After hearing the news of John Galliano’s explosive return to fashion through acquiring the title of ‘Creative Director’ for none other than Maison Martin Margiela, I decided to delve deeper.

Known as fashion’s “Invisible Man”, Margiela put an end to the conspicuous consumptive ways of the 1980’s and 70’s. In an industry where huge importance is placed on accessibility of personality and appearance, Margiela is an anomaly in the process and has maintained his bewildering elusiveness for 25 years.

The process of deconstruction is important for the understanding of Margiela’s fashion statements and as a fashion house it has clearly taken a lot of inspiration from what Kawakubo, Yamamoto and Issey Miyake were creating in the early 1970s. Their main focus was the importance of space, materials and communication – much like the characteristic ideals of Architecture. They looked at becoming more secular and playing with the appreciation of the unfinished and incomplete beauty of things. This, hand in hand with Margiela’s strict focus on garments (he would often send models down the runways backwards or with their faces covered) creates an honest but unintentional mystery around the brand.
“Authenticity is more and more important – instead of imitating originals, I decided to make complete reproductions.”

Whilst I am excited at the prospect of Galliano taking over from the corporation of Renzo Rosso, who pushed MM out in 2009, I stick by my commitment to Margiela’s passion – the factor that sculpted the brand – and don’t think Galliano, or OTB for that matter, will keep that passion flowing through the clothes and the hats and the endless archive of bits and bobs that Margiela has developed over the years into couturist pieces.