From his early years of training with Jean Paul Gaultier to his perplexing prestigious seat at Hermes, Martin Margiela has always maintained an air of mysterious allure. Hailing from Belgium he had his own views about what was and wasn't fashion. Early in on the de-constructivist trend tearing apart the garments and exposing their "innards" was more of an allegorical statement about the state of world affairs for Margiela than it was a fashion trend. The sheer absence of his name from the label alone tells one his feelings about it all, the opposite of the decadence and narcissism which is the fashion norm. Recycling old garments and random materials he deconstructs and restyles them: the outer fabric and the lining are separated to become vest and dress. Jeans transformed into skirts or painted. Pieces made out of army socks, costume jewelry, or old gloves. Dresses out of taped-together plastic slipcovers, and tape used literally as a tailoring device. The Margiela wearer is no stranger themselves to such existential ideas, art and its temperamental self destructing ways is their raison d'etre. 

See Also: Jean Paul Gaultier, Comme Des Garcons