Martin Margiela's Spring-Summer 1996 collection is two-dimensional, without cut or structure. Negative photographs of clothing are printed on fluid or transparent materials, to which only the trompe-l'oeil image adds volume. For the first time in his collections, Martin Margiela uses a created and unrecovered print. The designer has selected twelve chinés, feminine and masculine, summer or winter, from different periods. He has been asking photographers close to him since his early days to take black and white pictures of them. Anders Edström, Marina Faust, Ronald Stoops and Tatsuya Kitayama are invited to photograph them on mannequins or hangers, without dismantling them, from the front and back. He recommends that they contrast the shadows and highlight the details of each material. Margiela had printed these photographs on various light and Summer fabrics.
The colour range of these prints, in shades of grey, black, blue or sepia, reminds photocopies. Each garment has printing reserves, which leave the virgin fabric in the corners, near the hem, under a sleeve. They correspond to the difference in space occupied by a flat image and a three-dimensional suit. These unexpected imperfections that look like collages are very pleasing to the designer.
On this model, a lace dress from the 1960s was turned over to highlight its interesting lining, which still shows the signature and size of the original model: "Tissu de Paris, 42". It is printed on a satin lining dress.
Auteur de la notice : Alexandre Samson