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True Identity: Sampling

Trends
February 5, 2020 9:50

We live in a world where almost every other artist has sampled an old track and put their own twist on it. Whether it’s an RnB track from the early 2000s or a soul album from the 80s, sampling has no limitations. It dates back to the Jazz era, was experimented with in the 60s and popularized in the 80s Rap music come up. Back in the 80s when rap first floated to the surface, DJs like Grandmaster Flash and Kool DJ Herc would manipulate the rotation of disco and funk vinyls so it would only play the climax of the song in a melodic way. Soon after wordsmiths would find themselves rhyming and lyricizing over the beats jumpstarting the Rap revolution. Grandmaster Flash and the Furious Five quickly became a widely known sensation with this method, which is also portrayed in the Netflix original “The Get Down”.


In the 90s Rap scene, sampling became almost a given. All the greats were doing it from 2Pac’s “Keep Your Head Up” to Biggie's “Juicy” and Diddy’s “I’ll Be Missing You”, nobody missed an opportunity to remaster old hits. All of those hits have a deeper meaning in common. These legendary rappers would make their own out of a forgotten gem. Since then many popular Rappers and Singers today have followed in their footsteps. However, nowadays I’m getting the impression that every other good song is a sample.

Often times I will hear a song by an artist I don’t expect much from and will be pleasantly surprised by one of their tracks. Over half of the time it turns out to be a sample. Don’t get me wrong, I still enjoy the song but I can’t help but be mildly disappointed sometimes. It has come up too often that listeners will be unaware of the fact that the song was even sampled in the first place, not knowing the production that they find incredible isn’t actually the artists own creation. Hip-Hop, Jazz and Soul singers will be stripped of their credit and nobody even knows. The origin of sampling is pure and the intention maybe often times even genuine, nevertheless, I find it hard to believe that every artist today still samples with the intention of honoring a legend. Most artists don’t even write their own lyrics anymore let alone use real instruments for their tracks like demonstrated in the samples. So, are the artists honoring oldies or just being lazy? Occasionally, when I hear a talented artist have their greatest hit be a sample, I think to myself: you could have done that too. Artists today need to find back to the roots of music creation. They’re missing real instruments, meaningful lyrics and a chorus sung by a contemporary RnB singer. Great artists like that do exist in our generation, some not even getting enough credit for it as well. They represent real music and should be credited for that. Artists today need to find their true identity.


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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.

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