Welcome to the first installment of an exclusive historical series on A BLOG, showcasing the early days and first collections of the nine designers who have curated an A.

Though popular culture and society continue to move forward at breakneck pace, the importance of reflection and contemplation of our recent history cannot be disputed, and fashion is a field so ‘hell-bent’ on what is next, that it is easy to overlook the innovations that continue to inform our current and future realities. As designers continue to weave stories from fabric, they cross-reference themselves and others constantly through internal and external research.

Through physical archive pieces and photographs we can trace linear aesthetic evolutions as well as radical changes in a designer or their house. Looking back, one can map greatness from humble beginnings, and regard that which seems mediocre today, as once ground-breaking and new.

To begin our series THE EARLY DAYS, we present a collection of images from the in-house archives of Maison Martin Margiela, alongside the original show notes from their Spring Summer 1989 collection. From the telegram-style invitation, to the scenography of the first showroom – the strength and continuity of the house from the eighties to today is undeniable. With the introduction of the famous split-toed ‘tabi’ boots, the show was highlighted by a white paper catwalk that was stained red by the hoof-shaped shoe soles, as models stamped paint along the runway. Their heads were also often bandaged, in the first example of the house’s incognito concept, and just one of many iconic signatures born from this first era of Margiela.

Please keep reading as this unique project unfolds daily on A BLOG.

Maison Martin Margiela, Spring Summer 1989:

Showroom
102, Rue Réaumur, Paris 75002.
Situated on the 3^rd floor, its three rooms and all contents are entirely painted in white with each piece of furniture covered in white cotton.

Presentation
October 1988

A telegram is sent inviting people to attend ‘Café de la Gare’, an old theater with wooden benches. The women wearing the collection stand down from the podium to join the crowd. Records of hard rock music alternate with softer 1970’s rock. Hair is loosely brushed forward, eyes blackened and lips were red. A line imitating a stocking seam is drawn in pencil on the back of back legs.

Collection
Only one silhouette, to the ankle, very narrow, with cropped shoulders. The form is very constructed by way of many darts. Japanese workmen’s shoes are mounted on thick round heels.

There are three groups of color:
Degrees of white worn against the skin. The sleeves of a sweater or shirt are worn alone, skirts and trousers have knees moulded by darts. Suntan marks are visible on the skin.
Degrees of red are combined. Faces are veiled in bright colored cotton. The models footprints mark the white cotton runway with red paint.
Black and transparent garments are printed with tattoo motifs.

As a finale to the show all of the models come out wearing ‘Haute Couture’ work coats.

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Telegram for two:  invitation to the Spring Summer 1989 presentation.

A tattoo reference for the collection.

The trompe l’oeil line of a stocking painted on a model’s leg.

Spring Summer 1989 presentation photographed by Raf Coolen.

Spring Summer 1989 presentation photographed by Raf Coolen.

Spring Summer 1989 presentation photographed by Raf Coolen.

Spring Summer 1989 presentation photographed by Ronald Stoops.

Spring Summer 1989 presentation photographed by Barbara Katz.

Spring Summer 1989 model line-up, photographed backstage by Barbara Katz.

Spring Summer 1989 showroom, photographed by Ronald Stoops.

A gauze top in the Spring Summer 1989 showroom, photographed by Ronald Stoops.

A tailored blazer in the Spring Summer 1989 showroom, photographed by Ronald Stoops.

A red paint footprint from the ‘tabi’ split toe boots, on the catwalk after the Spring Summer 1989 presentation.

Spring Summer 1989 ‘tabi’ shoe trees, photographed backstage by Tatsuya Kitiyama.

Many thanks to all at the Maison Martin Margiela for their generous cooperation with this project.