I read a really great article/interview with Vanessa Beecroft in a book a while back, I forget its name but it's my friend's book and I'll try to get the title of it for you. I had really mixed feelings about her as well, Softgrey, but the article bent my opinion towards favorable.
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Margiela and Under Cover in Modern Museum of Stockholm
- Thread starter maarit
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Margiela in Museum Boijmans Van Beuningen, Rotterdam 1997.
I'm not sure if the place and time is right but was just reading about Margiela and his >>museums experience<< some time ago + found that jc report. thank you so much maarit for an interview!
its about '90s and "cross-fertilization of art and fashion" so hope you forgive my that I'm comming back to 1997 -8
In 1997 Martin Margiela produced an entire exhibit for a museum (Museum Boijmans Van Beuningen, Rotterdam, 6 June - 17 August 1997). He destroyed his clothes with bacteria and mould...
buying and discarding, present and future, luxury and poverty, very symbolical, very '90s, dark and deathly side...
sorry about the quality
View attachment 266746 View attachment 266747
View attachment 266748 View attachment 266749
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 37, 255.
I'm not sure if the place and time is right but was just reading about Margiela and his >>museums experience<< some time ago + found that jc report. thank you so much maarit for an interview!
its about '90s and "cross-fertilization of art and fashion" so hope you forgive my that I'm comming back to 1997 -8
In 1997 Martin Margiela produced an entire exhibit for a museum (Museum Boijmans Van Beuningen, Rotterdam, 6 June - 17 August 1997). He destroyed his clothes with bacteria and mould...
buying and discarding, present and future, luxury and poverty, very symbolical, very '90s, dark and deathly side...
sorry about the quality
View attachment 266746 View attachment 266747
View attachment 266748 View attachment 266749
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 37, 255.
Last edited by a moderator:
more...
not so mouldy tatters but still cultural trauma of the '90s by:
Martin Margiela.
The deconstructed dress, out of old things (ie hand-sewn sweater made from military socks, tailor's dummy as a waistcoat...
View attachment 266751 View attachment 266752
View attachment 266753 View attachment 266754
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 36, 251.
not so mouldy tatters but still cultural trauma of the '90s
by:Martin Margiela.
The deconstructed dress, out of old things (ie hand-sewn sweater made from military socks, tailor's dummy as a waistcoat...
View attachment 266751 View attachment 266752
View attachment 266753 View attachment 266754
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 36, 251.
Last edited by a moderator:
one more living dress for JJohnson...
so one more - beautiful one! - especially for you JJohnson
View attachment 266829
"...swapping between organic and inorganic, alive and dead, procreation and decay... The clothes were displayed on inanimate mannequins and then >>grew<< mould and bacteria; the mannequin, rather than the living woman, modelled the organic, in the form of yeasts, moulds and bacteria. Although a mannequin cannot reproduce, here the dress itself was weirdly fecund, having acted as a growing medium for the moulds and bacteria, so that in a spectacular reversal of the normal situation in which the living woman wears the inorganic dress, the living dress was worn by the tailor's dummy."
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 36, 187.
so one more - beautiful one! - especially for you JJohnson
View attachment 266829
"...swapping between organic and inorganic, alive and dead, procreation and decay... The clothes were displayed on inanimate mannequins and then >>grew<< mould and bacteria; the mannequin, rather than the living woman, modelled the organic, in the form of yeasts, moulds and bacteria. Although a mannequin cannot reproduce, here the dress itself was weirdly fecund, having acted as a growing medium for the moulds and bacteria, so that in a spectacular reversal of the normal situation in which the living woman wears the inorganic dress, the living dress was worn by the tailor's dummy."
C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 36, 187.
The sock sweater is a wonderful idea. Margiela actually describes with pictures how to make one from scratch in 'A Magazine' #1 (modenatie) !
And the dressform piece is one of my favourites.
Thanks annamaria! So that's the one where it pieces were allowed to decay and change. Ahh.. the organic dress worn by the inorganic dress form...
And the dressform piece is one of my favourites.
Thanks annamaria! So that's the one where it pieces were allowed to decay and change. Ahh.. the organic dress worn by the inorganic dress form...
you're very welcome Avantster!the other one: Autumn/Winter 1997-8 he sent to the journalists maps of Paris with three locations and times(some of them, thinking they were junk mail just threw them out)... first destination was abandoned covered market at 10.30, the second glass-covered loading bay of the huge Le Gibus building at Republique (11.45), and third 1930s dance school at 3pm - here models paraded through the streets mingling with the public. the audience watched the models and the whole band getting out from the buses, then followed them into the show space while the band played a slow march...
And the other one: Spring/Summer 1999 Margiela sent out models wearing sandwich boards with pictures of each garment
sandwich-board man:View attachment 267183
scan from: C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 81.
And the other one: Spring/Summer 1999 Margiela sent out models wearing sandwich boards with pictures of each garment
sandwich-board man
:View attachment 267183scan from: C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 81.
mannequin or model...
oh and one more pic: Martin Marielas rehearsal for marionette presentation - Autumn/Winter 1999-2000
View attachment 267184
life-sized wooden puppets, styled by jane how (also worked with chalayan) + two puppeteere dressed in black who moved "models" along the catwalk
from: C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 181.
oh and one more pic: Martin Marielas rehearsal for marionette presentation - Autumn/Winter 1999-2000
View attachment 267184
life-sized wooden puppets, styled by jane how (also worked with chalayan) + two puppeteere dressed in black who moved "models" along the catwalk
from: C. Evans, Fashion at the edge. Spectacle, modernity and deathliness, Yale University Press, New Heaven, London, 2003, p. 181.
comming back to Margiela:
Style_Expert posted some great pictures yesterday
, scanned from Purple Magazine Spring 2007: Stella Tennant photo. by J. Teller - Maison Martin Margiela Restropective
http://www.thefashionspot.com/forums/2939822-post183.html
http://www.thefashionspot.com/forums/2939827-post184.htmlhope
hope he doesn't mind that I "use" him here
Thanks a lot Style_Expert
Style_Expert posted some great pictures yesterday
, scanned from Purple Magazine Spring 2007: Stella Tennant photo. by J. Teller - Maison Martin Margiela Restropectivehttp://www.thefashionspot.com/forums/2939822-post183.html
http://www.thefashionspot.com/forums/2939827-post184.htmlhope
hope he doesn't mind that I "use" him here
Thanks a lot Style_Expert
MMM + 10 Corso Como
at 10 corso como - the boutique and the gallery curated by Carla Sozzani: "The show features 26 of the Belgian designer's most important pieces, displayed beautifully against white muslin panels, so that each garment casts a shadow that's visible through the cloth..."
View attachment 288965
from LA Times: http://latimesblogs.latimes.com/runway/2007/02/a_margiela_mome.html#more
at 10 corso como - the boutique and the gallery curated by Carla Sozzani: "The show features 26 of the Belgian designer's most important pieces, displayed beautifully against white muslin panels, so that each garment casts a shadow that's visible through the cloth..."
View attachment 288965
from LA Times: http://latimesblogs.latimes.com/runway/2007/02/a_margiela_mome.html#more
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