Glenn Martens' highly anticipated debut as part of Artisanal Maison Margiela arrived at Fall/Winter 2025 Haute Couture Week, and we're still speechless. His presentation of refined craftsmanship took place in the same venue Martin Margiela left in 2008. Glenn Martens didn't just meet expectations; he surpassed them with his layering proposals and three-dimensional plastic and silk embellishments.

In a retrospective prologue, Glenn Martens takes us on a journey where worn paper and plastic narrate not only the brand's history but also the beginning of this new chapter. The runway started with these raw materials, subtly overlaid onto basic garments. From there, it built in a crescendo, like the opening of a portal, yet with a subtle nod to his work with Jean Paul Gaultier.

Small sections gradually revealed the artisanal embellishments to follow, alongside a play of drapes spiraling around the models' bodies. We then saw jackets (featuring a brilliant chest opening for support) that incorporated the venue's decay: worn paper and mannequin-like corset bodices, meticulously crafted, sectioning the torso into three parts.

After showcasing coats, skirts, and trousers that gave the illusion of having hardened in a library basement over time, we moved to the superposition of plastic with three-dimensional cuts over vivid prints. This technique breathed life and sparkle into what once seemed abandoned, creating an illusion of fresh paint and a much bolder silhouette.

These three-dimensional forms weren't the only debut. Maison Margiela created silk cuts in the shape of wings and feathers to adorn base garments. Imperceptible at first glance, they levitated with the viewer in motion, as if they were a fleeting idea. These cuts also appeared as botanical forms within prints, meticulously placed on the anatomy of dresses, respecting the waistline while accentuating the shoulders, hips, and edges of the garments.

The collection also featured artisanal decorations like crochet and beading, as well as baroque embellishments on jackets and shirts, all complemented by the anticipated masks each model wore. This all led to a moment of relaxation with the inclusion of three silk dresses fitted to the body, stripped of heavy decoration but overflowing with technique and Martens' characteristic art of maintaining sensuality without revealing skin.

This collection exceeded our expectations and clearly communicates the creative director's perspective on the brand. His reinterpretation is balanced, purposeful, and looks to both the past and the future simultaneously. Bravo!