Dian pelangi fashion style

Dian pelangi fashion style

Walking through the fabulous exhibition Martin Margiela: The Hermès Years at Antwerp’s MoMu early this summer, you couldn’t help but get overwhelmed by how historically significant Hermès is to fashion’s current obsession with anything Margiela. The anonymous Belgian designer served as creative director for the house between 1997 and 2003 and did some of his rarest and most magnificent work there. His team counted Nadège Vanhee-Cybulski, who brought the avant-garde simplicity with her to work for The Row in New York before returning to Hermès as creative director in 2014.

What Happened At... PFW

What Happened At... PFW

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In a time when new-guard brands like Vetements and Off-White have turned Margiela-fication into an art form, and John Galliano is making magic with the old codes at Maison Margiela itself, it must be tempting for Vanhee-Cybulski to claim back her heritage in her own collections for Hermès. “It’s not really my work,” she said bashfully on Monday afternoon minutes before her show, referring to the Margiela years. “But I shared some profound affinities in regards to aesthetics.” Watching her spring/summer 2018 collection for Hermès trotting down the runway, you wouldn’t immediately recognise the similarities.

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Up close backstage, she demonstrated some details that felt a little more related to the clothes in that museum, like a series of aprons or slightly transformable garments such as trousers with no side stitching wrapped around the body. But the heritage plaids and guipure lace dresses represented another kind of Hermès, the one Vanhee-Cybulski has been evolving for the house since she got there, and which is slowly becoming more exuberant. “Step by step, you really find your ground and develop a certain ease,” she said.

PFW: Front Row And Parties

PFW: Front Row And Parties

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The soundtrack, for instance, featured lyrics she’d commissioned from Jarvis Cocker – recorded by a female voice that sounded like Sienna Miller – about the collection’s colours, a main focus in the work of Vanhee-Cybulsk. It reflected the equestrian luxury house’s current move towards a more casual audience, which has seen a string of brilliant events around the world recently, from a men’s show in the streets of downtown Los Angeles in March to the exhibition in Antwerp in May. But as fashion’s appetite for the Margiela codes seems to only grow stronger, Hermès has just brushed the surface of the gold mine its Margiela history represents.

As Vanhee-Cybulsk observed, “Now appropriation goes so much faster than before. When you think about it, Martin left just 10 years ago,” she said, referring to his own house. “There’s definitely something that relates to him, but I don’t want to be a disciple of Margiela,” she asserted. “It’s better to be myself.” Vanhee-Cybulsk is on a great mission at Hermès where designers tend to stay for much longer than elsewhere in fashion, but in a time obsessed with a part of fashion history she was so involved in, it would be amazing to see her interpretation of that fan craze.

By Anders Christian Madsen

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