Known as one of the most influential figures in fashion, Martin Margiela is currently presenting his first major solo exhibition in Japan, MARTIN MARGIELA AT KUDAN HOUSE, in Tokyo.

photo by ©FASHION HEADLINE
The venue is Kudan House, a registered tangible cultural property completed in 1927. Within this historic setting, Margiela’s practice—long discussed within the context of fashion—is reintroduced as visual art. Originally scheduled to run until April 29, the exhibition has been extended through May 5 following strong public response.

Beyond Fashion

Since stepping away from his fashion label in 2008, Margiela has devoted himself to visual art. This exhibition marks the first comprehensive presentation of that body of work in Japan.

The human body, traces, time, absence—these recurring themes underpin his practice. Through processes of reuse, deconstruction, and transformation, Margiela reveals what often goes unnoticed within the everyday.

Working across collage, sculpture, film, and assemblage, the exhibited works shift familiar materials into entirely different perspectives.

“I prefer to raise questions rather than provide answers.”
That statement encapsulates the experience of the exhibition itself.

©Pierre Anton

Kudan House as a Stage

Central to the exhibition is its setting: Kudan House. Originally built as the private residence of businessman Mangekichi Yamaguchi, the building was designed by structural engineer Tachu Naito—known as the “father of earthquake-resistant structures” in Japan—and architect Shichiro Kigo. Today, it is preserved and repurposed as a cultural and creative venue.

The three-story reinforced concrete structure, designed in a Spanish style, carries a quiet presence that feels distinct within contemporary Tokyo.

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Located about a five-minute walk from Kudanshita Station, the site sits near landmarks such as Nippon Budokan and Yasukuni Shrine. Yet despite being surrounded by modern high-rise buildings, Kudan House feels detached from the pace of the city.

The greenery within its grounds and its relatively low-rise scale create a sense of spatial pause—an environment that allows visitors to engage with the works more intimately.

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An Exhibition as Spatial Experience

The exhibition unfolds across the entire building. Visitors move from the first floor to the second and third, then back through the first floor before descending to the basement, encountering a total of 24 works along the way.

Grey Steps I&III, 2021 | photo by ©FASHION HEADLINE
Inside, visitors change into slippers, carrying their shoes in a provided tote bag. While this serves to protect the historic building, the act itself shifts one’s awareness of the space. Protective coverings on floors and walls blend seamlessly into the exhibition design, subtly directing attention toward the works.

Vanitas II, 2024 | photo by ©FASHION HEADLINE
Rooms such as the salon, kitchen, bathroom, foyer, and even a traditional tea room are used as exhibition spaces.

By placing works within these domestic environments, the exhibition moves beyond conventional viewing and becomes an experience of entering a private interior.

This approach resonates with Margiela’s enduring interest in intimacy.

Bus Stop, 2020 | photo by ©FASHION HEADLINE

A Quiet Interval Within the City

After the final work, visitors change back into their shoes and ascend a narrow staircase leading to the courtyard. There, an unexpected stillness emerges—lush greenery and a sense of calm that feels far removed from central Tokyo.

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The experience continues outward, eventually leading to the museum shop. Alongside the exhibition catalogue, visitors will find tote bags, T-shirts, and even the happi coats worn by staff—traditional Japanese garments recontextualized as part of the exhibition’s visual identity.

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Returning to Tokyo

Margiela’s engagement with domestic spaces is not new. In 2000, he opened a store in a residential building in Ebisu, Tokyo, presenting his collections throughout the interior, including the bathroom and kitchen. A quarter century later, his return to Tokyo—this time within a historic residence—feels less like coincidence and more like a continuation.

“To encounter the works within the intimate setting of each room, and to feel a sense of surprise.”

As suggested by this intention, the exhibition unfolds as a deeply personal experience—one that quietly exists within the fabric of the city.


photo by ©FASHION HEADLINE