personality’s complexity. However this is not enough to explain it all.

The renewed use of black or white, sometimes watercolour aqua, when many houses are including the fluorescent pinks and yellows that Margiela used for the previous season, certainly contributes to the sharpness and romanticism of the collection.

Even if intellectuals understand that romanticism is used here in reference to the stronger aspect of the 19th century literature movement, far from the floaty printed evanescence in the contemporary everyday acceptance that many a designer translates in muslin extravaganza, saying that Margiela might have been looking for a modernist expression of romanticism will not suffice either.

It could also be said that the ghost-like embellishments found in oversize belt buckles made of the same fabric as the garment are also contributing to an overall morphing effect. But what would have been elsewhere the backbone of the collection is only here a detail.

Of course an explanation to the shivers one could experiment could also come from the sexy aspect of the collection. Martin Margiela is showing that minimalism is now mature enough to accept the body in all its dimensions and that leaving the dogmatic arena can also create a new refinement and elegance, pertinent for today and the future.

Nevertheless “sexy” is a word that in its semantics and connotations is not well chosen enough. Margiela’s footwear, for instance, from boots to sandals and stilettos also reveals parts of the flesh in this highly fetishist zone, but never in a vulgar manner. The same thing applies to the bandeau silver eyewear that hide the faces of models to put more focus on the body.

The overall design direction consists more in revealing the vulnerable aspect of the flesh than arousing desire, targeting the mind more than just a solicitation of the instincts. This is probably what is making the work of the Belgian designer’s creations rise from the sphere of underground work in progress, to become pertinent as an accomplished expression of a new human identity far from both barbarism and chichis.

Martin Margiela

Martin Margiela

Martin Margiela

Martin Margiela

Martin Margiela

Martin Margiela

Martin Margiela