The Scene: Leigh Lezark, in a tattoo-inspired top, sat front row. Fellow DJ Mia Moretti was also on hand along with industry staples like Anna Dello Russo.
The Look: Inspired by vintage fabrics, there was an unfortunate costume feel to most of the couture looks that the design team behind Maison Martin Margiela presented. While the springboards were impressive — Second Empire lampas, an original Paul Poiret coat, 50s Japanese embroidered bomber jackets and more, according to WWD — it’s hard to imagine anyone wearing these in the real world. Not only was there a heaviness to most of the fabrics, which made them visually unappealing, but for the most part, aesthetically they looked more suited for interior design than fashion. This problem was only maximized by the seemingly simplistic cuts like strapless column dresses. Things took a turn for the worse when the creations veered into patchworked and three-dimensional territories; one model, for example, had a huge Elsa Schiaparelli style lobster over her shoulder. In a day and age where Givenchy can no longer afford to show couture, one has to wonder who exactly is Maison Martin Margiela’s customer?
The Accessories: Over-the-elbow white gloves and long, dangling earrings were the season’s most notable accessories, which worked to accentuate the vintage “tchotchke” feel of the collection (for better or worse).
The Beauty: Some models wore the brand’s signature face masks, which this season were heavily embellished and completely shielded the models’ faces, while others wore black veils letting their natural-toned makeup quietly peek through. Hair was tightly pulled back.
The Takeaway: While the brand’s attempt at reusing vintage fabrics had potential to be astute (green couture!), aesthetically the appeal was greatly lacking.