In a unique and nostalgic sale held by Byronesque, fashion enthusiasts and collectors gathered to explore the iconic works of designer Martin Margiela. The sale took place in the breathtaking Margiela-designed residence in the Palais Royal. Its all-white interior, draped in cotton sheeting, could not have been more appropriate for the pieces of the late, revered designer. This sale marked a special moment for many, as it was the first time some attendees acquired vintage Margiela items. A small, colorful purple wool felted vest seemed to raise everybody’s heart rate immediately. It captures the sensibility that has come to characterize Margiela’s apparel.
The exhibition included 150 extraordinary garments created by Martin Margiela between 1989 and 2006. His legacy has deeply changed the lives of so many people and the greater fashion world around us. As for one guest at the sale, Margiela’s clothing was more than clothes. It quickly became an impressive intersection of armor and uniform, creating resounding connections on visual, emotional, and communal wavelengths. The speaker’s life-changing exploration into Martin Margiela’s world began with a friend, Michèle Lamy. She brought them to Byronesque, and that lit their curiosity.
For all of Margiela’s deconstructionist ideals, the creations are as relevant to today’s fashion aficionados as they were when they first hit the runway. His creations are experienced as more than archival curiosities, but rather artworks that continue to resonate within today’s social landscape. People engage in lively debate while wearing his garments. As they point out, these complex garments are best understood when seen in action, where they truly come alive, telling an even more remarkable story. As Gill Linton pointed out, understanding Margiela's work requires a nuanced approach:
"You have to read between the lines."
Margiela’s outerwear is some of the most highly sought after by collectors, due in large part to its prolific capacity to scream presence without the need for nameplate. Aurora Lopez Mejia commented on this characteristic by stating:
"It’s not like you recognize it’s Margiela. It’s that they have a presence."
In addition to his impact being about the future of fashion today, Margiela’s continued influence is seen in how timeless his designs are. Viewers who have celebrated his bodies of work throughout the years feel encouraged seeing the works from the flat 1998 spring collection and the large 2000 fall collection. These items still hook them so bad. For something so old, not everyone is aware of their priceless value right away. As Gill Linton remarked:
"Just because it's old doesn't mean it is good."
For those who appreciate and worship at the altar of Margiela’s philosophy and design ethos, his clothes are much more than just clothing. They’re considered as the workwear, the uniform if you will, of everyone who ever worked for Margiela and who ever worked there and wholeheartedly believed in the brand’s vision. As Linton expressed:
"I would buy this stuff. I don’t want to romanticize it, but this was the uniform of the people who worked at Margiela and believed so much in what they were all doing."
As attendees explored the thoughtfully curated collection at the sale, a sense of nostalgia mingled with appreciation for the timelessness of Margiela's creations. Christina’s motivations for separating from her collection are less clear. Her decision opened the door to experience and own a piece of fashion history.