When Margiela dressed Hermès

In April 1997, the renowned maison Hermès shocked the fashion world by appointing Martin Margiela – the enigmatic master of deconstructivism – as its creative director for women's ready-to-wear. The decision, signed by Jean-Louis Dumas, not only surprised the industry but also signaled a sophisticated shift: instead of bringing the usual spectacle of runways, Margiela proposed a silent luxury that was meticulously structured, based on impeccable cuts and modular pieces,

During his six-year tenure, until 2003, Margiela signed twelve collections that redefined the elegance of the maison, introducing innovative elements without compromising the classic essence of the brand. The Margiela-Hermès period, often overlooked at the time, now resurfaces as a shining example of how discreet innovation can transform a century-old brand without compromising its values.

We delved into the designer's journey during his time at the brand. Check out the full article below:

The First Contact

In April 1997, in astonishment, the fashion world watched the appointment of Belgian designer Martin Margiela as the new creative director of Hermès. At first, the choice seemed unthinkable and even unlikely. Martin, even then, was recognized as a master of deconstruction, an anti-hero who hid behind his creations and refused to appear at the final applause. He did not give interviews, did not pose for photos, and communicated with the press only by fax.

Meanwhile, Hermès represented classic French luxury, from discreet elegance, timelessness, traditional codes like the iconic orange, the Kelly bag, and the silk carré scarves. In the eyes of many, the recurring question was: how could they balance two extremes?

The Decisive Influence of Sandrine Dumas

The answer was practically instantaneous, as it came from the Hermès family itself. Sandrine Dumas, daughter of Jean-Louis Dumas, had already worked as a model for Margiela in the 90s — in exchange for clothes. When her father asked for a recommendation to replace Claude Brouet, she responded without hesitation: “Martin Margiela.” Her influence was decisive, allowing Martin to avoid developing business plans, mood boards, or lengthy and precise presentations. A simple lunch was enough to realize that Margiela and Dumas shared deep values: comfort, quality, longevity, and a luxury designed for the wearer, not for the observer.

Clothes That Are Alive and Not Showy

Those who held high expectations for Martin regarding grand and radical interventions were disappointed. Margiela did not cut Kelly bags in half or fray carré scarves. He presented clothes of extreme simplicity, almost monastic, but full of sophistication.

In a palette of beige, brown, gray, and burnt yellow tones, the designer brought in shades of nude and neutrals from his collections, leaving behind the maximalism filled with vibrant colors. At the same time, modular pieces emerged such as the famous Vareuse (blouse with a deep V-neck), trench coats, twin sets transformed into triple sets, and even the trikini. These creations did not shout on the runway. They were designed for the wearer, for touch and movement. For Margiela, true luxury was silent.

Against the Fast Fashion

At the time, the press did not understand. They accused Margiela of “repeating too much” or “not bringing novelties.” But the repetition was, in fact, a critique of the frenetic pace of the industry. Margiela was clearly a precursor of slow fashion, creating versatile and simplistic clothes but full of meaning and representation for the decade. Contrary to what the industry demanded, he did not design for an ideal of young feminine women, but rather for real women of different ages and body types. In the shows, he preferred “people from the street” instead of supermodels, reflecting Hermès’ clientele.

The Silent and Detailed Luxury

Margiela also reinvented the use of logos. Instead of flashy prints, he used six-hole buttons sewn in the shape of an H — practically invisible. The “no logo” philosophy was also evident in the discreet colors and the emphasis on touch and perfect cut.

Today, we see this minimalist approach in pieces like the Losange scarf or the Cape Cod watch with a double strap, legacies that continue to make their presence felt at Hermès.

Rediscovery

It was only in 2017, with the exhibition 'Margiela: The Hermès Years' at MoMu, Antwerp, that many began to realize the depth of these collections. The installation contrasted absolute white, the signature of Maison Martin Margiela, with Hermès orange, creating a visual dialogue between tradition and silent subversion.

Legacy

Margiela’s time at Hermès was not a rupture, but a fusion. Instead of reinventing, he adapted, evolved, and redefined the maison's codes with finesse. Today, as we dive into this period, it becomes clear that his approach was not just a chapter but a landmark that helped Hermès reaffirm its essence, remaining relevant and desirable.

Margiela proved that true change can be silent. That through a perfect cut or an almost invisible button, we can say more than any spectacle. In the end, his Hermès was less about looking and more about feeling — basically a luxury lived on the skin.