Through the looking glass, 1869. The dark mirror to Lewis Carroll’s lauded novel Alice in Wonderland, when Alice enters ‘Looking-Glass Land’ through a mirror on the mantelpiece on a cold wintery night. An appropriately fantastical theme for Olivier Theyskens’ NºD – and who better to capture it than Karl Lagerfeld? A master of contradiction, Karl’s photography and fashion designs alike toe a fine line between the demure and the devilish, coquettish and coy. To begin his story, Karl applied his own scrawled calligraphy to the list of young subjects photographed by Lewis Carroll’s lens in the end of the 19th century (Above).

In this shadowy series, model Ciara Nugent’s milky complexion and dark mane paint a dream-like picture of Alice. Her brooding blue eyes suggesting an instinct that contradicts the floating, silky garments she is trapped in. Draped in antique silks and deconstructed modern garments (suggestive of lingerie) by Belgian stylist Laeticia Crahay, she is somewhat awkward with newfound womanhood, each pose an uncomfortable compromise between cover and exposure.

Above: Antique wedding dress, Anonymous. Private collection.

Above: Antique dress, Anonymous. Private collection. Knitted stockings, Stephan Schneider.

Above: Antique dress, Anonymous. Private collection. Knitted scarf, Veronique Leroy.

Above: Antique crepe dress, Anonymous. Private collection. Flower dress, Lutz.

Above: Antique dress, Anonymous. Private collection. Waistcoat with scarf, Comme des Garçons.

Above: Antique velvet coat, Anonymous. Private collection. Mohair sweater, Veronique Branquinho.

Above: Antique silk dress, Anonymous. Private collection. Underwear, Chanel.

Above: Antique chiffon dress, Anonymous. Private collection. Silk bow belt, Chanel.

Photography: Karl Lagerfeld.
Styling: Laeticia Crahay & Virginie Viard.
Make-up: Myriam Afia for Shiseido.
Hair: Odile Gilbert.
Model: Ciara Nugent @ Marilyn.
Thanka to Pascal Brault, Eric Pfrunder.

The German fashion designer Lutz Huelle first discovered the work of Martin Margiela in i-D, when a photo of a ballgown worn with ripped denim jeans caught his eye. After completing his studies at Central St Martins in London, he presented his own design work to the house, and joined their team in 1995. Lutz specialised in knitwear and the artisanal line at Margiela, and is responsible for the print of the iconic AIDS charity tshirt from the house.  In 2000 he launched his eponymous label LUTZ.

For A#1, Lutz’s business partner David Ballu photographed a candid series of fashion images, featuring LUTZ archive pieces from various seasons. One of the models was Dorothée Perret, appearing in a pair of earrings made from live roses and a pink wrapped silk skirt. Formerly at Purple and now the editor and creative director of Paris, LA magazine, Dorothée has shared a long history with Lutz and the Maison Martin Margiela. Please read below as she addresses her thoughts and memories of the shoot in a personal letter to Lutz, exclusively for A BLOG.

Many thanks to Dorothée for her contribution.

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“Dear Lutz,

I remember, I was starting to work at Purple, it was the year 2004, and you called me, asking me if I wanted to model for you, wearing your clothes for a magazine called the “A magazine” curated by Maison Martin Margiela. At that time I’d never heard of the A magazine, (I only vaguely recalled the B magazine curated by Bernard Willhelm years before). Anyway I was confident, after all you were the one who introduced me first to Purple Prose, back in the 90s. How could I refuse your invitation? Even if modelling was never my thing, I was happy to support your project, and to revisit my relation to Martin through you.

I remember, I was studying fashion at Studio Berçot, it was the year 1992, when I encountered Martin, the man, for the first time. Martin Margiela, the house, was looking for non-professional models for the shows. Even though I didn’t know much about him and his work, I was aware of the cult following around him. Being not even twenty, and completely inexperienced in the modeling field made me feel quite vulnerable, and I like to think that’s why he chose me. All the girls modelling for Martin at that time carried a distinctive and personal way of being. Some were art or philosophy students, some were musicians in a band, others were just the ultimate awesome models in the industry, like Kirsten Owen. When we were backstage killing time before the shows, all the girls were talking to each other, exchanging their latest experiences in life. It was awesome, like a community of friends gathering every six months. This time of my life partly built me, and made me who I am today. Finally modeling for Martin was the only time I felt good with the idea of being a model, not to say that for you it wasn’t enjoyable.

It’s funny because I always see you as the spiritual son of Martin. You have a similar vision of woman, although I would guess yours is softer, and gentler. Your approach on the cut, so singular, and quite well thought-out, entertains as well an intelligent language around the clothes.

I remember, I was happy to come to your place to work on the photo session. Ten years after the Margiela years, and it was a very different time of my life. I was on my own, a single mother trying to rebuild herself. Spending the afternoon with you chating felt so warm, and truly friendly, a little reminder to the Margiela years. You were kind, and sweet, showing me your selection of clothes. I tried it all, and together we finally decided for the pink pleated skirt worn around the neck, accompanied by a pair of real rose earrings. I still recall the pain of the spines against my skin but the idea of real roses was so beautiful, and romantic that I couldn’t complain. At the end, it felt like the right choice and I loved so much the clothes I was wearing. It was one of my favorite collections, a lot of redish and pinkish garments twisted around the body, and some awesome fringed dresses too. I felt so good.”

For over fifteen years the Maison Martin Margiela has executed a seasonal charity project, creating a tee shirt that carries the message of AIDS awareness to the street. With a print designed by Lutz Huelle, this 100% cotton, v-necked and screen printed tee holds a frank and simple message – though in true Margiela style, it is somehow distorted. In the above image, we see the tee and its printed message:

“THERE IS MORE ACTION TO BE DONE TO FIGHT AIDS THAN TO WEAR THIS T SHIRT BUT IT’S A GOOD START”

However when unfolded and worn, the tee shirt’s message is dissected into several parts – some worn inside the neck of the tee, some on the outside of the neck, and the rest at the back along the bottom hem. As such, the parts that are visible can provoke conversation to explain the text, spreading the message of AIDS awareness throughout communities.

For A#1, Elisabeth Broekaert photographed a white-on-white example of the tee, that was first issued in the Fall Winter 93/94. Like a stark x-ray, the image crosses a double page on it’s side, with the letters reflected – making the message even more difficult to read.

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Each season the house creates a new colour combination, often corresponding to a key colour for the season. Above is the latest release for Spring Summer 2010, a vibrant lemon yellow with white painted text.

With a standard price across the world, the tee shirt is available in Margiela boutiques and stockists for around €50 (US$70), with a percentage of the profits donated to the French charity AIDES. To buy one online, click here to visit TheCorner.com.