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Maison Martin Margiela F/W 2000

Art / Design / Fashion

The theme was oversized at Maison Martin Margiela’s Fall/Winter 2000 womenswear collection, and it’s a good thing too; the freezing March day was beat back just a little with Margiela’s snug sweaters. The show took place at an abandoned train station, with 12 train cars setting the stage for a remarkable display to come. In theme with train cars, Margiela borrowed Angelo Badalementi’s “The Pink Room” from the soundtrack of David Lynch’s Twin Peaks prequel film, Fire Walk With Me, in which Lynch follows the days leading up to the murder of Laura Palmer in a train car.

Posted May 22nd, 2019 By Colby Mugrabi

Margiela’s show, however, was rather about killing the fashion industry’s obsession with thinness and size-zero physiques. The garments, which were cut to Italian sizes 74 and 78, emphasized dramatic proportions even more so than Margiela’s preceding Spring/Summer 2000 collection. The show opened with a long-haired model with bangs covering her eyes, dressed in a black turtleneck sweater and oversized men’s pants, which were folded and secured with a hook in the front to stay afloat on her slender frame.

The second model, also with an eye-covering chop, wore a voluminous black wool cardigan molded to the shape of an XL American bust form that Margiela had used as a mold previously in Fall/Winter 1992-93. The knitted cardigan was made of a yarn from a Belgian manufacturer used to mold vintage hats, while the garment was “cooked” around a clay form at an Italian steel plant and packaged with museum-like preciousness, which contrasted heavily with the sweater’s rough, frayed edges; Margiela’s trademark aesthetic in a nutshell.

Other looks included exaggerated sequins, disco ball earrings, and a skirt with a hanger attached to the back. The models’ long bangs, seen throughout the show, which were achieved through clip-in extensions, tied the collection together. Also woven through the show’s continuous narrative was the use of an ‘inside-out’ theme, exposing practicalities reserved for the interior of jackets on the outside, including lining, back pleat darts, labels, and the backs of buttons.

The most iconic look to emerge from the Fall/Winter 2000 show was a dramatically oversized leather biker jacket with cracked aging details and a fur tail accessory. The garments’ exaggerated proportions made them appear to float around the models, while Margiela’s intention was to “express and represent the challenge of creative expression.” The scale of the collection’s garments forced clothing manufacturers to reprogram their computers, and would go on, as well, to challenge retail store displays. A quintessential example of the forward-thinking genius that was Martin Margiela.

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