How much is a Margiela piece actually worth?

This past January, one of the most highly anticipated events of Paris Haute Couture Week was the Maison Margiela auction.

It was the largest auction of Maison Margiela pieces ever, with over 300 works up for sale. The collection predominantly featured pieces from the brand’s formative years, spanning from its inception in 1988 to 1994. What made this auction even more remarkable was the inclusion of several previously unseen designs, igniting an intense bidding war among collectors and fashion aficionados alike.

ⓒ@maison.margiela.archive

          

This was not just any auction but a rare opportunity to acquire pieces designed by Martin Margiela himself. A living legend who abruptly retired in 2008 and has remained unseen ever since, his works are the holy grail of avant-garde fashion.

Who are the masterminds behind this remarkable collection? Angela and Elena Picozzi, daughters of Graziella Picozzi, the same woman who financially backed Martin Margiela in the late 1980s. Without Gragiela’s support, Margiela’s first four collections may never have seen the light of day.

For decades, Angela and Elena safeguarded these rare pieces, preserving their mother’s devotion to the designer’s vision. It was only through their efforts, in collaboration with Kerry Taylor Auctions in London and Maurice Auction in Paris, that these treasures finally emerged from the shadows.

 

Margiela’s first runway SS88, 1988 Lamé Jacket

FW89, 1989 Rare ensemble

FW90, A knit with exposed seams, featuring silver Lurex thread on a green wool base and SS91, Silk Coat

Not only clothes were featured in this auction. It included rare personal notes, accessories, and archival documents, providing unparalleled insight into Margiela’s creative process. ⓒvogue.com , ⓒarchivepdf.net, ⓒmauriceauction.com, ⓒwallpaper.com

The SS92 show held in an abandoned subway station likely would not have taken place without the support of Graziella Picozzi ⓒanothermag.com

    

If I were to choose just one piece from this historic sale, it would have to be the white painted blazer from the SS90 collection, an absolute emblem of Margiela’s artistic rebellion. Estimated to fetch between €2,500 and €4,000, its final sale price remains a mystery as of the writing of this article. And for those who understand its significance, the blazer is priceless.

The SS90 runway show itself was a milestone in fashion history. Hosted outside Paris, in a makeshift tent, the show defied convention. There were no assigned seats or elaborate lighting, just pure creative energy. Invitations were hand-drawn by local schoolchildren. The audience, a mix of industry insiders and curious onlookers, watched as models emerged wearing garments imbued with the raw ingenuity of an unfiltered creative mind. Among them was the white painted blazer. A garment that encapsulated the very essence of Margiela’s defiance against the traditional fashion system.

 

SS90, White-painted blazer ⓒmauriceauction.com, ⓒwallpaper.com, ⓒlucasmartinvintage.com

Pieces from the SS90 runway

   

On the other hand, this question arises: Isn't an auction typically reserved for historically significant masterpieces, like paintings by Dalí, Van Gogh, or Picasso?

In contrast, Margiela’s work is merely clothing… So why is it escorted by countless collectors and recognized with such high value?

 

Maison Margiela’s Martin Margiela captured at the SS90 show

   

Beyond the Clothes: The Philosophy of Maison Margiela

Margiela didn’t just change fashion, he changed the way we perceive branding with the idea that fashion should speak for itself. At a time when luxury houses like Hermès and CHANEL relied on their logos, Margiela did the opposite.

He introduced the now-iconic ghost label, a simple four-stitch tag, completely devoid of branding. This was not an oversight, but a deliberate rejection of the status quo. Margiela’s belief? The value of a garment should be determined by its design, not by a name.

This decision resonated with those who viewed fashion as an intellectual pursuit rather than a commercial one. Margiela fans weren’t interested in flaunting wealth, they were drawn to the quiet subversion of traditional fashion norms. To wear Margiela was to embrace the idea that clothing could be meaningful without being ostentatious.

 

FW91 Cape Coat ⓒevenmagazine.com

  

Both Margiela and those who love Margiela continue to build their originality through the thrill of discovering subtle details that go unnoticed by the unobservant, the shared secrecy that fosters a silent connection among the few who recognize it, and the sense of belonging to an exclusive group distinct from the broader masses. 

 

 

Margiela’s Experimental Legacy

Margiela was never interested in making conventional garments. His collections were an ongoing experiment, constantly pushing the boundaries of what fashion could be. He reimagined everyday materials in unexpected ways. Skirts made from old curtains, coats constructed from discarded gloves, dresses pieced together from broken combs. His SS98 collection famously redefined the concept of a fashion show by having models carry garments on hangers rather than wearing them, turning the runway into a living art installation.

 

SS98

SS90, Vinyl Plastic Vest

FW02, Bag in a bag and SS01, Hair comb dress

SS09, Hair pieces as wigs ⓒArchived Dreams Instagram, ⓒssense.com, ⓒvogue.com, ⓒmauriceauction.com, ⓒwmagazine.com

   

His approach to fashion mirrored the ethos of early 20th-century avant-garde movements, where art was meant to challenge perceptions and disrupt established norms. Margiela forced people to question what made a garment desirable. Was it the craftsmanship? The silhouette? The way it made someone feel? His designs weren’t just clothing, they were intellectual provocations.

 

SS96 ⓒpinterest

 

Long before sustainability became a buzzword, Margiela was upcycling. He was repurposing materials before it was considered environmentally responsible, using vintage textiles, repurposed accessories, and found objects to create garments with new life. Unlike today’s luxury brands which use sustainability as a marketing tool, Margiela’s upcycling was never about following trends. It was about creative innovation.

Perhaps Martin’s relentless drive for experimentation led him to explore this realm before others. He may even be one of the first pioneers of the genre. From 1988 to 2008 he introduced an array of truly unconventional garments, necklaces made from broken porcelain, vests and bags crafted from old gloves. At first glance, these ideas might seem outright eccentric, but as you can see, they exude a distinct and undeniable style. This philosophy continues under John Galliano, who has brought his own theatrical flair to Maison Margiela while maintaining the brand’s commitment to radical experimentation and sustainability.

 

ⓒblog.fabrics-store.com

ⓒ@Archived Dreams

FW90, Skirt made out of curtain ⓒmauriceauction.com

  

These pieces were not only impossible to mass-produce but also infused with the designer’s unique creativity, making their rarity unquestionable. There’s a certain satisfaction in witnessing the unexpected, when something unconventional appears in an unlikely place, serving an unforeseen purpose. In the realm of high fashion, where luxury was once the ultimate virtue, Margiela boldly defied convention by embracing materials far removed from traditional notions of opulence. This boldness not only set the pieces apart, but also played a crucial role in shaping Margiela’s identity today, solidifying the brand as one defined by extraordinary vision and clever ingenuity.

 

John Galliano using leftover brand stock and items sourced from thrift stores for Margiela FW20 ⓒblog.fabrics-store.com

 

Few designers have left as profound a mark on the industry as Martin Margiela. Raf Simons has said that seeing a SS90 Margiela show was the reason he decided to become a fashion designer instead of a furniture designer. Marc Jacobs has stated that anyone working in fashion today has in some way been influenced by Margiela’s legacy. Alexander McQueen once described his work as “modern classic”, while Demna Gvasalia, who began his career at Margiela, credits the house with teaching him how to find beauty in the unexpected.

Maison Margiela is more than just a fashion house. It is a philosophy, a movement, a challenge to everything we think we know about clothing. This auction was not just a sale; it was a landmark event that reaffirmed Margiela’s enduring impact on the fashion world. His vision remains as powerful as ever, and this auction was a testament to the fact that true innovation never fades.