Maison Margiela and Gentle Monster unveil their fourth collaboration, pushing the boundaries of eyewear through deconstructed silhouettes, distorted proportions, and a surreal campaign by Alex Prager, while the Maison celebrates 20 years of its iconic Tokyo store.
Maison Margiela and Gentle Monster are back for a fourth chapter of their creative partnership, set to launch on October 29. Having previously explored savoir-faire, the passage of time, and the tension between classicism and futurism, the two brands now turn their attention to one of the Maison’s most distinctive codes: DECONSTRUCTION.
The collection features 68 designs, including 43 sunglasses and 25 optical frames, reimagining traditional eyewear shapes through unexpected and deliberately distorted silhouettes. Some frames appear crushed, while others play with exaggerated volumes and unconventional proportions. Oversized designs conceal much of the face, while slimmer, upswept frames are tightly wrapped in leather.
Connecting every design is one of the Maison’s most recognizable signatures: the four white stitches, appearing on the temples of each frame. On the slimmer styles, this iconic detail is reinterpreted through a new technique that makes the stitches appear to float along the edges.
Accompanying the launch is a short film directed by American photographer and filmmaker Alex Prager, known for her distinctive visual universe that constantly blurs the line between the ordinary and the absurd. This tension also lies at the heart of the campaign.
The film follows a woman who has just ten minutes to reach someone before his train departs. What follows is a frantic and rather chaotic journey, during which she encounters a series of eccentric characters, each wearing a different silhouette from the collection. The eyewear becomes an essential part of the visual storytelling, helping define the identity and atmosphere of each encounter. Between surreal situations and unexpected mishaps, the protagonist finally manages to reach the man she has been searching for on the station platform.
To celebrate their fourth collaboration, Maison Margiela and Gentle Monster will unveil special pop-up spaces in eight cities worldwide. In Seoul, the launch will also be marked by an exclusive performance bringing together Damien Jalet, the Franco-Belgian choreographer and creative director, and Ian McMahon, the American artist and sculptor.
The collaboration arrives at a particularly significant moment for Maison Margiela, as the fashion house is also celebrating 20 years of its historic Tokyo store at 2-8-13 Ebisu.
The Maison’s relationship with Japan dates back to September 2000, when, twelve years after the brand’s founding, it opened its very first store in Tokyo. It was an unconventional choice: rather than opening in Paris or Belgium, the founder’s home country, the Maison selected a traditional house in the residential neighborhood of Ebisu.
When the store had to relocate in 2006, the brand chose to remain in the same neighborhood rather than move to a more commercial district, settling into a former electrical products factory just a few minutes from its original location. A decision that reflects the Maison’s deep connection to the area and its commitment to preserving its identity.
To mark the anniversary, the research and documentation project Maison Margiela/folders revisits the store’s history through memories shared by its team, stories from the local community, and an exploration of the Maison’s relationship with Japanese culture, with particular attention to the iconic Tabi and the collectors who have embraced them.
On November 5, a limited-edition zine will be distributed exclusively in the store and throughout the Ebisu neighborhood. The same day will also see the opening of Line 2, a cultural dialogue installation created through a collaboration between artist Mio Suzuki and Les Manufactures Nationales, on view until November 15.
From deconstructing the future of eyewear to revisiting the roots of its own identity, Maison Margiela proves that looking forward doesn’t mean leaving the past behind.