Ugly / beautiful, deconstructivist architecture, off-kilter sculptures, loud discordant music are the key elements that comprise the martinMARTIN aesthetic. In the process of conveying beauty, allurement is achieved through a form of deconstruction and transformation. Altering traditional fashion principles to metamorphosize into what is considered ugly into beautiful meaningful shapes is the rule here. Distortion changes the normal condition of design existence, the proper study, into the formative principles of what comprises beautiful (anti) fashion.

To distort, twist awry or to force out of shape and then transform the crooked / deformed into objects of beauty is key. martinMARTIN utilizes the philosophical principles of beauty and distortion. By undermining Western heirarchies and the constrictions of beautiful / ugly, feminine / masculine, elegant / unkempt, new / old, perfect / imperfect the designers adopt an approach that refuses to associate itself with clear cut gender, national or artistic labels. The designers negate conventional fashion codes.

The label’s designs are characterized by a restrained palette dominated by the essence of all colors, black. Fabrications can typically include such classic British mainstays as, Prince of Wales Wool Plaid and Banker’s Wool Pinstripe. Also offered are Italian classics like Crinkled Wool Crepe, Wool Gabardine and crisp white Cotton Poplin for blouses and man shirts. Knitwear constructions that feature an array of hand-loomed sweaters, sweater jackets, blanket shawls and infinity scarves are the softening point to the collection. To contrast the softness, structural architectural leatherwear which features the distorted / draping technique that is unique to martinMARTIN completes the picture.