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Deconstruction Fashion: Carnival and the Grotesque
This article examines the work known as 'deconstruction' fashion or alternatively as 'deconstructionist' or 'deconstructivist' fashion. It constitutes the first study to recuperate the carnivalesque and grotesque element of fashion that has been identified under this rubric. It does so with a particular focus on the work of Martin Margiela, the designer for whom the term was coined and who is arguably its most visible exponent. Through research in museum collections and libraries, it identifies the way the term began to be used in relation to fashion within the English language and traces its initial reception within the press to Bill Cunningham. Building on previous academic writings on the topic of deconstruction fashion in general and Margiela's work in particular, the article argues that Margiela's play with the function of clothes and accessories, their unfinished nature and denial of seamlessness not only dovetails with Jacques Derrida's refusal of closure and stable meaning, but also with Mikhail Bakhtin's ideas of the carnivalesque and the ever-becoming unfinished nature of the grotesque. It does so through a close analysis of a range of garments and accessories by the Belgian designer, with a particular focus on his oversized and enlarged collections, which in their strategies of alterations of scale, garments' inversions and play with functionality are aligned with a Bakhtinian understanding of the grotesque as the ultimate expression of the carnival spirit.
Journal Article
Coat
Martin Margiela's Coat is discussed. An accumulation of glossy blond wigs and hair extensions are assembled like objets trouvés in this coat.
Trade Publication Article
Margiela To Do One-Off Line For H&M
PARIS — Hennes & Mauritz AB is trying avant-garde on for size, WWD has learned.
Trade Publication Article
DIAL H&M FOR AVANT GARDE ON THE HIGH STREET
[Martin Margiela] retired from his own label in 2009. Ever since, the collections have been designed by at least some of his long-standing team who have done much to stay true to his signatures. It is true to the spirit of this forward-thinking label that this collection is possibly the most creative H&M has ever stocked. Some of the house's most memorable fashion moments have been re-edited. Aimed at both men and women, garments and accessories have been labelled to indicate the season for which they were originally designed. It's an overview of the Margiela archive, but updated for the H&M customer to include different volumes, shapes and materials.
Newspaper Article
Sock jumpers and duvet cover coats? In store next month: H&M unveils daring range by avant-garde fashion house Martin Margiela
\"So many clothes look the same now, and actually [the designs] are quite easy when you put them on,\" said Margareta van den Bosch, creative adviser for H&M on this latest collection, which follows previous hit collaborations with the likes of Stella McCartney and Versace. \"Oversizing and the handcraft look - things [Maison [Martin Margiela]] play with - are also in fashion at the moment, so it's really not so strange.\" \"Everything has been created from the original sketches and cut as they were originally seen on the catwalk,\" said a representative from Maison Martin Margiela. \"There were some compromises on materials and price. So what was originally a fur coat is now a faux fur coat and so on.\" Margiela, a Belgian, founded the label in 1988 in Paris. He studied at the influential Antwerp Royal Academy before going on to assist Jean-Paul Gaultier. In contrast to the \"star designer\" behaviour of his peers, Margiela created an enigmatic persona: he wasn't photographed, didn't take bows and only gave interviews via fax. Between 1997 and 2003 he also designed the women's collections at Hermes. Reportedly, he left the brand he created during 2009.
Newspaper Article
