Martin Margiela: his words, secrets, no more revolutionary designer showing his face sought

Miraculously, the Belgian designer Martin Margiela revolutionary since its inception in the late 1980s until 2008, when he left the house that bears his name, has never shown his face in public. ready to take his creations square white wing tunics, oddly erotic boots in soft leather could tip with a split in striking Tabi style or conceptual starkly beautiful, and they were often both. Sometimes his clothes was difficult to understand at first. His fashion shows, often shaggy wigs but-hidden and enigmatic with models whose faces were wrapped in cloth or covered. However, he insisted on his privacy, prefer not to explain his views to the press or to consumers. If this approach makes sound arrogant Margiela, Reiner Holzemer the excellent documentary by Martin Margiela: With his words proves otherwise. Holzemer never shows the designer’s face, but we hear his voice and his hands look: We watch as you walk through memories saved over the years, as the forged invitation that got him as a young, emerging designers, in a Jean Paul Gaultier show-later he got his start in fashion as an assistant to Gaultier. But the film Holzemer goes back even further than that: Margiela explains that a fashion show Courreges saw as a child in the mid-1960s on the fingers of television inspired him to cut the boots of its Barbie doll, an early sign that everywhere where the the world was headed, he wanted to go out forward, he leads the way in the modern world. Margiela’s wife, was declared as a former assistant in the movie, mysterious, is not sexy. Secret is the key to understanding Margiela, and explains how his anonymity gave him the freedom: “I knew I could give more if I felt protected,” he says. We watch as he fashions an exquisite necklace from a robust Champagnerkork and a black belt length. Anyone can do it, but who would have thought of doing it, just like that? As a former fashion critic of The New York Times Cathy Horyn says in the film, refusing to clarify the language of his clothes in Margiela words “gave us a favor. He has to think more” Here the effect it is to hear from its voice and looking at his hands is so intimate that we move with an almost tactile sense of who is Martin Margiela, as we are assured, but only one way to know what the man in the moon looks like. The secret is our secret.
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