「空白」的時裝秀史： 馬汀．馬吉拉之屋（1989-2022）的劇場化歷程

Abstract

近年時尚產業興起一股時裝秀戲劇化的趨勢，越來越多的服裝品牌開始嘗試以完整的故事劇情展演時裝秀，秀場也出現越來越多對於劇場、電影元素的挪用。這股風潮廣為流行，已成難以忽視的現象。馬汀．馬吉拉之屋（Maison Martin Margiela）為戲劇化傾向顯著的服裝品牌，其特殊之處在於不同時期有著截然不同的戲劇化風貌，但又皆以表現「空白」為其品牌核心精神。品牌於2009年至2014年無品牌設計總監，因此筆者自此品牌於1989年至2022年中取首秀1989年春夏秀場、90年代中後期的1996年春夏秀場和1998年春夏秀場，以及千禧年以後近年推出的2021年春夏秀場、2022年秋冬高級訂製秀場這五場時裝秀做為品牌前、中、後期的代表以討論其變化的歷程。文中以60年代開始發展的後現代主義至千禧年後影像時代現況梳理不同的時代語境下劇場展演、服裝設計美學的轉變。這五場時裝秀運用了理查德．謝克納（Richard Schechner）的環境戲劇、羅蘭．巴特（Roland Barthes）的符號學與貝托爾特．布萊希特（Bertolt Brecht）的疏離效果三個主要的理論，本文將梳理不同時代語境的趨勢洪流中馬汀．馬吉拉之屋如何在這五場秀中以不同的方式展演其空白意象，並釐清品牌展現空白由外而內的應世之道。

In recent years, the fashion industry has stormed a rising trend of theatricalizing fashion shows. An increasing number of clothing brands showcase their collections through performances with a complete storyline. As a result, fashion runways have witnessed a growing appropriation of theatrical and cinematic elements. This widespread phenomenon has become an unignorable force in the fashion world. Maison Martin Margiela, known for its pronounced inclination towards dramatization, stands out for its unique characteristic of presenting radically different theatrical runway show in different periods, all centered around the representation of "the blank" as its core brand spirit. Notably, the brand experienced a period without a creative director from 2009 to 2014. To explore the evolutionary process of Maison Martin Margiela from 1989 to 2022, this paper selects five representative fashion shows - the brand's debut show in Spring/Summer 1989, the mid-to-late 1990s shows in Spring/Summer 1996 and Spring/Summer 1998, and the recent shows in Spring/Summer 2021 and Autumn/Winter 2022 Haute Couture - as benchmarks representing its early, middle, and later stages. Drawing from the developments of postmodernism in the 1960s to the visual age of the new millennium, the paper examines how different historical contexts influenced the transformation of theatrical presentation and clothing design aesthetics. By analyzing these five fashion shows through the lenses of Richard Schechner's environmental theater, Roland Barthes' semiotics, and Bertolt Brecht's distancing effect, the paper unravels how Maison Martin Margiela effectively conveyed its blank aesthetic in distinctive ways, adapting to the prevailing trends of different eras. Ultimately, the paper seeks to clarify how the brand's external to internal manifestations of "the blank" concept in response to varying temporal contexts.