Unrepeatable, iconic, unique and extraordinary. These are some of the adjectives to try to describe Maison Margiela‘s most legendary fashion show ever.

I am referring to the Spring/Summer 1990 show on October 19 of that year, which projected the Belgian designer among the elite of international fashion, thanks to a concept that at the time completely subverted what was the established modus pensandi and operandi of the fashion system throughout the 1980s.
Margiela turned upside down the concept of exclusivity and self-referentiality, in place of a new research focused on provocation, on overturning the status quo, and that staked everything on the concept of “real” wanting to break down the simulated perfection of every fashion show of the time. Starting with the location chosen for that immortal show.

At the time, during Paris fashion week, special tents were set up in front of the Musée du Louvre where the maisons paraded in front of the symbol that most represents what is elitist in the French capital. Margiela preferred to choose something different: a dilapidated marquee in the complex and difficult Parisian suburbs, where he asked a hand from a small group of local boys to find a suitable location to host the event. The location was chosen but the maison did not stop there. He also pulled in the neighborhood elementary school with a project based on art and creativity, having the invitations to the fashion show made by the very pupils of that school: the result was that more than 500 invitations were made, all different from the others, unique and handmade.

The parade was completely surreal. The turnout, despite the suburban location, was incredible, and the expected personalities (journalists, editors, etc., there were those from the New York Times, Vogue and Elle) once they arrived at the venue, found none of the things they were used to, reception, door selection, assigned seats, none of that.

The rule prevailed, first come first served, meaning first come first served gets the best seat. The front row was dominated by the local boys and children that Martin Margiela himself had reserved for him, as a token of gratitude for “allowing” him to parade there. Of course, those kids had a very hard time staying seated, the models paraded-along with those kids-on a completely bumpy “non-runway”, and a slight delirium dominated the entire show.

Maison Martin Margiela’s Spring/Summer 1990 show was a shining example of how an individual’s vision can show everyone that if you want, things can be different and not lose their effectiveness but rather, often behind seemingly out-of-the-box choices lies the true essence of things.