- Text Jacob Mallinson Bird
- 17th January 2014
Set in the HQ of the French Communist Party, Margiela’s modernist collection was well housed.
Garments had a casual ease with wide-legged trousers and baggy knit jumpers, but this attitude was mainly enforced through styling. Half-tucked shirts and crumpled cuffs conveyed had a laissez-faire tone, coats hanging from the shoulders gave a masculine backbone to the easiness. The closing look – a long black cape held together by the model’s own hands – epitomised the attitude.
But somehow, the opposite was also true. Coats and jackets fastened with buckles and straps seemed as though they could have been taken from a 1940s airplane uniform, both functional and decorative. Some of these straps held jackets together, whereas some extruaneous additions gave a restrictive sensation. Another jacket with conjoining panels and full body straps reinforced the airplane reference, resembling a parachute.
These sculptural elements were found elsewhere also, with long trench coats given a structural edge with seemingly detachable cross-body wraps.
The colour palette was mainly neutral tones: navy, camel, grey. This backdrop was punctuated by vibrant interjections of blue, covering lacquered panels on jackets and on v-neck jumpers.