The most important sentiment a designer should exhibit when debuting for a maison is respect. Time will grant them the opportunity to showcase their vision and even further the legacy, but the first step is to acknowledge the history of those who came before them. For his official debut at Maison Margiela, Glenn Martens showcased an Artisanal line collection that did just that: involving his predecessor's theatrical antics with Martin Margiela’s iconoclastic knack. For his ready-to-wear debut, the Belgian artist takes a more decisive stand. Spring/Summer 2026 is an interesting collection, a tame reinterpretation of house codes that let clothes speak for themselves.
If John Galliano weaved his dramatic flair into everything he did at the maison, Martens threads a familiar sense of humour. The show opened with an orchestra made entirely of children wearing oversized suits. Even though not explicit, it seemed to be a reference to Margiela’s Spring/Summer 1990, when the brand’s founder staged a show in a playground amongst children. Inspiration from the brand’s mastermind was present in the collection itself, not just its surroundings. Duct tape, a staple of the legendary designer, was used to hold up necklines and as belts.
Models walked out with pieces modelled after the brand’s four-stitch signature, leaving their mouths permanently open. Just like the masks used for his Artisanal debut, Martens used them to uniformise models – once again, a Martin Margiela code. But it wasn’t all done in the name of deference. There was a sense of materiality and play that is characteristic of the Belgian designer: chunky translucent jumpers resembled bubble wrap. The collection wrapped up with tight duct tape bodices, the latter of which had overflowing streams of fabric pouring out from its extremities.
Words by Pedro Vasconcelos
