To the sound of a 61-piece children’s orchestra (the entirety of which was dressed in dramatically oversized Maison Margiela tuxedos) playing perfectly imperfect renditions of Symphony No. 40 and Beethoven’s Moonlight Sonata, Glenn Martens debuted his first co-ed ready-to-wear collection for the Belgian fashion house during Paris Fashion Week. The presentation arrived just three months after the former Diesel creative director showcased his inaugural Artisanal (otherwise referred to as haute couture) collection for Margiela back in July. That collection wasn’t for the faint of heart, though at a brand like this one, it was never supposed to be immediately digestible. It was the kind of couture offering that makes you think, sending chills down your spine once you do.
For spring/summer 2026, though, Martens took a simpler approach, continuing some themes from his couture debut, but executing them in a much more pared-back and even practical fashion (see Margiela-ized basics, like trench coats, slip dresses, and leather jackets). He started the show with wearable silhouettes made of denim and leather—all of which were accented with four-stitch mouthpieces resembling the brand’s signature non-logo—before eventually leading showgoers toward some more experimental designs. Classic Margiela staples made their return, including the Margiela Futures, a high-top sneaker that got a modern update for 2026, as well as the Tabi Claw, which was first seen in the Artisanal 2025 collection, but has now made its RTW debut with a futuristic plexiglass wedge heel (worn by Kim Kardashian and Kylie Jenner at the show). A new version of the Box Bag is also coming soon, with a softer, slouchier look that’s sure to become a staple come spring.
Pieces For Everyone
Like the music playing, there were moments of calm serenity throughout the designer’s sartorial unveiling this season, as well as louder, more stimulating components. According to a press release, “concepts and proposals for real life” were the main focus. Tailoring was presented in a handful of different ways, in denim as well as more classic wool, always with touches that feel inherently Margiela. A white button-down shirt was styled with jeans and boots, while a slip dress with tiny lace details was worn with a leather motorcycle jacket. The first 25 or so looks saw a muted color palette be prioritized, and then suddenly, there was a switch. As the collection slowly approached a crescendo, vibrant colors and patterns began to appear on Martens’ models. Dresses with uneven hems were printed with clashing floral patterns that were designed to look like peeling 16th-century wallpaper (a concept first introduced in the F/W 25 Artisanal collection), which were seen throughout the latter half of the show, as was “plasticisation,” another design technique from couture that was used to make statuesque bodices out of tape. The collection as a whole had moments for everyone, from subdued basics done the Margiela way to gowns designed to evoke a range of emotions.
