The spectacle Martens just delivered, on the other hand, had its feet firmly in the world we live in today. Yes, the models wore masks, just like the models in founder Martin Margiela’s Artisanal shows, the plastic covers resembled those of Martin’s degree show when he was in Antwerp (Thank you, Alexandre Samson, for the tip), and the corsets were reminiscent of Galliano. But the masks this time didn’t ensure the attention stayed focused on the clothes as Martin Margiela intended when he started using them in 1989. Instead, they completed the feeling of gloom and anarchy found in the thrifted fabrics, the draped metallic fabrics, the dip-dyed nails and all the feathers that I couldn’t help but associate with the sexy fairy book series all millennial and elder Gen Z women have been devouring post-pandemic.
Photos: Filippo Fior / Gorunway.com
“It was explosive, and it’s loud. But perhaps this is what the world needs,” concluded Rosso.
Here’s what some other attendees had to say about the show:
“I think it is one of the most beautiful collections I have seen from Glenn. It did make me think of the archival Margiela pieces that I used to shoot when I started in 2010, but it is a modern collection. It was a reflection of our fear, and it was very emotional. It felt vulnerable and like a move towards liberation. That’s why now, after the show, we have these balloons to help us contrast fear with joy. Glenn is very much of his generation, our generation. Millennials, we all grew up in a world that was opening up, while we were still in our bubbles. We were not allowed to do anything, but we were told we could do everything.”
