NYC - M A R T I N M A R G I E L A is all about stealth. His philosophy and clothing represent a special kind of ‘meta-fashion’: fashion that is essentially about fashion without the glitzy marketing hype. Casting aside the ‘cult of personality’ that is attached to many celeb designers, Margiela has brilliantly fostered a cult of impersonality, eschewing vanity altogether and further deconstructing the conventions of the industry.
He’s a curious anomaly in an industry that thrives on visibility, image and self-aggrandizement. Margiela seldom attends his own runway shows or presentations and refuses to do interviews (except by fax machine). His evasiveness demonstrates an unbridled commitment to creativity, and highlights two important things: first, the clothes/accessories speak for themselves; and, second, Margiela’s work, as perplexing as it may be, embodies the collective efforts of a talented design team - not simply a singular designer. His absence at his own events makes this powerful point, and all correspondence from his atelier in Paris is always written in the plural form with the signature “Maison Martin Margiela.” 
Margiela’s presentations are the quintessence of cool: electrifying, quirky, sexy or just plain freaky. He introduced a hoof-like ninja-Tabi shoe years ago and has recycled it through numerous collections. It has since become a signature Margiela look. His newest footwear is equally freaky: ovine wedge leather sandals that you’d kill for (they are virtually impossible to find!). Lately he refashioned a pair of superbly crafted futuristic glasses that look like the stuff worn on Star Trek (remember Jordi LaForge?) .
Margiela is the master of ‘deconstruction’ and all things nonpareil. He has made frayed jackets refashioned with a sock at the elbow and a frontal sleeve, coats made of synthetic hair, bodysuits that fuse parts of trench coats and tuxedo jackets, and mirror tights and bags made to look like disco balls. At his Greenwich Street shop in NYC the walls are strewn with egg containers and everything is painted in an off-white tone. 
As part of the Antwerp decvonstructivist school, he helped cause a shift in fashion in the late ’80s by tearing apart and reassembling garments at the seams, introducing techniques that have had a durable impact on everything from street-style to haute couture. The embrace of shredded jeans and shirts, for example, owes a debt to Margiela as much as Vivienne Westwood, who pioneered punk and new wave fashion. But Margiela has been so deliberately stealthy about his name that only dedicated fashionistas instantly recognize his marque and style.
“There is a peculiar tension embodied in the aesthetic that is poetic and intellectual, but also bewildering and challenging. The clothing is extremely complex and confounding and really captivating,” says NYC-based interior designer Melissa Brasier.
Recently his mystique has increased, in part due to the conspicuous marketing efforts of his brand by Diesel, which has expanded distribution and introduced items like sunglasses and perfumes. Roughly $76 million worth of products were sold around the world in 2008, according to the company’s financial reports.
His humble style and ‘collectivistic’ approach has led Margiela to be dubbed fashion’s invisible man who is known for implementing a kind of ‘designer-socialism.’ Within the organization several employees refer to an environment in which ‘ideas flow freely and ownership of design is shared by all.’ This Marxian approach combined with a commitment to flawless quality has made Margiela one of the most coveted and reputable designers in the world.
However, Diesel’s marketing campaign, although less aggressive than, say, Top Shop or H&M, is causing internal ructions. Current and former employees have cited Margiela’s annoyance with Diesel’s marketing-driven culture, which directly contradicts his ethos of socialistic ‘meta-fashion’ and the aim of staying beneath the radar. “Diesel’s marketing militates against the brand’s stealthy attributes”, said one employee, “which detracts from the value of Margiela and his cool anonymity.” Walk into any Margiela store and the mere mention of Diesel causes the sales staff to recoil.
Before the acquisition by Diesel in 2002, Margiela’s brand had not even been listed in the phone directory, nor had his name appeared on his clothes or store fronts (garment tags were traditionally left blank with numbers indicating womenswear, unisex and menswear).
Margiela’s influence and vision are as palpable as any living designer, and lately he’s been making headlines with rumors swirling about his fate within the company. There are conflicting stories that he will soon depart or has already gone. Who knows . . . .??
But whatever happens, Margiela’s philosophy that customers should react to the ‘things unto themselves’ and not news hype or marketing buzz demonstrates his passionate and original approach to design.
Last week, he showcased a range of new furniture prototypes in Milan at Salone del Mobile. This will include home objects such as a wallpaper, lamps and bookshelves. A spokesman said “this installation is a visual stimulus, from fashion to lifestyle to atmospehere.” Hopefully we will all soon be able to furnish our homes with egg container walls and chairs that turn into swings.
-Cody Ross (cody@priestessnyc.com)
