Whatever it was that we were seen in the Margella debut of Glenn Martens, it was wrapped in a clarity of terrible beauty. A collection of widely masked people with peeling paper layers in the basement chambers developed a collection of gothic sculpture and strange, ancient and patch-work surfaces, sometimes almost as they themselves bounced from the walls.
Both John Galliano and Martin Margila have some courage for a designer, especially in presenting the artisan collection directly – equal to the Haute Couture in this house. To confront that challenge, someone needed bold and fearless, yet smart and skilled did not sufficiently stumble in a past that many people are sacred in fashion. Martens proved himself as a person: a designer who brings the sensitivity of his own peculiar Belgium to a label installed by a Belgium.
If we are craving a friceon from fashion, now it was here, arriving in a strange, characteristic form, a vision filled with the poetic imagination that arises from the dark corners of medieval history, which to fulfill the foundation of the house and reproduce a new, torn glow to fulfill the foundation of the house.
Martens said in a preview, “I am from Bruges, in which it is a completely depressed, gothic sadness.” “Brugs have this vibe of Flanders, which of course, is very much associated with Martin. I am separated from that generation, but I think there are many designers – the way Martin has seen clothes is a huge honor and very humble experience to be a part of the house, and is coming after John Galliano.
In a symbolic way, Martens made it about a house, which starts with the rich texture of the 17th -century flemish embossed leather wallpapers, antique drapes, and Dutch flowers and ‘Nature Morte’, still stays in sports life which can hang in the houses of that time. “I’m not a minimum,” that laugh. In his brain, the decaying surfaces of precious wallpapers formed a relationship with the paint and patch -work techniques used in their first collection.
And then the martens was closed, fashioning a collection, which was a third of the disabled, causing paper, photocopy, hand-painting, junk ornaments, and tin plates to be beaten in some masks. He started with a clear plastic look, which was referred to, he said, to blow glass. Perhaps also for the dry-cleaning collection of Margila?
