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Elusive and hugely influential, Martin Margiela has long been known as fashion’s ‘anonymous designer’, his mystery only deepening the intrigue around his work. Now, for the first time in Japan, the Belgian is presenting a major solo exhibition titled ‘Martin Margiela at Kudan House’, which is running until April 29. Since stepping away from his namesake brand in 2008, Margiela has focused his talents on visual art, making this a rare chance to experience his world beyond fashion.
The exhibition takes place at Kudan House, a 1927 Spanish-style residence designated as an Important Cultural Property. Its warm, understated interiors provide a striking backdrop for Margiela’s work, which transforms the ordinary into something unexpected.
Born in Genk in 1957, Margiela studied at Antwerp’s Royal Academy of Fine Arts before debuting in the fashion industry in 1988. From masked models to his now iconic tabi-style shoes inspired by traditional Japanese footwear, his designs challenged conventional ideas of high fashion and luxury.
Since transitioning to fine art, Margiela has showcased his creations around the world, challenging viewers to question how they see and experience objects. For this exhibition, he has covered the venue’s floor and walls with plastic sheeting, giving the impression that the exhibition is still in the process of being set up. Works are casually propped against walls, emphasising process over completion – a recurring theme throughout his career.
While many of Margiela’s artworks appear understated at first glance, they reveal subtle interventions upon closer inspection. For instance, in ‘Phantom’, what looks like an empty white pedestal is marked by a faint lead imprint, suggesting the lingering presence of something no longer there. The empty pedestal is accompanied by a caption describing the absent object, leaving viewers to imagine it themselves.
This theme carries through to pieces like the ‘Shore Shoes’ series, where discarded beach sandals are cut and reassembled into new forms.
‘Black Nail Model’, featuring magnified black-polished fingernails, and the simple ‘Deodorant (edition)’ piece elevate everyday objects through meticulous craftsmanship; the works were created in collaboration with a traditional German ceramics workshop.
Margiela’s works span a range of mediums from sculpture and collage to video. In ‘Light Test’, a woman’s face is repeatedly obscured by her hair, never fully revealed. In the video, the model’s laughter also becomes a part of the work, echoing Margiela’s early runway shows, where he broke convention by allowing models to interact with and react to the audience.
Another recurring theme throughout the exhibition is the human body, particularly hair, which was an influence rooted in Margiela’s childhood growing up around his father’s barbershop. In ‘Vanitas II’, spheres embedded with hair shift gradually from black to white, reflecting on ageing and the passage of time.
Another work titled ‘Mould (S)’, showcases a series of plaster casts discovered during the making of a torso sculpture. This work highlights the beauty of process while connecting back to the idea of the unseen introduced in ‘Phantom’.
By the time you leave Kudan House, you’ll have a clearer picture of Martin Margiela’s enduring philosophy and how he reshapes our perception of everyday objects.
Set within the intimate rooms of this former private residence, the exhibition mirrors the artist’s sense of privacy, encouraging a slower, more contemplative way of looking.
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